Charlie Parker: the 100 most inspiring musicians of all time
American alto saxophonist, composer, and bandleader, Charlie Parker (b. Aug. 29, 1920, Kansas City, Kan., U.S.—d. March 12, 1955, New York, N.Y.) was the principal stimulus of the modern jazz idiom known as bebop, and—together with Louis Armstrong and Ornette Coleman—was one of the great revolutionary geniuses in jazz.
Charlie Parker grew up in Kansas City, Missouri, during the great years of Kansas City jazz, and began playing alto saxophone when he was 13. 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 1937.
Parker recorded his first solos as a member of Jay McShann’s band, with whom he toured the eastern United States in 1940–42. It was at this time that his childhood nickname “Yardbird” was shortened to “Bird.” His growing friendship with trumpeter Dizzy Gillespie led Parker to develop his new music in avant-garde jam sessions in New York’s Harlem. Bebop grew out of these experiments by Parker, Gillespie, and their adventurous colleagues; the music featured chromatic harmonies and, influenced especially by Parker, small note values and seemingly impulsive rhythms. Parker and Gillespie played in Earl Hines’s swing oriented band and Billy Eckstine’s more modern band.
In 1944, they formed their own small ensemble, the first working bebop group. The next year Parker made a series of classic recordings with Red Norvo, with Gillespie’s quintet (“Salt Peanuts” and “Shaw Nuff ”), and for his own first solo recording session (“Billie’s Bounce,” “Now’s the Time,” and “Koko”). The new music he was espousing aroused controversy, but also attracted a devoted audience. By this time Parker had been addicted to drugs for several years. While working in Los Angeles with Gillespie’s group and others, Parker collapsed in the summer of 1946, suffering from heroin and alcohol addiction, and was confined to a state mental hospital.
Following his release after six months, Parker formed his own quintet, which included trumpeter Miles Davis and drummer Max Roach. He performed regularly in New York City and on tours to major U.S. cities and abroad, played in a Gillespie concert at Carnegie Hall (1947), recorded with Machito’s Afro-Cuban band (1949–50), and toured with the popular Jazz at the Philharmonic troupe (1949). A Broadway nightclub, Birdland, was named after him, and he performed there on opening night in late 1949; Birdland became the most famous of 1950s jazz clubs.
The recordings Parker made for the Savoy and Dial labels in 1945–48 (including the “Koko” session, “Relaxin’ at Camarillo,” “Night in Tunisia,” “Embraceable You,” “Donna Lee,” “Ornithology,” and “Parker’s Mood”) document his greatest period. He had become the model for a generation of young saxophonists. His alto tone was hard and ideally expressive, with a crying edge to his highest tones and little vibrato. One of his most influential innovations was the establishment of eighth notes as the basic units of his phrases. The phrases themselves he broke into irregular lengths and shapes and applied asymmetrical accenting.
Parker’s most popular records, recorded in 1949–50, featured popular song themes and brief improvisations accompanied by a string orchestra. These recordings came at the end of a period of years when his narcotics and alcohol addictions had a less disruptive effect on his creative life. By the early 1950s, however, he had again begun to suffer from the cumulative effects of his excesses; while hospitalized for treatment of an ulcer, he was informed that he would die if he resumed drinking. He was banned from
playing in New York City nightclubs for 15 months. He missed engagements and failed to pay his accompanying musicians, and his unreliability led his booking agency to stop scheduling performances for him. Even Birdland, where he had played regularly, eventually fired him. His two year-old daughter died of pneumonia; his fourth marriage fell apart. He twice attempted suicide and again spent time in a mental hospital.
If Parker’s life was chaotic in the 1950s, he nonetheless retained his creative edge. From roughly 1950 he abandoned his quintet to perform with a succession of usually small, ad hoc jazz groups; on occasion he performed with Latin American bands, big jazz bands (including Stan Kenton’s and Woody Herman’s), or string ensembles. Recording sessions with several quartets and quintets produced such pieces as “Confirmation,” “Chi-Chi,” and “Bloomdido,” easily the equals of his best 1940s sessions. Outstanding performances that were recorded at concerts and in nightclubs also attest to his vigorous creativity during this difficult period. He wanted to study with classical composer Edgard Varèse, but, before the two could collaborate, Parker’s battle with ulcers and cirrhosis of the liver got the better of him.
While visiting his friend Baroness Nica de Koenigswarter, he was persuaded to remain at her home because of his illness; there, a week after his last engagement, he died of a heart attack. The impact of Parker’s tone and technique has already been discussed; his concepts of harmony and melody were equally influential. Rejecting the diatonic scales common to earlier jazz, Parker improvised melodies and composed themes using chromatic scales. Often he played phrases that implied added harmonies or created passages that were only distantly related to his songs’ harmonic foundations (chord changes). Yet for all the tumultuous feelings in his solos, he created flowing melodic lines. At slow tempos as well as fast, his were intense improvisations that communicated complex, often subtle emotions.
The harmonies and inflections of the blues, which he played with passion and imagination, reverberated throughout his improvisations. Altogether, Parker’s lyric art was a virtuoso music resulting from a coordination of nerve, muscle, and intellect that pressed human agility and creativity to their limits.
Jazz sheet music and transcriptions download.
Charlie Parker – The Best of Charlie Parker volume 1
Track List:
1. Cool Blues 00:00 2. No problem 3:34 3. Satan in Hight Heels 12:26 4. What’s Right for you 15:52 5. Montage 19:03 6. Shawnuff 21:15 7. You and The Night and The Music 25:42 8. Cheryl 29:02 9. Lost and Lonely 35:14 10. Sidewinder 38:51 11. Abstract Art 41:12 12. Bongo Bop 44:05 13. Easy Side Drive 48:56 14. Jazz Vendor 51:46
15. