![]() ![]() Tonally, Bird and Miles seem unsure, depending on a stereotyped phrases with no particular creativity.īand #4 "WARMING UP A RIFF" Orig. In these three takes, neither Miles nor Parker get beyond the eighth-note in the rhythmic strata. Some feel that the ideas are not typical Miles although I do not agree with this. The tone certainly approaches the ludicrous. This take contains the trumpet solo this some feel is a put-on by Dizzy. A squeak ends the take.īand #3 "BILLIE'S BOUNCE" New Take #3 - 3:05 This is a short take with a few better moments in Bird's solo. ![]() Chord chart based on traditional blues in F.īand #2 "BILLIE'S BOUNCE" Shod Take #2 - 1:20Īnother Bud intro. The solos of both are undistinguished Bird is having trouble with his horn. This was the first take of the session and neither Parker nor Miles were warmed up. The bar-line acting as a lonely sentinel warning "chord change ahead," "end of the section", "approaching release" now only remained a form of musical punctuation for the listener.īand #1 "BILLIE'S BOUNCE" New Take #1 - 2:20 The rigidity of the swing line first threatened by Roy Eldridge, Lester Young and Tatum was completely demolished by Parker. His main attack was directed at the bar - line. His basic relationship to the material evolved from the primal source of all music - time. This touches at the roots of Parker's music. A lesser artist would have enmeshed himself in a more complicated structure, which would have eventually destroyed the emerging conception of modern jazz. It was by using a simple form such as the blues that Parker was able to deal with problems of line that constituted his major achievement. It is significant that Parker constantly returned to the blues as a wellspring of expression ("Billie's Bounce" and "Now's the Time"). This session was a significant document of the early progressive movement for several reasons.įirst, the formal: a small flexible group (three rhythm, two front line) following the utmost lineal freedom with none of the older "section" feeling second, the material the "blowing of a line" on an old set of changes - The archetype of practically all of Parker's works. The personnel on the date was as follows: Parker - alto saxophone, Miles Davis - trumpet, Bud Powell - piano, Curley Russell - bass, Max Roach - drums. This record represents the complete chronology of Charlie Parker's most famous record session, recorded 11-26-45, 2:00-5:00 P.M. ![]()
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