Charlie Parker

For other people named Charles Parker, see Charles Parker (disambiguation).
Charlie Parker

Parker with Tommy Potter, Max Roach and Miles Davis at Three Deuces, New York
Background information
Birth name Charles Parker, Jr.
Also known as Bird, Yardbird
Born (1920-08-29)August 29, 1920
Kansas City, Kansas, U.S.
Died March 12, 1955(1955-03-12) (aged 34)
New York City
Genres Jazz, bebop
Occupation(s) Musician, composer
Instruments Alto saxophone, tenor saxophone
Years active 1937–55
Labels Savoy, Dial, Verve, Mercury; UK: Esquire, Vogue, EMI Columbia
Associated acts Dizzy Gillespie, Max Roach, Miles Davis
Website cmgww.com/music/parker/
Notable instruments
Buescher, Conn, King and Grafton alto saxophones

Charles "Charlie" Parker, Jr. (August 29, 1920 – March 12, 1955), also known as "Yardbird" and "Bird", was an American jazz saxophonist and composer.[1]

Parker was a highly influential jazz soloist and a leading figure in the development of bebop,[2] a form of jazz characterized by fast tempos, virtuosic technique and advanced harmonies. Parker was a blazingly fast virtuoso, and he introduced revolutionary harmonic ideas including rapid passing chords, new variants of altered chords, and chord substitutions. His tone ranged from clean and penetrating to sweet and somber. Parker acquired the nickname "Yardbird" early in his career.[3] This, and the shortened form "Bird", continued to be used for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology", "Bird Gets the Worm", and "Bird of Paradise". Parker was an icon for the hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual rather than just an entertainer.[4]

Childhood

Charles Parker, Jr. was born in Kansas City, Kansas, and raised in Kansas City, Missouri, the only child of Adelaide "Addie" (Bailey) and Charles Parker.[5] He attended Lincoln High School[6] in September 1934, but withdrew in December 1935, just before joining the local musicians' union.

Parker began playing the saxophone at age 11, and at age 14 he joined his school's band using a rented school instrument. His father, Charles, was often absent but provided some musical influence; he was a pianist, dancer and singer on the T.O.B.A. circuit. He later became a Pullman waiter or chef on the railways. Parker's mother Addie worked nights at the local Western Union office. His biggest influence at that time was a young trombone player who taught him the basics of improvisation.

Career

Early career

In the late 1930s Parker began to practice diligently. During this period he mastered improvisation and developed some of the ideas that led to bebop. In an interview with Paul Desmond, he said that he spent three to four years practicing up to 15 hours a day.[7]

Bands led by Count Basie and Bennie Moten certainly influenced Parker. He played with local bands in jazz clubs around Kansas City, Missouri, where he perfected his technique, with the assistance of Buster Smith, whose dynamic transitions to double and triple time influenced Parker's developing style.

In 1937, Parker played at a jam session at the Reno Club in Kansas City. His attempt to improvise failed when he lost the tune. This prompted Jo Jones, the drummer for Count Basie's Orchestra, to contemptuously throw a cymbal at his feet as a signal to leave the stage. However, rather than discouraging Parker, the incident caused him to vow to practice harder, and turned out to be a seminal moment in the young musician's career when he returned as a new man a year later.[8]

In 1938 Parker joined pianist Jay McShann's territory band.[9] The band toured nightclubs and other venues of the southwest, as well as Chicago and New York City.[10][11] Parker made his professional recording debut with McShann's band.

As a teenager, Parker developed a morphine addiction while hospitalized after an automobile accident, and subsequently became addicted to heroin. He continued using heroin throughout his life, and it ultimately contributed to his death.

New York City

In 1939 Parker moved to New York City, to pursue a career in music. He held several other jobs as well. He worked for nine dollars a week as a dishwasher at Jimmie's Chicken Shack, where pianist Art Tatum performed.[12]

In 1942 Parker left McShann's band and played for one year with Earl Hines, whose band included Dizzy Gillespie, who later played with Parker as a duo. Unfortunately, this period is virtually undocumented, due to the strike of 1942–1943 by the American Federation of Musicians, during which time few professional recordings were made. Parker joined a group of young musicians, and played in after-hours clubs in Harlem, such as Clark Monroe's Uptown House and Minton's Playhouse. These young iconoclasts included Gillespie, pianist Thelonious Monk, guitarist Charlie Christian, and drummer Kenny Clarke. The beboppers' attitude was summed up in a famous quotation attributed to Monk by Mary Lou Williams: "We wanted a music that they couldn't play"[13] – "they" referring to white bandleaders who had usurped and profited from swing music. The group played in venues on 52nd Street, including Three Deuces and the Onyx. While in New York City, Parker studied with his music teacher, Maury Deutsch.

Bebop

Parker with (from left to right) Tommy Potter, Max Roach, Miles Davis, and Duke Jordan, at the Three Deuces, New York, circa 1945

According to an interview Parker gave in the 1950s, one night in 1939 he was playing "Cherokee" in a jam session with guitarist William "Biddy" Fleet when he hit upon a method for developing his solos that enabled one of his main musical innovations. He realized that the 12 semitones of the chromatic scale can lead melodically to any key, breaking some of the confines of simpler jazz soloing.

Early in its development, this new type of jazz was rejected by many of the established, traditional jazz musicians who disdained their younger counterparts. The beboppers responded by calling these traditionalists "moldy figs". However, some musicians, such as Coleman Hawkins and Tatum, were more positive about its development, and participated in jam sessions and recording dates in the new approach with its adherents.

Because of the two-year Musicians' Union ban of all commercial recordings from 1942 to 1944, much of bebop's early development was not captured for posterity. As a result, it gained limited radio exposure. Bebop musicians had a difficult time gaining widespread recognition. It was not until 1945, when the recording ban was lifted, that Parker's collaborations with Dizzy Gillespie, Max Roach, Bud Powell and others had a substantial effect on the jazz world. (One of their first small-group performances together was rediscovered and issued in 2005: a concert in New York's Town Hall on June 22, 1945.) Bebop soon gained wider appeal among musicians and fans alike.

On November 26, 1945, Parker led a record date for the Savoy label, marketed as the "greatest Jazz session ever." Recording as Charlie Parker's Reboppers, Parker enlisted such sidemen as Gillespie and Miles Davis on trumpet, Curly Russell on bass and Roach on drums. The tracks recorded during this session include "Ko-Ko", "Billie's Bounce" and "Now's the Time".

Shortly afterward, the Parker/Gillespie band traveled to an unsuccessful engagement at Billy Berg's club in Los Angeles. Most of the group returned to New York, but Parker remained in California, cashing in his return ticket to buy heroin. He experienced great hardship in California, eventually being committed to Camarillo State Mental Hospital for a six-month period.

Charlie Parker with Strings

A longstanding desire of Parker's was to perform with a string section. He was a keen student of classical music, and contemporaries reported he was most interested in the music and formal innovations of Igor Stravinsky and longed to engage in a project akin to what later became known as Third Stream, a new kind of music, incorporating both jazz and classical elements as opposed to merely incorporating a string section into performance of jazz standards. On November 30, 1949, Norman Granz arranged for Parker to record an album of ballads with a mixed group of jazz and chamber orchestra musicians.[14] Six master takes from this session comprised the album Charlie Parker with Strings: "Just Friends", "Everything Happens to Me", "April in Paris", "Summertime", "I Didn't Know What Time It Was", and "If I Should Lose You".

Jazz at Massey Hall

In 1953, Parker performed at Massey Hall in Toronto, Canada, joined by Gillespie, Mingus, Powell and Roach. Unfortunately, the concert happened at the same time as a televised heavyweight boxing match between Rocky Marciano and Jersey Joe Walcott, so the musical event was poorly attended. Mingus recorded the concert, resulting in the album Jazz at Massey Hall. At this concert, Parker played a plastic Grafton saxophone. At this point in his career he was experimenting with new sounds and materials. Parker himself explained the purpose of the plastic saxophone in a May 9, 1953 broadcast from Birdland and did so again in a subsequent May 1953 broadcast. Parker is known to have played several saxophones, including the Conn 6M, the Martin Handicraft and Selmer Model 22. He is also known to have performed with a King "Super 20" saxophone. Parker's King Super 20 saxophone was made specially for him in 1947.

