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I was wondering if anyone knows of slower Charlie Parker solo's that I can wrap my ears around and transcribe, without the use of a program to slow down the music. I have a lot of live recordings but the quality is a bit fuzzy, I'd like to get something clear. Thank you.
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03-15-2012 12:44 PM
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Parker like fast tempos...
I have to cheque his discography.
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Lover Man. My Old Flame. Embraceable You. Body and Soul. ATTYA. (Plenty more if you check his discog...)
Originally Posted by mikeph
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Check out this one:
I must say it's perhaps the 1st time I really truly dig Parker. Fast paced bop just isn't my thing.
Ah BTW does anyone know which recording this particular version is from? I've been digging around and it seems that he recorded that tune many time but none of the versions are as nice as this one...
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If Parker wanted to play slower solos, he wouldn't have loaded his coffee with meth.
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It sounds like Miles on trumpet so around 1948 would be a starting point .All my old Parker records are long gone so I can't help further.
Alan
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I can´t see no shame in slowing down the recording, but knock yourself out in the search for slower piecies
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There was a Warner Brothers 2 album set released in the 70's (I think) called "The Very Best Of Bird" that I used to have on double length cassette (hahaha)... Not the exact same version of ATTYA you posted, but very similar to what was on it....sounds like same session, different take??? Also, I think it's called "Bird Of Paradise" on the record. I've been looking for this particular WB release for a long time, but with no luck. Originally Posted by aniss1001
The Very Best of Bird - Charlie Parker | AllMusic
There is a version Bird Of Paradise on "The Complete Savoy & Dial Master Takes". This is the version I remember on the WB release. Anyhow that can be bought at Itunes....
iTunes - Music - The Complete Savoy & Dial Master Takes by Charlie Parker
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make your own arrangement of any of his 900mph tunes..
play one at a medium up tempo or medium up swing...
we know it will sound different but you may just like the results...
I play "My Funny Valentine" at a medium up tempo..not cut time..but augment the times values ....the bass and drum plays twice as fast as I do..different but it's my arrangement...
time on the instrument...pierre
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This version was recorded by the Charlie Parker Quintet in NYC on Oct 28, 1947. Miles Davis, Max Roach, Duke Jordan and Tommy Potter were the members of his working band at that time. Originally Posted by aniss1001
It is titled "Bird of Paradise" on Dial recording D1105-A and currently available on The Complete Dial Recordings-Vol 7.
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It is likely on many compilations. It was recorded for Savoy recordings in 1947 or 1948 with Miles Davis (tp), Duke Jordan (p), Tommy Potter (b) and Max Roach (dr) (Birds regular combo at the time). Originally Posted by aniss1001
Another version is the one from the Massey Hall concert i Toronto in 1953 with Dizzy Gillespie, Billy Taylor (p) - on this one tune, Charles Mingus (b) and again Max Roach (dr). On the other tracks from this concert Bud Powell was on piano, but he had been drinking heavily during the concert and was eventually replaced by Billy Taylor who was brought as a stand in just in case.
The Massey Hall concert was recorded by Charles Mingus who later overdubbed his own bass part when back home. He also released the tracks without asking or paying the other musicians, which caused some ill feelings from them. The concert was badly timed. At the same time there was a champion heavyweigth fight between Rocky Marciano and Jersey Joe Walcott, so not too many people showed up. Gillespie disappeared in the wings ever so often during the other musicians solos to hear news about the fight on the radio. The whole arrangement was underfinanced and only Parker got his money because he was smart enough to cash his cheque immediately in a shop across the street from the concert hall. Despite all this, the music was great, and it became one of those classic records. BTW, at this concert Charlie Parker played a white Grafton plastic alto saxophone which was given to him by the Grafton company in a promotion effort (the same brand Ornette Coleman used later).Last edited by oldane; 03-19-2012 at 04:10 PM.
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No big deal but it was recorded for Dial
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I didn´t wanted to open a new thread, but maybe, one should:
I guess, he would have performed much more slow, smooth (cool?)
music, if he wouldn´t have been high all the time.
I mean, you can hear the influence very well, by the driven character of
most of his performances.
As an example:
The high-sound (and in total `hectic`) character of lot´s of the 80`s Synthiepop Samples
is based on the Cocaine consumation in the Studios.
