The Complete Savoy Studio Sessions
The Complete Savoy Studio Sessions
Side A track I
Side A track 2
Side A track 3
Side A track 4
Side A track 5
Side A track 6
Side A track 7
Side A track 7
Side B track I
Side B track I
Side B track 2
Side B track 3
Billies Bounce
5850-I
5850-2
Billies Bounce.
5850-3
Billies BOunce
5849-I
Warming Up A Riff
5850-4 Billie's Bounce
IP*
5850-5
Billie's Bounce
5851-I Now's The Time
5851-2 Now's The Time
5851-3
Now's The Tie
5851-4 Now's The Tifrit.
5852-I
Thriving On A Riff
- 5852-2 Thriving On A Riff
5852-3 Thriving On A Riff
Meandering 5853-I
Koko
5853-2 Koko
'Side B track Or
Side B track i'
Side B track 5
Side B track 6
Side C track I
Side C track I
Side C track 2
Side C track 2
Side C track 2
Side C track 3
Side C track 4
Side C track 5
Side C track 5
Side D track I
.Side D track 2
Side D track 2
3420-2
34203420-4
3470-5
3421-1
3421-2
3421-3
3421-4
3477 -1
34 22 -2
3423-I
3423-2 ,
3423-3
3423-4
347 3-5-
Donna Lee
Donna ..cc
Donna .ce
Donna _Ce
Donna .ce
Chasin'The Bird
Chasin'Tbe Bird'
t( - basin The Bird
Ch. sin' The BirdChen,
Cheryl
Side D track 3
Side D track 3
900-1
Side D track 4
9(X)-2
Side D track 5
90X13
Side D track 6
900-4
Side D track 7
901-1
Side' E track 1
901-2
Side E track I
902-I
2Side,f. track 2
902-2
7, Side E track 3
902-3
Side E. track 3,
902-4
Side E titck 4 . ' 907 -5
- Side F. track 5.6;
903-1
Side Elia& 5
903-2
Side E track 6
903-3
Side Eirack 6
$03-4
903-5
tat}
1
Bir v
1407n
Side 'track I
Side F track I
Side F (rack 2
Side F track 3
Side F track 3
Side F track 4
Side F track 5
Site F.- track 6
Side F track 7
Side F track 7
Side F track 8
Side F track 8
Barbados
Barbados
Barbados
Barbados
Ah-Leu-Cha
Ah-Leu-Cha
Constellation
Constellation
Constellation
Con,siellation
Constellation
Parker's Mood
Parker's Mood
Parker's Mood
Parker's Mood
Parker's Mood
Side H track I
Side H track 2
Side H track 2
Side H track 3
Side H track 4
Side H track 4
Side H track 5
Side H track 5
Side H track 6Side H track 7
Side H ,taipek. 7
Side I track I
Side I track I
Side 1track 2
Side I track 2
Side I track 3
11:. ) 8-1
Perhaps
Perhaps
Perhaps
Perhaps
Perhaps
Perhaps Perhaps
Marmaduke
Marmaduke
Marmaduke
Marmaduke
Marmaduke
Marmaduke
Marmaduke
Marmaduke
Steeplechase
Steeplechase
Merry-Ga.:Round
Merry-Go-Round
908-2
908-3
908-4
908-5
'908-6
908-7
909-I
909-2
909-3
909-4
909-5
909-6
909-7
909-8
910-I
910-2
911-I
911-2
Side! track 4
Side I track 5
Side I track 5
Side I track 6
Side I track 6
Side I track 6
Side I track 7
Side J track 1
Side J track I
J track I
Side J track 2
Side J track 2
Side J track 3
Side J track 3
Side J track 3
Side .1 trail( 4
:Side J traeli 4
Side J track 5
Side J track 6
wa,
*
1471
1 ; CI)
S5J 5500
1978 Arista Records, Inc . 6 West 57th St . '`New York:TN:Y 10019. A subsidiary orColumbia Pictures Industries, Inc. Printed in U.S A: All rig
INTRODUCTION
Tiny's Tempo
Tiny's Tempo
Tiny's Tempo
I'll Always Love You Just The Same
I'll Always Love You Just The Same
Romance Without Finance
Romance Without Finance
Romance Without Finance
Romance Without Finance
Romance Without Finance
Red Cross
Red Cross
Side A track 1
Side A track 2
Side A track 3
Side A track 4
Side A track 5
Side A track 6
Side A track 7
Side A track 7
Side B track 1
Side B track 1
Side B track 2
Side B track 3
Side B track 4
Side B track 5
Side B track 5
Side B track 6
Side C track 1
Side C track 1
Side C track 2