Personal life

Addiction

Parker's addiction to heroin caused him to miss performances and be considered unemployable. He frequently resorted to busking, receiving loans from fellow musicians and admirers, and pawning his saxophones for drug money. Heroin use was rampant in the jazz scene, and users could acquire it with little difficulty.

Although he produced many brilliant recordings during this period, Parker's behavior became increasingly erratic. Heroin was difficult to obtain once he moved to California, where the drug was less abundant, so he used alcohol as a substitute. A recording for the Dial label from July 29, 1946, provides evidence of his condition. Before this session, Parker drank a quart of whiskey. According to the liner notes of Charlie Parker on Dial Volume 1, Parker missed most of the first two bars of his first chorus on the track, "Max Making Wax". When he finally did come in, he swayed wildly and once spun all the way around, away from his microphone. On the next tune, "Lover Man", producer Ross Russell physically supported Parker. On "Bebop" (the final track Parker recorded that evening) he begins a solo with a solid first eight bars; on his second eight bars, however, he begins to struggle, and a desperate Howard McGhee, the trumpeter on this session, shouts, "Blow!" at him. Charles Mingus considered this version of "Lover Man" to be among Parker's greatest recordings, despite its flaws.[15] Nevertheless, Parker hated the recording and never forgave Ross Russell for releasing it. He re-recorded the tune in 1951 for Verve.

When Parker received his discharge from the hospital, he was clean and healthy. Before leaving California, he recorded "Relaxin' at Camarillo" in reference to his hospital stay. He returned to New York, resumed his addiction to heroin and recorded dozens of sides for the Savoy and Dial labels, which remain some of the high points of his recorded output. Many of these were with his so-called "classic quintet" including Davis and Roach.

Death

Parker's grave at Lincoln Cemetery

Parker died on March 12, 1955, in the suite of his friend and patroness Baroness Pannonica de Koenigswarter at the Stanhope Hotel in New York City, while watching The Dorsey Brothers' Stage Show on television. The official causes of death were lobar pneumonia and a bleeding ulcer, but Parker also had an advanced case of cirrhosis and had suffered a heart attack. The coroner who performed his autopsy mistakenly estimated Parker's 34-year-old body to be between 50 and 60 years of age.[16]

Since 1950, Parker had been living with Chan Berg, the mother of his son Baird (who lived until 2014)[17] and his daughter Pree (who died as an infant of cystic fibrosis). He considered Chan his wife although he never married her, nor did he divorce his previous wife, Doris, whom he had married in 1948. His marital status complicated the settling of Parker's estate and would ultimately serve to frustrate his wish to be quietly interred in New York City.

Parker wished never to return to Kansas City, even in death. He had told Chan that he wanted to be buried in New York, the city he considered his home. Dizzy Gillespie paid for the funeral arrangements[18] and organized a lying-in-state, a Harlem procession officiated by Congressman and Reverend Adam Clayton Powell, Jr., as well as a memorial concert. Parker's body was flown back to Missouri, in accordance with his mother's wishes. Parker's widow criticized the dead man's family for giving him a Christian funeral even though they knew he was a confirmed atheist.[19] Parker was buried at Lincoln Cemetery in Missouri, in a hamlet known as Blue Summit, located close to I-435 and East Truman Road.

Parker's estate is managed by CMG Worldwide.

Music

Parker's style of composition involved interpolation of original melodies over existing jazz forms and standards, a practice known as contrafact and still common in jazz today. Examples include "Ornithology" (which borrows the chord progression of jazz standard "How High the Moon"), and "Yardbird Suite", the vocal version of which is called "What Price Love", with lyrics by Parker. The practice was not uncommon prior to bebop, but it became a signature of the movement as artists began to move away from arranging popular standards and toward composing their own material.

