CHARLIE PARKER - The Recordings For Savoy, Dial & Verve
Jazz Photography by William P Gottlieb
Charles Christopher Parker
1920 to 1955
This year, 2015, marks sixty years since Charlie Parker passed away after a short but eventful life. This seems like an opportune time to reflect on his recorded output for three recording labels which cover most of his finest recorded work.
The three labels in question are Savoy, Dial and the limprints under the supervision of Norman Granz (Clef, Norgran and Verve ). All three have their merits and drawbacks as will be apparent in this snapshot of these classic recordings by Roy Booth.
1920 to 1955
This year, 2015, marks sixty years since Charlie Parker passed away after a short but eventful life. This seems like an opportune time to reflect on his recorded output for three recording labels which cover most of his finest recorded work.
The three labels in question are Savoy, Dial and the limprints under the supervision of Norman Granz (Clef, Norgran and Verve ). All three have their merits and drawbacks as will be apparent in this snapshot of these classic recordings by Roy Booth.
he Savoy label recorded Parker in 1944 and from 1947 to 1948 and these recordings contain some of Parker’s finest work. They were first issued as a series of 78rpm recordings but were later issued as five LPs under the title “The Incomparable Charlie Parker” and contained false starts, breakdowns and alternative takes.
The first session on 15th September 1944 produced two tracks “Tiny’s Tempo” and “Red Cross” which really come under the heading of Swing to Bop with Parker supported by a conventional swing rhythm section which included Tiny Grimes on guitar.
The second session in December 1945 was with Slim Gaillard and although Parker plays well enough the four tracks that were recorded were of no great significance.
On the November 1945 date of the five tracks recorded Dizzy Gillespie plays piano on four of the tracks and “Ko Ko” he plays the opening and closing theme on trumpet as Miles Davis was unable to cope with the intricacies of the tune. On this date the iconic recording of “Parker’s Mood” was on of the tracks which was later to have words put to it by King Pleasure.
On most of the Savoy recordings Parker was beset by reed problems but this by no means reflected of his playing. The other downside to this set of recordings was the lack of confidence in the playing of Miles Davis which was not apparent in later years.
There are some moments of brilliant alto playing on this set of recordings and far outweigh any negative moments.
The first session on 15th September 1944 produced two tracks “Tiny’s Tempo” and “Red Cross” which really come under the heading of Swing to Bop with Parker supported by a conventional swing rhythm section which included Tiny Grimes on guitar.
The second session in December 1945 was with Slim Gaillard and although Parker plays well enough the four tracks that were recorded were of no great significance.
On the November 1945 date of the five tracks recorded Dizzy Gillespie plays piano on four of the tracks and “Ko Ko” he plays the opening and closing theme on trumpet as Miles Davis was unable to cope with the intricacies of the tune. On this date the iconic recording of “Parker’s Mood” was on of the tracks which was later to have words put to it by King Pleasure.
On most of the Savoy recordings Parker was beset by reed problems but this by no means reflected of his playing. The other downside to this set of recordings was the lack of confidence in the playing of Miles Davis which was not apparent in later years.
There are some moments of brilliant alto playing on this set of recordings and far outweigh any negative moments.
In 1946 Ross Russell the proprietor of the Tempo Music Shop setup the Dial Label which was to record some of the best and worst of Charlie Parker. Like the Savoy the Dials also has it’s fair share of alternate takes extra which interesting but not essential to the casual listener.
Disc One of four like Disc Two were recorded on the West Coast and belong to that swing to bop period and have in their personnel’s musicians like Lucky Thompson and Shorty Rogers. It also has some of the early bop themes like “Yardbird Suite”, “Ornithology” and “Night in Tunisia”.
It also contains the infamous “Loverman” session after which Parker was committed to Camarillo
Which unsuccessfully to cure his addiction to drugs.
Disc Two opens with the excellent session with pianist Erroll Garner which produced “Cool Blues” and ”Birds Nest” plus two numbers with singer Earl Coleman who could easily be mistaken for Billy Eckstine.
The balance of this disc has a fine All Star line up which produced four numbers and has Howard McGhee on trumpet, Wardell Gray on tenor and Barney Kessell on guitar. This one of the most successful sessions on Dial with Howard McGhee being an ideal partner for Parker’s alto and Wardell Gray provides some interesting solos.