Side C track 2
Side C track 2
Side C track 3
Side C track 4
Side C track 5
Side C track 5
Side D track 1
Side D track 2
Side D track 2
November 26, 1945, was Parker's first as session leader. The May
8, 1947, date was his first studio appearance upon returning to
New York after the turbulent sixteen-month sojourn in California. The Miles Davis Milestones date of August 14, 1947,
offers a rare example of Bird as tenor saxophone sideman. The
two September, 1948, dates were Parker's last sessions before two
major turning points in late 1948: the reforming of the band to
include Al Haig on piano and Kenny Dorham on trumpet, and
the beginning of his exclusive contract with Norman Granz.
Although Herman Lubinsky, founder of Savoy, claimed the
distinction of being the first to record Parker, he could hardly be
described as a fervent disciple of the legendary herald of the new
jazz. As quoted in an April 16, 1961, New York Post article on the
Parker estate, Lubinsky explained, "That was the early '40's. I
needed a lot of convincing before I went into it. I didn't believe
in what he was doingI didn't think it would be commercial?'
Despite the fact that Savoy would become famous for marketing
the avant-garde jazz of the 1940's, commercial was an important
word and concept at 58 Market Street in Newark. Perhaps
Savoy's modus operandi were typical of the small, independent
companies of the time, but Lubinsky seems to have possessed a
special talent for producing great jazz records at minimum expense to himself.
Under the prevailing copyright laws there were three rights
in a piece of music: the right to cause a work to be recorded
(referred to as the recording or mechanical right), the right of
publication, and the public performance right (including broadcasting). Under the mechanical right, if a work were duly copyrighted and licensed through a publisher, the record company
was obliged to pay two cents per side for each 78 rpm disc sold,
one cent each to the composer and the publisher. If, for example,
an artist recorded George Gershwin's I Got Rhythm, the record
company would have to pay out two cents for every record sold
in addition to the musician's session fees, and artist royalties. If,
on the other hand, an artist recorded an "original" composition
using only Gershwin's chord progressions to which a new melody had been fit, the record company might save substantial
sums or even produce additional income. If the work was uncopyrighted, as was the ease for the bulk of Parker's Dial recordings, there is no legal obligation to pay royalties to anyone. The
record company, however, might conclude an agreement with
the composer of the "original" whereby, in exchange for a small
advance on royalties, the composer agrees to license his work
through the record-company-as-publisher. Such was the arrangement between Parker and Lubinsky, as illustrated in the
contract for Ah-Leu-Cha (following page). Thus, for the price of
an advance, Savoy could not only save one half of its own mechanical rights obligations (had they recorded copyrighted
works), but also could establish its legal claim to one half of any
future royalties the work might generate. There were, of course,
numerous abuses of this system of rights. But in general, the system provided a legal substructure for a climate that was mutually beneficial to both Parker and Lubinsky.