While tunes such as "Now's The Time", "Billie's Bounce", "Au Privave", "Barbados", "Relaxin' at Camarillo", "Bloomdido", and "Cool Blues" were based on conventional 12-bar blues changes, Parker also created a unique version of the 12-bar blues for tunes such as "Blues for Alice", "Laird Baird", and "Si Si." These unique chords are known popularly as "Bird Changes". Like his solos, some of his compositions are characterized by long, complex melodic lines and a minimum of repetition although he did employ the use of repetition in some tunes, most notably "Now's The Time".

Parker contributed greatly to the modern jazz solo, one in which triplets and pick-up notes were used in unorthodox ways to lead into chord tones, affording the soloist with more freedom to use passing tones, which soloists previously avoided. Parker was admired for his unique style of phrasing and innovative use of rhythm. Via his recordings and the popularity of the posthumously published Charlie Parker Omnibook, Parker's identifiable style dominated jazz for many years to come.

Other well-known Parker compositions include "Ah-Leu-Cha", "Anthropology", co-written with Gillespie, "Bird Gets the Worm", "Cheryl", "Confirmation", "Constellation", "Donna Lee", "Moose the Mooche", and "Scrapple from the Apple".

Miles Davis once said, "You can tell the history of jazz in four words: Louis Armstrong. Charlie Parker."[20]

Discography

Awards and recognitions

"Bird Lives" sculpture by Robert Graham in Kansas City, Missouri

Grammy Award

Charlie Parker Grammy Award history[21]
Year Category Title Genre Label Result
1974 Best Performance by a Soloist First Recordings! Jazz Onyx Winner

Grammy Hall of Fame

Recordings of Charlie Parker were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."

Charlie Parker: Grammy Hall of Fame Awards[22]
Year recorded Title Genre Label Year inducted
1945 "Billie's Bounce" Jazz (Single) Savoy 2002
1953 Jazz at Massey Hall Jazz (Album) Debut 1995
1946 "Ornithology" Jazz (Single) Dial 1989
1950 Charlie Parker with Strings Jazz (Album) Mercury 1988

Inductions

Year inducted Title
2004 Jazz at Lincoln Center: Nesuhi Ertegun Jazz Hall of Fame
1984 Grammy Lifetime Achievement Award
1979 Big Band and Jazz Hall of Fame

Government honors

In 1995, the U.S. Postal Service issued a 32-cent commemorative postage stamp in Parker's honor.[23]

In 2002, the Library of Congress honored his recording "Ko-Ko" (1945) by adding it to the National Recording Registry.

Musical tributes

Charlie Parker Residence

151 Avenue B in 2011
Location 151 Avenue B
Manhattan, New York City
Coordinates 40°43′36″N 73°58′50″W / 40.72667°N 73.98056°W / 40.72667; -73.98056
Built circa 1849
Architectural style Gothic Revival
NRHP Reference # 94000262
Significant dates
Added to NRHP April 7, 1994[24]
Designated NRHP April 7, 1994
Designated NYCL May 18, 1999[25]

Charlie Parker Residence

From 1950 to 1954, Parker and his common-law wife, Chan Berg, lived in the ground floor of the townhouse at 151 Avenue B, across from Tompkins Square Park in Manhattan's East Village. The Gothic Revival building, which was built about 1849,[28] was added to the National Register of Historic Places in 1994,[29] and was designated a New York City landmark in 1999. Avenue B between East 7th and East 10th Streets was given the honorary designation Charlie Parker Place in 1992.

