Charlie Parker with Strings: The Master Takes

Amazon.com essential recording
Charlie Parker welcomed the opportunity to record standards with a small string ensemble in 1949, and the results are stunning, his liquid alto soaring over the tuneful and only occasionally stiff arrangements. Along the way, he invests tunes like "I Didn't Know What Time It Was" and "Laura" with a unique blend of bluesy realism and mercurial improvisation. The CD adds live versions from a Carnegie Hall concert, and there are also two brilliant versions of Neal Hefti's "Repetition." The 1947 version has Bird flying spontaneously over the dense orchestration of horns, strings, and Latin percussion. --Stuart Broomer

From Jazziz
In the 1940s, Norman Granz was a jazz visionary in several ways; one of these was his incorporation of strings into a variety of recordings. Granz ultimately attracted some of the best jazz artists of the era (and of all time). He managed a yet-to-be-duplicated balance of commercialism and risk-taking, of business and art, that led to the recording of some of jazz's landmark recordings. Charlie Parker With Strings (now on Verve, originally on Clef) is generally acknowledged as the first release to feature a jazz soloist backed by violins. It was just the beginning. Arguably the greatest improviser of all time, Charlie Parker was reputed to have been interested in doing a strings album for years. Granz gave him the opportunity to do it, with strings arranged and conducted by Jimmy Carroll (who was working for Granz at the time). Bird's album was monumental in more than the fact that he added strings - it was also an album of all standards, with Parker clearly stating each melody. "Just Friends" became Parker's biggest-selling single and the record of which he was said to have been most proud.

Charlie Parker with Strings: The Master Takes,Charlie Parker,Polygram Records,Jazz,Jazz Music,Pop

Average customer rating:

A must have for jazz lovers!

Charlie Parker with Strings: The Master Takes

Good Idea- bad execution

"Some of my best friends prefer Classical to Jazz",but..

Massive extension to Bird's repertoire

Charlie Parker with Strings: The Master Takes
Charlie Parker with Strings
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music
General | Jazz | Styles | Music
Classic Big Band | Swing Jazz | Jazz | Styles | Music
Contemporary Big Band | Swing Jazz | Jazz | Styles | Music
Orchestral Jazz | Jazz | Styles | Music
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ASIN: B0000046WK
Release Date: 1995-01-24

Tracks:

Just Friends
Everything Happens To Me
April In Paris
Summertime
I Didn't Know What Time It Was
If I Should Lose You
Dancing In The Dark
Out Of Nowhere
Laura
East Of The Sun (And West Of The Moon)
They Can't Take That Away From Me
Easy To Love
I'm In The Mood For Love
I'll Remember April
What Is This Thing Called Love?
April In Paris
Repetition
Easy To Love
Rocker
Temptation
Lover
Autumn In New York
Stella By Starlight
Repetition

Amazon.com essential recording

Charlie Parker welcomed the opportunity to record standards with a small string ensemble in 1949, and the results are stunning, his liquid alto soaring over the tuneful and only occasionally stiff arrangements. Along the way, he invests tunes like "I Didn't Know What Time It Was" and "Laura" with a unique blend of bluesy realism and mercurial improvisation. The CD adds live versions from a Carnegie Hall concert, and there are also two brilliant versions of Neal Hefti's "Repetition." The 1947 version has Bird flying spontaneously over the dense orchestration of horns, strings, and Latin percussion. --Stuart Broomer

Customer Reviews:

A must have for jazz lovers!.......2007-02-21

I understand that Parker was criticized for doing this record, but I think it is wonderful... first heard it on WBGO 88.3 FM in Newark NJ (also on the internet). Support jazz and jazz radio!

Charlie Parker with Strings: The Master Takes.......2007-01-09

Absolutely mesmerizing! It's a wonderful marriage of classical music and jazz. It's Parker at his peak!

Good Idea- bad execution.......2006-06-14

I had been wanting this collection for quite awhile, thought a strings backing would be interesting, a nice juxtaposition...This recording is barely listenable...the string arrangements are pretentious, overwrought, and what one would imagine hearing in a 1940's/50's hollywood melodrama fraught with a bad script and acting.....It coulda worked if the string arrangements had been subtle, straight background for some decent pop tunes...this is really bad. Because Bird's playing is great, someone ought to rerecord the background...

"Some of my best friends prefer Classical to Jazz",but.........2005-11-30

I like Classical music,but I prefer Jazz.And whenever I want to
"rub it in" to my "Classical friends", I suggest they check out this album.Bird sounds incredible;the Classical musicians sound
old.

Massive extension to Bird's repertoire.......2005-10-20

This album is very important in that it shows Bird's ability to lead a large ensemble, albeit an ensemble playing relatively standard arrangements, and it demonstrates Bird's unparalleled ability with improvisation, unmatched to this day. Since this orchestra was not really pushing Bird to further heights via reharmonizations, comping chords or frantic solos, Bird had to create his improvisations all on his own, without a Dizzy or Bud Powell to play off of. And this he does with alarming precision, as the first bars of 'Just Friends' will attest to- he probably suggests 7 or 8 chord changes within 10 seconds and over essentially a 3 chord opening sequence.

Bird himself was overjoyed to work with a string ensemble, as he felt that it would lend credibility to his status as a serious musician, even though by the time this was recorded he has already produced works that would put him easily in the top 5 of 20th century musicians along with Stravinsky and Louis Armstrong. As amazing as Bird was, it's important to note that he really only worked within two song forms, blues and popular song standards like 'Cherokee' and 'How High the Moon', which he put his own indelible stamp upon. It is for this reason that I find this album so important beyond just enjoying the music, as it demonstrates a massive extension to Bird's repertoire, which before this was limited primarily to smaller groups, not including his sideman work with Jay McShann and Billy Eckstein. Had he lived longer, he would have undoubtedly ventured into modern classical music, as he was hoping to collaborate with Edgar Varese through formal instruction.

I think I was most surprised upon hearing this album for the first time that it was considered a sell-out commercial farce upon its release. Yeah- you could really see today's commercial music populous being interested in this album. This is complex, harrowing music and is romantic as all hell. Anyone could appreciate this if given the chance.

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