Parker's revolutionary statements of the 1940's must be
viewed against the fact that above all else, Bird was a great improviser, deeply rooted in tradition. Whenever he was given a
free hand in the selection of materialas was the case in his Dial
and Savoy recordingshis repertory consisted largely of blues
and "originals" using the chord changes of familiar popular
songs. Moreover, his performance routines for individual numbers almost always minimized the use of pre-conceived material
and focused on the improvised solo. Even when compared to
Gillespie's recordings of the 1940's, which often involve composed introductions, interludes, internal choruses, and codas,
Using chord progressions that were already well known, Parker could compose a twelve-measure blues melody and have a
new piece that could serve as the thematic basis for the improvised solos which would constitute the creative substance of
these performances. Other cases required even less newly-composed melodic material. Several of the Savoy pieces are based
on the chord structures of thirty-two measure AABA popular
songs, in which the first eight measure phrase is repeated (AA),
then followed by a new eight measure phrase (B), and concluding with a third statement of the first phrase (A). Often Parker would compose a new melody for the A phrase, but would
improvise the B phrase in the opening and closing thematic sections. Such an "original" would require only eight measures of
newly composed melodic material for the entire performance.
Marmaduke, using the borrowed chords of Fats Waller's Honeysuckle Rose, is an example:
MARMADUKE Theme
Melody
(Parker)
Harmony
(Waller)
A
composed
A
8
A
repeated
A
8
B
improvised
B
8
A
repeated
A
8
Sept saber
18th
AGREEMENT made
1948
6. All royalties which may become due and payable to the WRITERIS) pursuant to the foregoing paragraph
shall be divided among them, and the PUBLISHER is hereby authbrized to pay the said royalties as follows:
by and between SAVOY MUSIC CO., 58 Market Street, Newark, N. J., herein called "PUBLISHER" and __________
Writer
CharlesPk
..
LrsSV
Share
PaRKERi_ 311.
1. The WRITERIS) hereby sells, assigns, transfers, sets over and delivers to the PUBLISHER, its successors
together with any and all claims or demonds which I (we) may hove therein, including any copyrights heretofore secured therein, and including the title, words and music thereof, and the right to secure copyright therein throughout
the entire world, and the right to hove and to hold the said copyrights and all rights of whatsoever nature thereunder
existing, together with any renewals or extensions of the said copyrights.
2. The WRITERISI warrant that the said composition in an original work; that no part of the said composition is an infringement of any copyrighted work; that the said composition was written and composed in its entirety by
him (them); that he (they) have not sold, assigned, set over, mortgaged or hypothecated any of his (their) right, title
or interest in the said composition, or any port thereof; that he (they) have not entered into any contract with any person, firm or corporation whatsoever, affecting the said composition or any of his (their) right, title or interest therein;
and that he (they) have the full right and power to make, execute and deliver the present instrument and sale.
3. The PUBLISHER, its successors and assigns, shall hove the right to change the title of the said musical
composition in whole or in port, and shall hove the right to make any additions or changes whatsoever in the music
and lyrics thereof.
4. The failure of the PUBLISHER to print copies of said musical composition shall not be considered a
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5. In consideration of the terms and covenants of this agreement, the PUBLISHER agrees to pay the following royalties to the WRITER(S):
92 50
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each calendar half, for the said half, and each statement shell be accompanied by a remittance for the royalties due
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8. In the event that any claim is presented against the PUBLISHER which alleges that the said composition
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for the
details of the said claim. Until the determination of the said clam, the PUBLISHER may withhold oil monies which
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without prejudice to any of its rights in the case of an adverse subsequent adjudication. If, within the sold period or
one year, suit 4 instituted on the said claim, the PUBLISHER may withhold all monies due hereunder until the final
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9. The PUBLISHER shall have the sole right to institute any legal action in its own name for any infringement of the said composition. The legal action shall be prosecuted at its own expense, and in the event of any recovery, the PUBLISHER shall first deduct all its expenses in connection with the said action, and Fifty per cent
150%) of the balance shall be divided equally among the WRITER(S) of the said composition.
10. This agreement shall be binding upon the parties hereto and upon their successors and assigns. The
PUBLISHER shall have the right to assign any of its rights hereunder, without in any way affecting the right of the
WRITERISI to receive the royalties provided herein.