I don´t mean the countertenor singing of BeeGees (and others), but the dish-dish-impression of lots of
pieces in those days...Ok, the speedy synthie character back then was also a zeitgeist, or trend in the musical history but:
In General, it is a tabu, to talk about the influence of Doping in Art, cze the substances are simply illegal.
But isn´t it strange, that we tolerate, or even, applausing to Artist´s, when their drug consumation empowers
them to genius-like, soaring flights of intellect, meanwhile in other parts of society, like in Sport´s (Doping) or simple partying (Drug-abuse)
we condamn them?Last edited by jazzpartacus; 03-09-2014 at 09:02 AM.
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Sarcasm deflectors and troll filters up and fully functional, captain. Should we unleash the fumblefingers death ray?
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I've had a few friends who struggled with heroin, and from their experience it seems horse slooooowwwwwws everything down.
So it's possible Parker had no idea how fast he was playing.
And a monkey might fly out of my butt.
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"Parker's Mood" is a slower tune, a nice blues.
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I was going to suggest this too, but Mark beat me to the punch. Great, great solo. Shows how he took simple, almost hackneyed stuff and made it sound fresh and exciting. Originally Posted by MarkRhodes
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Originally Posted by MattC
Yeah, Matt, I love his playing here. But although the tempo is slow, a great slow blues solo is actually harder to get right than many faster solos because the rhythms of the phrases vary so much. That's what makes a great slow-blues solo so good.
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Shortly after his release in 1947 from Camarillo, Parker did a session for Dial with a young Erroll Garner on piano. With him he brought singer Earl Coleman (an Eckstine clone) and insisted recording with him. Thus the session - besides the famous "Cool Blues" and "Birds Nest" - produced the lesser known vocals "Dark Shadows" and "This is Always". For all I know, the link below is the original published take of "Dark Shadows", which is basically a blues. Other takes were made, and actually I like better the alternative take which was on the Saga Charlie Parker compilation LP series from the late 1960s, which is a little slower and where Parker plays more earthy and bluesy - and manages to blow a strong, cool and fresh wind with his beautiful solo after Colemans opulent singing. Regrettably I haven't been able to find that take anywhere other than on my old LP vinyl. Ross Russell of Dial was not at all keen on having a crooner on a Parker date and tried to talk Parker out of it, but Parker insisted. Whatever, the two vocal tracks proved to sell well and was played frequently on the Wurlitzer jukeboxes in the bars of the afroamerican cummunities in US back in the day. Thus Parker, who was quoted saying "bread is your only friend", was pleased with those records. Ross Russell never came to love them.
Last edited by oldane; 03-09-2014 at 10:58 AM.
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This is from Parkers first session in his own name in 1945. Three pianists have been said to be present at this session: Bud Powell, Argonne Thornton and Dizzy Gillespie (who could also play piano). It has to this day been debated who played piano on which titles. In another title from the same session, "Koko", it os believed that Gillespie played trumpet in the head and then quickly sat down at the piano for the rest of the number. Some doubt if Bud Powell did actually play on any of the numbers (and for that matter if he was present at all), and many believe it was Argonne Thornton (except on Koko) who played the piano. One can indeed hear decending runs which are typical for Thornton on "Thriving from a Riff". It has also been debated who played trumpet on which number. The trumpet playing on "Billies Bounce" is to insecure and with to many goofs and cracks to be Gillespie. And the trumpet playing on say "Thriving on a Riff" is better than Miles would have managed at this early point in his career. But still, the final answers blows in the wind. As often with Parkers recording sessions, this one was poorly prepared, unrehearsed and fairly chaotic. Adding to the confusion was that Parker had problems with a leaking pad on his horn causing reed squeaks and he temporaraly left the session by taxi to go to Mannys music store for a speed repair.
Last edited by oldane; 03-09-2014 at 12:53 PM.
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The first 8-bar A section of My Little Suede Shoes, then maybe the next 4 bars of the next A.
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I've slowed down and cleaned up Charlie Parker's YardBird Suite Solo, it's a great solo to learn from.
Track here:
Last edited by GuyBoden; 09-19-2025 at 12:36 PM.
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Whoa 11 year old zombie thread.
Try this blues.....
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Yes, Bird usually slowed down when he played the blues, this was the first Parker solo I transcribed:
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