This is post Camarillo and Parker is at the top of his form with numbers like “Cheers” and “ “Relaxing at Camarillo” which is as good as it gets.
Volume Three and Four were recorded on the east coast and have a settled personnel with Miles Davis on trumpet, Duke Jordan on piano, Tommy Potter on bass and Max roach in the drum chair. For the final six numbers J. J. Johnson is added on trombone which gives a little more variety.
There are number of ballad performances on these two discs and Parker is at his impassioned best on “My Old Flame” and “Don’t Blame Me”
There are many exciting up tempo numbers like “Scrapple from the Apple” and “Quasimado” and give us a fine snapshot of Parker during this period of his recording career. There some stunning performances on these recordings and although ther is some surface noise on some tracks the music is of top quality.
Disc One of four like Disc Two were recorded on the West Coast and belong to that swing to bop period and have in their personnel’s musicians like Lucky Thompson and Shorty Rogers. It also has some of the early bop themes like “Yardbird Suite”, “Ornithology” and “Night in Tunisia”.
It also contains the infamous “Loverman” session after which Parker was committed to Camarillo
Which unsuccessfully to cure his addiction to drugs.
Disc Two opens with the excellent session with pianist Erroll Garner which produced “Cool Blues” and ”Birds Nest” plus two numbers with singer Earl Coleman who could easily be mistaken for Billy Eckstine.
The balance of this disc has a fine All Star line up which produced four numbers and has Howard McGhee on trumpet, Wardell Gray on tenor and Barney Kessell on guitar. This one of the most successful sessions on Dial with Howard McGhee being an ideal partner for Parker’s alto and Wardell Gray provides some interesting solos.
This is post Camarillo and Parker is at the top of his form with numbers like “Cheers” and “ “Relaxing at Camarillo” which is as good as it gets.
Volume Three and Four were recorded on the east coast and have a settled personnel with Miles Davis on trumpet, Duke Jordan on piano, Tommy Potter on bass and Max roach in the drum chair. For the final six numbers J. J. Johnson is added on trombone which gives a little more variety.
There are number of ballad performances on these two discs and Parker is at his impassioned best on “My Old Flame” and “Don’t Blame Me”
There are many exciting up tempo numbers like “Scrapple from the Apple” and “Quasimado” and give us a fine snapshot of Parker during this period of his recording career. There some stunning performances on these recordings and although ther is some surface noise on some tracks the music is of top quality.
The Norman Granz recordings have not always been considered to be on a level with the Savoy and Dial recordings but there is a wealth of brilliant Parker to be heard with a little exploration.
The complete output was released on a ten CD set which included false starts, studio chatter etc. some interesting some irrelevant.
All Parker’s Jazz at the Philharmonic recordings are included but are not really relevant but Parker did not resort to the antics of some of the other musicians. The complete “Funky Blues” session is included which has Parker playing alongside two other alto players, Johnny Hodges and Benny Carter.
All the string and big band tracks are included and although the string section can be a little turgid Parker plays with passion and does not become held back by them. The big band tracks have some wonderful moments with soaring over the brass on “Almost Like Being In Love”. “Laura” and “Autumn in New York” are as good as any ballad performances he has ever recorded.
On the small group recordings there are examples of some of his most proficient playing on tracks like “KC Blues” and “Confirmation”. Not all the tracks are of this standard but all in all there is more good than mediocre.
There are some marvellous moments on all three collections and would be difficult to pick out which is the best to have but I would consider all three to be essential in any jazz collection.
The complete output was released on a ten CD set which included false starts, studio chatter etc. some interesting some irrelevant.
All Parker’s Jazz at the Philharmonic recordings are included but are not really relevant but Parker did not resort to the antics of some of the other musicians. The complete “Funky Blues” session is included which has Parker playing alongside two other alto players, Johnny Hodges and Benny Carter.
All the string and big band tracks are included and although the string section can be a little turgid Parker plays with passion and does not become held back by them. The big band tracks have some wonderful moments with soaring over the brass on “Almost Like Being In Love”. “Laura” and “Autumn in New York” are as good as any ballad performances he has ever recorded.
On the small group recordings there are examples of some of his most proficient playing on tracks like “KC Blues” and “Confirmation”. Not all the tracks are of this standard but all in all there is more good than mediocre.
There are some marvellous moments on all three collections and would be difficult to pick out which is the best to have but I would consider all three to be essential in any jazz collection.