IN WITNESS
t-
1.)
50
LS
WRITER
Witness:
Address .
Witness:
WRITER
k rcv
we1wriiii . .:"..
per cent (
(d) A sum equal to
%) of oil net receipts of the PUBLISHER
from any licenses issued by it authorizing the manufacture of the parts of instruments serving to mechanically reproduce the said composition, from the use of the said composition in synchronization with sound motion pictures,
and from the reproduction of the said composition upon electrical transcriptions for broadcasting purposes.
50
Jipve hereunto set their hands and seals the day and year first set
SAVOY US
la) An advance of .
Dollars paid by the PUBLISHER to the WRITER(S), receipt of
which is hereby acknowledged, which advance shall be c educted from any payments which may hereafter become due
to the WRIT ER, S) under the terms of this agreement.
(51 As regards regular piano copies and orchestrations sold and paid for at wholesale in the United States, the
sow ie.
EREOF, the
forth.
per cent
...
of all net sums received by the PUB(e) A sum equal to
LISHER from the sale of regular piano copies and orchestrations actually sold and paid for in any foreign country.
In the event that the PUBLISHER shall itself sell p.ono copies and orchestrations in any foreign country, then
royalties for such copies shall be payable to the WRI TERISI in accordance with paragraph 5 (b) hereof.
If) No royalties shall be payable on any professional material, which is not sold by the PUBLISHER.
--
Address
WRITER
Address
L S
COMMENTS
Ah-Leu-Cha (Parker)
B Improvised
Blues (Bb)
Barbados (Parker)
Blues (F)
Blues (F)
Blues (Eb)
Buzzy (Parker)
Blues (Bb)
Cheryl (Parker)
Blues (C)
Constellation (Parker)
Indiana (Ab)
Ladybird (C)
No Theme
B Improvised
B Improvised
Original (C)
Klaunstance (Parker)
No Theme
KoKo (Parker)
Cherokee (Bb)
No Theme/Measures 9-24 of
Introduction improvised
Marmaduke (Parker)
B Improvised
Meandering (Parker)
No Theme
Milestones (Davis)
Original (Bb)
Blues (F)
Blues (Bb)
Perhaps (Parker)
Blues (C)
Original (Eb)
Blues (F)
Cherokee (Bb)
Blues (Bb)
No Theme
No Theme
B Improvised
B Improvised
No Theme
RED CROSS,
RED CROSS,
1,;
RED CROSS.
be
t A by
31.1,F,Irl CAS
Is:AR* so
0- -0
sate
2.2meser
rcwrt
Pu tiT*ht,
Theme (unison)
Introduction
unison
trumpet sax
unison
(composed) (improvised) (composed) incomplete Cherokee
88
E8
8
KOKO, Take 2 (fig. 5)
Introduction
unison
trumpet sax
unison
(composed) (improvised) (composed)
8
8
88
Solo (sax)
A A B A
A A B A
16
16
16
16
16
16
16
16
drums
32
Coda
unison
unison
trumpet ssax
(composed) (improvissed) (composed)
8
8 88
8
troduction and the first note of Parker's solo on take 2. The total
evidence suggests that Dizzy plays trumpet on the introduction
and coda of both takes and plays piano during most of Parker's
solo on take 2; Thornton plays piano only during the Cherokee
theme of take 1 and at the beginning of Parker's solo on take 2.
As for the title Koko, Teddy Reig claims responsibility. Reig
and Lubinsky were in the booth when the band began the last
scheduled side. Upon completion of the 32 measure introduction, Parker and Gillespie began playing Cherokee. Lubinsky, vaguely recognizing the melody and fearful of royalty
payment for a previously copyrighted work, shouted, "What's
that tune?" Reig, in order to placate him, quickly answered,
KoKo. Thus, in take 2, the original melody of Cherokee was deleted and the issued performance titled KoKo. The fact remains,
however, that no matter what Lubinsky's wallet may have dictated at WOR, there are also simple and practical musical explanations. Cherokee is an unusually long tune, 64 measures, rather
than the more customary 12, 16, or 32 measure framework. Had
Parker followed the normal practice of stating a theme (in this
case Cherokee) at both the beginning and the end of the piece,
preceded and followed by the new 32 measure introduction and
coda, there would have been no timethat is, clock time allowed
by one side of a 10-inch 78 rpm discto accommodate the two
improvised solo choruses by Parker that are the hallmark of the
piece.
