The rest of the material tends to be uneven. Parker plays pale tenor saxophone on several tracks, and his accompanists, who generally include Miles Davis, John Lewis or Duke Jordan, a variety of bassists, and Max Roach, are sometimes leagues behind. But, by and large, Parker is fresh and searching, and the album serves as a singular reminder that Parker, who died at the age of thirty-four, in , was one of the wonders of twentieth-century music. Like his spiritual brother Dylan Thomas, who died a year or so earlier, Parker was labyrinthine. He was a tragic figure who helplessly consumed himself, and at the same time he was a demon who presided gleefully over the wreckage of his life. He was an original and fertile musician who had reached the edge of self-parody. He was an irresistibly attractive man who bit almost every hand that fed him. He lived outside convention he probably never voted or paid an income tax , yet, though totally apolitical, he presaged, in his drives and fierce independence, the coming of Malcolm X and Eldridge Cleaver.
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Charlie Parker , byname of Charles Parker, Jr. Parker was the principal stimulus of the modern jazz idiom known as bebop , and—together with Louis Armstrong and Ornette Coleman —he was one of the three great revolutionary geniuses in jazz. Parker grew up in Kansas City, Missouri, during the great years of Kansas City jazz and began playing alto saxophone when he was At 14 he quit school and began performing with youth bands, and at 16 he was married—the first of his four marriages. The most significant of his early stylistic influences were tenor saxophone innovator Lester Young and the advanced swing-era alto saxophonist Buster Smith, in whose band Parker played in Two years later Parker experienced a personal stylistic breakthrough during a jam session in New York City.
Jimmy Webb And The Great Americana Songbook
Please refresh the page and retry. Miles Davis was almost always in tune. Yet one of the truest notes ever struck by the genius who spent a glorious half-century redefining what could be wrought from the trumpet was not a tumbling cascade of melody but a simple sentence. Charlie Parker. The icon whose own Kind Of Blue ranks as one of the finest recorded statements of the 20th or, indeed, any century may have been underplaying his own place on the cultural pantheon, but his statement still rings with authority. And it has echoed loudly this week. It could never be argued that Armstrong — gregarious, upbeat and charismatic — has been forgotten. Nor, it must be stressed, has Parker. But the latter, a far more troubled and complex character than the great Satchmo, can be a little harder to pin down.
Charlie Parker was one of the most important figures in the development of jazz and in particular Bop. His was a thoughtful kind of jazz, a saxophonist unrestricted by arrangements made him the master of improvisation. A troubled man, with drugs and drink at the heart of his problems, he was also a genius. He is the man of which it can be said, without fear of contradiction, that he changed the course of jazz history. Charles Parker Jr hailed from the jazz well that was Kansas City. Born on 29 August , to a teenage mother, his father had once worked in a travelling minstrel show, who by all accounts he had a decent childhood, given that his father was more interested in gambling than parenting.