Parkeology 023: Confirmation Byas It was this superb harmonic ear that equipped Byas to participate, a few years later, in some of the early manifestations of bop. Rhythmically, however, Byas remained firmly rooted in the classic patterns of swing. – Dan Morgenstern, liner notes to Midnight at Minton’s The Don Byas of 1941 is not the Don Byas of 1944. His ability to swiftly integrate the new vocabulary into his personal style is a measure of his greatness, but in 1941, when Midnight at Minton’s was recorded, he still had both feet planted in the swing era. Nevertheless, his harmonic … Continue reading Parkeology 023: Confirmation Byas

Parkeology 022: Third Degree [Note: For the purposes of this discussion, I define “chromaticism” as consecutive half steps in a melodic line, and “scale runs” as consecutive scale degrees in a melodic line. All audio excerpts are slowed down for clarity.] Parker’s 1940–43 recordings are particularly vital because they present him at his most spontaneous; he had not yet codified his musical vocabulary, and he took an impromptu approach to the spinning forth of melody, much like his prime influence, Lester Young. – Carl Woideck Was Ben Webster a bigger influence on Bird than Lester Young? No one in their … Continue reading Parkeology 022: Third Degree

Parkeology 021: Bing and Ben I used to live at the Cecil Hotel, which was next door to Minton’s. We used to jam just about every night when we were off. Lester, Don Byas, and myself—we would meet there all the time and exchange ideas. It wasn’t a battle or anything. We were all friends. – Ben Webster, Les Tomkins interview, January 1965. Ignorance isn’t necessarily bliss. In my original posting, I estimated the time frame here as 1941, but I recently discovered that Webster was on the road with Ellington non-stop all year, and the same is true of … Continue reading Parkeology 021: Bing and Ben

Parkeology 020: One Guesses I got word that time that I could be in a jam session with Bird and Diz, and I walked two miles carrying my bass without gloves in ten below zero weather to the Ritz Hotel. It was a fine session. I remember a fellow named Red Cross taped the session. – Oscar Pettiford Pettiford is referring to the jam session on February 15, 1943, where Bird plays tenor instead of alto. Bird switched to tenor when he joined the Earl Hines Orchestra in December 1942, and I’m trying to make the case that he was … Continue reading Parkeology 020: One Guesses

Parkeology 019: Native Son John Fitch: Whom do you feel were the really important persons, besides yourself, who started to experiment? Charlie Parker: Dizzy Gillespie, Thelonious Monk, Kenny Clarke. It was Charlie Christian… There was Bud Powell, Don Byas, Ben Webster, yours truly. – 1953 radio interview WHDH I think it’s significant that Bird includes Ben Webster in this list, because Webster isn’t remembered as a modern jazz innovator, despite his involvement at Minton’s. Note that Bird lists their names together, at the bottom. In my opinion, he’s acknowledging Webster’s influence on his own conception more than on the movement … Continue reading Parkeology 019: Native Son

Parkeology 018: Brute Force Still, one is brought up short by the realization that a “typical” Parker phase turns out to be much the same phrase one had heard years before from, say, Ben Webster. The secret is, of course, that Parker inflects, accents, and pronounces that phrase so differently that one simply may not recognize it. – Martin Williams Williams seems to have picked Ben Webster’s name out of a hat, but there may be a deeper connection than he realized. Webster’s chromatic motifs might have added a missing component to Bird’s conception in the early 1940s. When I … Continue reading Parkeology 018: Brute Force

Parkeology 017: Growl Talk There are all kinds of anecdotes and stories about Bird, but he was really a shy, humble person. He was thoughtful and considerate of other people, and you can hear that in his playing, the great beauty in his playing. There was some anger–we all get angry–and you can hear the anger in his playing when he felt that way. I think he, more than most of us… you can hear his feelings when you listen to him, because he was so proficient that he could get out anything he felt. – Red Rodney I can’t … Continue reading Parkeology 017: Growl Talk

Parkeology 016: Can of Worms Really, all Bird needed was some dope. If Bird had had any dope right then, he’d have turned around and played like a champ. But at the time these records were made, he was without sufficient drugs. – Howard McGhee (Interview WKCR) It’s hard to discuss the “Lover Man” date without being sucked into the self-perpetuating melodrama surrounding Bird’s “nervous breakdown.” I’m referring, of course, to the infamous July 29, 1946 Dial recording session. The best antidote I know of is to stick with Howard McGhee’s melodrama-free account. He was there, and he contradicts Ross Russell’s … Continue reading Parkeology 016: Can of Worms

Parkeology 015: Buttons and Birds During the subsequent “Roost Period,” two developments on the 1948 national entertainment scene had some influence on Parker’s work. They were the popularity of Frank Loesser’s Slow Boat To China, and the release of the Bob Hope-Jane Russell comedy movie, The Paleface. Bird began playing Slow Boat at an uptempo as part of his repertoire, and the opening phrase of Buttons and Bows, a hit tune from the Hope movie, began creeping into his solos. – Lawrence O. Koch, Yardbird Suite “Buttons And Bows” is one of Bird’s most preposterous quotes, but I contend it … Continue reading Parkeology 015: Buttons and Birds

Parkeology 014: Dizzy Altitude On the live recording of Charlie Parker at Town Hall in 1945, Bird plays in the altissimo a little bit. Several high A’s and on “Salt Peanuts” gets up to an altissimo D. I don’t recall ever hearing him play any altissimo on any other studio or live recordings. Does anyone know of any other recordings where he goes up, or was he just feeling extra frisky that day? – Posting by DukeCity on Sax on the Web DukeCity raises an interesting point. Bird didn’t use the altissimo register (notes above the normal range of the … Continue reading Parkeology 014: Dizzy Altitude