One substantial mystery remains. The Library of Congress
Copyright Office Catalogue of Copyright Entries, Part III,
Group I, Unpublished Musical Compositions, 1946, page 897,
lists a composition by Parker titled Alesia. Although no recording of this title survives, this copyright claim was filed by Lubinsky on February 12, 1946, and appears in the same L C entry
with KoKo. Searches in the Savoy files have unearthed a lead
sheet titled Alesia with composer credit given to Parker. Moreover, a file sheet from the KoKo session reveals that the fourth
side (matrix 5853) was first titled Alesia, crossed out, and KoKo
entered. The lead sheet, however, bears no resemblance to any
of the recordings from the KoKo session and little resemblance
to Parker's style in general. Perhaps this puzzle leads to a Don
Byas date for Savoy which took place in New York on exactly the
same day. In fact, KoKo was issued with Byas's How High the
Moon (from his November 26, 1945 Savoy date) coupled on the
flip side.
We got $750 apiece for the night and the next morning Bird called
me and asked me to loan him plane fare to get to New York... So I
gave Bird the money to get to New York...I could never figure out
what he could do with the money...I don't think it's possible for him
to spend $750 for drugs, just drugs alone...He was amazing like
that. But that was Bird What can I tell ya.
1948or both. An undated letter in Parker's handwriting indicates the extent to which Bird and Lubinsky could co-operate
to their mutual advantage. The meaning and significance of the
document seem reasonably clear. Parker was persuaded to draft
the letter, referring to a fictitous 1945 agreement that gave Savoy
the right to record him until late 1948. The purpose was to provide Lubinsky some quasi-legal defense in the event that Russell
might take action against Savoy. In any case, 1947 was a great
year for Charlie Parker records. The Dial sessions produced
Dewey Square, Embraceable You, Klactoveedsedstene, Scrapple
From the Apple, Don't Blame Me, and Crazeology and the Savoy
dates the masterpieces in this collection.
After less than three weeks back in New York, Parker had
put together a band and arranged a recording session at the
Harry Smith studios. The personnel here, excepting Bud Powell
on piano, would make beautiful music for the next year and one
half. Bird prepared three of his finest and most sophisticated
compositionsChasin' the Bird Donna Lee (named for Curly
Russell's daughter), and Cheryl (named for Miles' daughter). His
fourth original, Buzzy (named for Lubinsky's son), is a simple,
but attractive riff blues. Yet this "back home" date is a distinct
disappointment.
The performances are generally rough and disturbingly
tense. Both Bird and Miles are plagued by consistent mechanical trouble or, less charitably, by sloppy execution. Cracked notes
and squeaks foul the solos and Parker's wonderful thematic material is assaulted by missed entries. In addition, there is an indecision about tempos, which vascilate between successive takes
of each title. With the exception of Ah-Leu-Cha, Bird would
never again attempt such challenging thematic material at a recording session. Unable to bring himself to hold rehearsals, Parker henceforth took the path of least resistance and relied on
relatively simple themes or pure improvisations.
First up is Donna Lee, Bird's new line for the Back Home
Again in Indiana changes. Throughout the four complete takes
(numbers 2-5) Bird's tone is uncomfortably strident and the Parker theme never does get satisfactorily pulled together. Takes 3
and 4 offer ample evidence that even the giants are human and,
thus, fallible. Bud misses a couple of chords in the abbreviated
reprise of the theme. Bird's solos contain a number of bad fluffs,
his line is occasionally halting, as if he were groping for ideas,
and, quite uncharacteristically, are loaded with clich-like licks
used as filler material. Take 2, however, is a reasonably solid performance with excellent drum work from Max.