Other tributes

Notes

  1. ↑ "Charlie Parker Biography – Facts, Birthday, Life Story". Biography.com. Retrieved February 17, 2014.
  2. ↑ "Charlie Parker". The New Grove Dictionary of Jazz. Retrieved April 23, 2012.
  3. ↑ "Yardbird". Birdlives.co.uk. Retrieved December 19, 2013.
  4. ↑ The 1959 Beat parody album How to Speak Hip lists the three top most "uncool" actions (both in the audio and in the liner notes) as follows: "It is uncool to claim that you used to room with Bird. It is uncool to claim that you have Bird's axe. It is even less cool to ask 'Who is Bird?'"
  5. ↑ Dictionary of World Biography: The 20th century, O-Z by Frank Northen Magill
  6. ↑ Woideck, Carl (October 1998). Charlie Parker: His Music and Life. Michigan American Music Series. University of Michigan Press. p. 4. ISBN 978-0-472-08555-2. In Lincoln High School he was the pride of his teachers...
  7. ↑ "Paul Desmond interviews Charlie Parker". puredesmond.ca. Retrieved March 1, 2011.
  8. ↑ The Guardian, June 16, 2011
  9. ↑ Woideck, Carl (October 1998). Charlie Parker: His Music and Life. Michigan American Music Series. University of Michigan Press. p. 18. ISBN 978-0-472-08555-2.
  10. ↑ "pbs.org". pbs.org. Retrieved March 10, 2011.
  11. ↑ amb.cult.bg Archived December 21, 2007, at the Wayback Machine.
  12. ↑ See Jazz, Episode 7: "Dedicated to Chaos: 1940–1945".
  13. ↑ Blakely, Johanna (April 2010). Lessons from Fashion's Free Culture (TEDxUSC 2010). TEDTalks. Retrieved December 3, 2010.
  14. ↑ Ross Russell Bird Lives! The High Life & Hard Times of Charlie (Yardbird) Parker, 1973, New York: Charterhouse, p. 273; ISBN 0-306-80679-7
  15. ↑ Gitler, Ira (2001). The Masters of Bebop: A Listener's Guide. Da Capo Press. p. 33. ISBN 0-306-81009-3. Charles Mingus once chose it when asked to name his favorite Parker recordings. 'I like all', he said, 'none more than the other, but I'd have to pick Lover Man for the feeling he had then and his ability to express that feeling.'
  16. ↑ Reisner, Robert, ed. (1977). Bird: the Legend of Charlie Parker. New York: Da Capo Press. p. 133.
  17. ↑ http://www.philly.com/philly/obituaries/20140330_Charles_Baird_Parker__61__son_of_jazz_great.html
  18. ↑ "Ken Burns interviews Chan Parker" (PDF). Retrieved March 10, 2011.
  19. ↑ Ross Russell (1996). Bird Lives!: The High Life And Hard Times of Charlie (yardbird) Parker. Da Capo Press. p. 361. ISBN 9780306806797. A confirmed atheist, he had not been inside a church in years.
  20. ↑ Griffin, Farah Jasmine; Washington, Salim (2008). Clawing at the Limits of Cool: Miles Davis, John Coltrane, and the Greatest Jazz Collaboration Ever. New York: Thomas Dunne Books. p. 237.
  21. ↑ Grammy Awards search engine Archived August 28, 2015, at the Wayback Machine.
  22. ↑ Grammy Hall of Fame Database Archived July 7, 2015, at the Wayback Machine.
  23. ↑ Richard Tucker. "Charlie Parker: 32 cents Commemorative stamp". Esperstamps.org. Retrieved March 10, 2011.
  24. ↑ "Parker, Charlie, Residence" on the NRHP database
  25. ↑ "Charlie Parker Residence Designation Report", New York City Landmarks Preservation Commission
  26. ↑ http://www.allmusic.com/album/i-remember-charlie-parker-mw0000691113
  27. ↑ Charlie Parker's Yardbird, performance details
  28. ↑ New York City Landmarks Preservation Commission; Postal, Matthew A. (ed. and text); Dolkart, Andrew S. (text). (2009) Guide to New York City Landmarks (4th ed.) New York: John Wiley & Sons. ISBN 978-0-470-28963-1, p. 69
  29. ↑ "Charlie Parker: The Charlie Parker Residence, NYC". Charlieparkerresidence.net. Retrieved March 10, 2011.
  30. ↑ Bird at the Internet Movie Database
  31. ↑ Archived March 30, 2014, at the Wayback Machine.

Further reading

External links

Wikiquote has quotations related to: Charlie Parker
This article is issued from Wikipedia - version of the Saturday, April 30, 2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.