Giddins’ annoying habit of always using the most arcane vocabulary when simple English would do also serves to make Parker more intimidating to the average listener. Hero to beatniks, an enigma to the masses, Charlie Parker became a cult icon, having passed the ultimate litmus test of artistic credibility by croaking off before his time.īiographies like Gary Giddins’ Celebrating Bird: The Triumph of Charlie Parker make things worse by attempting to apply an analytical approach to the understanding of his music. The world was divided between those who dug Bird and those who thought his music ridiculously complex. In doing so, he became an object of worship for the intellectual crowd, a haunting and mysterious figure whose music contained an endlessly impenetrable message with meaning available only to those who claimed the advanced aesthetic ability to understand it. From the public perspective, he disconnected jazz from danceable rhythms, an unforgivable sin at a time when swing ruled the airwaves and jazz was virtually synonymous with dance. Ian Anderson, “From a Deadbeat to an Old Greaser”Ĭharlie Parker is one of the most divisive and controversial figures in jazz history, and jazz could not have survived without him. Left the young brood to go on living without them. Of the heroes who were too wise for their own good
Of Charlie Parker, Jack Kerouac, René Magritte, to name a few I.Īnd tired young sax-players sold their instruments of torture When bombs were banned every sunday and The Shadows played F. Made of dummies (with no mummies or daddies to reject them).
Where blonde assistants fully fashioned a world Lowell Hastings, Danny Turner, Eddie Woodland - Co.You won’t remember the long nights-coffee bars and black tights.The Paragons Meet The Jesters (Jubilee LP 1098).Dexter Gordon - Master Takes / The Savoy Recording.Casbah / Sid's Delight - Tadd Dameron and His Orch.Tab Smith - I Don't Want To Play In The Kitchen.Cadillacs Meet The Orioles (Jubilee JGM-1117).
Many thanks for pointing me towards this stuff, Mr Magnifico! Looks like the Elks Auditorium Hollywood Jazz Concert bears much more investigation, perhaps with the aim of reconstructing the whole gig from the recordings made by Ralph Bass. Also on the track were Paul Williams on baritone sax and T.J. Wild Bill recorded "We're Gonna Rock" for Savoy in Detroit on December 18th 1947.
#Charlie parker complete savoy dial master takes rar plus#
The Proper 4CD set "Dexter Gordon - Settin' The Pace" has the four Elks Auditorium tracks featured in "The Hunt" plus another track from the same concert, "After Hours Bop."Įxcerpts from many of the Elks Auditorium concert tracks were released on 78 rpm singles on the Bop label. The Blue Moon CD "Wild Bill Moore, The Complete Recordings Volume One" has 4 Wild Bill tracks from the Elks Auditorium concert - "Wild Bill Part 1", "Wild Bill Part 2", "Unfinished Bopera" and "What Is this Thing Called Love." As I said, the notes are pretty unreadable but I can make out a reference to other tracks from this concert being on other Savoy LPs including "Black California Volume 1" and "Long Tall Dexter." After much squinting through a small glass I learned that the CD also had another track by the Wardell Gray All Stars "Blow Blow Blow" from the same concert. Then after reading your comment I remembered that there was a track on the Savoy Jazz CD "Black California Volume 2 - Anthology" which was an extended live cut of Wild Bill with Gene Montgomery of "What Is This Thing Called Love." This was indeed from the same Elks Auditorium concert as "The Hunt."Ī big problem with this CD is that the notes are shrunk down from the original LP issue and are therefore indecipherable without a magnifying glass. I'd totally forgotten about the part played by Wild Bill Moore at the Hollywood Jazz Concert at the Elks Auditorium on July 6th, 1947.
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