Chasin' the Bird is a rare example (Ah-Leu-Cha being the
only other) of a contrapuntal Parker theme, and it is a significant
departure front the bebop norm of saxophone-trumpet unison
or octave statements of theme melodies. Based on the I Got
Rhythm chords, Chasin' is a thirty-two measure AABA structure
with the B section melody improvised. The opening of the A
phrase is given in figure 13.
Cheryl is one of Parker's greatest lines and the classic example of a distinct variety of his blues composing. As opposed to
Buzzy, which has a simple, phrase-by-phrase, repetitive riff
structure, or to Billie's Bounce, which repeats only a very short,
three-note figure, Cheryl avoids any hint of melodic repetition.
(fig. 14)
The only complete take of Cheryl features a wonderfully
driving, percussive solo from Bud and a good, if somewhat sluggishly-phrased presentation by Bird. Miles is very boppish, offering liberal doses of flatted fifths and chromatic chord
substitutions.
Buzzy, taken through five takes, is distinguished mainly by
Bud Powell's superior solo playing. One senses that Miles was
never entirely comfortable with the mainstream bop idiom and
debut performance, with fine solos by Miles (exercising his perogative as first soloist), a precise, but relaxed group feel, and a
very nice, loose half chorus by Bird. The two complete takes
each of Little Willie Leaps and Sippin' at Bell's are taken at
brighter tempos and Parker's solos appear first in line. Bird's
tenor workif one can judge by these recordings and his only
other tenor date, an appearance on another Davis session for
Prestige in 1953is rooted in his alto style, but is leaner, less ag-
gressive, and generally less concerned with virtuosity. His relative inexperience with the larger horn would seem to account for
the smaller, less focused sound and the occasionally flat
intonation.
Miles' other original, Half Nelson (named for Nelson Boyd),
is actually half original, the chords borrowed from Tadd Dameron's Lady Bird Although Lady Bird itself would not be recorded until 1948, this piece, as well as at least two other well
known Dameron compositions, Good Bait and Stay on It, originated in the early forties when Tadd was working with his
brother in their home town of Cleveland. Here, as elsewhere on
this date, John Lewis' fluid, legato piano is a joy.
The touring quintet of Parker, Davis, Jordan, Potter, and
Roach played the jazz club circuit in later 1947New York, Baltimore, Washington, Boston, Philadelphia, Chicago, Milwaukee,
St. Louis, etc. The band had just completed the third and final
Dial session in New York on December 17 and were now in Detroit where a Savoy date was arranged at the United Sound studios on the 21st. Perhaps the experience of working together for
several months accounts for the high level of rapport and cohesion on this date or, maybe, everyone just felt good. In any event,
this is top drawer Charlie Parker: beautiful tone, razor sharp execution, and flowing ideas.
The thematic material is held to a bare minimum. The first
two titles are riff blues and the last two are pure improvisations
and a relatively uninspired take 3 follow. The final and originally-issued master is a more driving performance, again with
good solos all around.
Ah Leu Cha is Bird's only other contrapuntal composition.
As with Chasin' the Bird, the I Got Rhythm chords in the key of F
provide the harmonic scheme and the theme's B section melody
is improvised. The first take is cut short by Parker with a loud
"Hold it!" at the B of the opening theme. The second version
offers a polished rendition of the A phrase theme and an exquisite B line from Bird. Note here a couple of prime features of
Parker's rhythmic style: the frequent fragmentation of the line
into short figures separated by silences, the discontinuous (as
Andre Hodeir has termed it) succession of phrases of irregular
length, and the continually varied subdivision of the beatas in
the very last measure where, although Parker's line avoids any
syncopation and the notes fall on the beat, the quarter note
pulse (J) is successively divided into three parts vt),
two parts c
four parts (LT) and left undivided (J).
The piece also has a somewhat more adventuresome plan of
solo routines than the chorus-by-chorus norm for most of
Parker's recordings:
-
m,
The plan is changed in take 2 and now the second half of the A
phrase is improvised, first by Parker and then by Miles on the
first repeat. This is followed by Bird's improvised B section. In
the last eight measures, however, rather than repeating the fourmeasure riff figure/four-measure improvisation procedure of
the first eight measures, Bird simply improvises the entire
phrase and moves on to the second, entirely improvised
"Bird was kind of like the sun, giving off the energy we drew
from him. We're still drawing on it. His glass was overflowing. In
any musical situation, his ideas just bounded out, and this inspired
anyone who was around...Bird contributed more and received less
than anybody"
James Patrick
BP:
TR:
BP:
TR:
BP:
TR:
BP:
TR:
BP:
TR:
BP:
TR:
BP:
TR:
the Concertina de Camera for Saxophone And Orchestra and Bird got every one.
BP: Where did the title Barbados come from?
TR: I had a friend in Brooklyn named Otto Wilkinson. Otto's
family had a print shop and he had a little record section
in the front. I used the place to get phone messages. I'd
meet with musicians there. See I didn't go out to Savoy
because it was impossible to be around Herman. My
whole thing was based on letting the musicians do their
own thingto play the music they wanted. Herman was
always after the buck. If Boogie Woogie was selling he'd
want everybody to record Boogie. I couldn't work like
that so I stayed away. If Herman was here today I think
he'd admit that it worked. At any rate, Otto was from the
islands and that whole Brooklyn scene had a lot of West
Indian flavor. So Barbados was for Otto and that whole
thing.
BP: Bird clearly asserts himself on the breakdowns from this
session.
TR: Like I said, Bird was in complete charge. In a sense he
made it easier for me because I could concentrate on
other things.
BP: Was Constellation named for the airplane?
TR: Yeah, this was another fast tune and, at the time, the
Constellation was the fastest thing out there. This is another example of where you should really play these
things at a slower speed in order to hear all the ideas.
This is also a good example of what Miles is all about.
Hear how he plays fast without playing loud. That calls
for tremendous control. Hear Max? He'd just breathe
with Charlie.
BP: Would you comment on Parker's Mood?
TR: I loved to hear Bird play in this groove. I still get choked
up listening to thisthe way the man expressed himself!
Now, for me, there were only two guys who could play
the blues on alto: Charlie Parker and Eddie Vinson.
Now Eddie Vinson was a blues specialist and he'd play
the blues in the good old way. But Bird! He'd take the
blues and play yesterday, today and tomorrow!
BP: That first take was so good I'm surprised you did
another.
TR: Who was I to dispute Charlie Parker? You should be
happy there are so many takes because it gives you more
Bird to listen to. I don't think we'll ever hear enough.
BP: Next up is Perhaps.
TR: Hear how Bird floats out of the ensemble! Fantastic!
BP: Is Bird having horn trouble again?
TR: Maybe, I don't recall. But the thing to remember is that
Bird listened to everybody and he'd wait for them to
catch up. Most of these things were headsno arrangers,
no conductors, no batons. Bird conducted with eyeballs!
Listening to this session you can hear how there was a
serious side and a playful side to Bird. Everything comes
out in his playing! Sometimes he'd get into nursery
rhymes. Another thing is his vocabulary. He'll drop into
an older groove for three or four bars and then leap right
into the modem. Like shifting gears.
Bird was very businesslike with his music. He never
prodded his musicians to get what he wanted but he was
firm in that he kept going until he got it right. Then he'd
turn to Miles-like a father to his sonand say "that was
pretty good." I can see him with the big suspenders and
the sweat pouring off him.
BP: Marmaduke. How was that named?
TR:
BP:
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BP:
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BP:
TR: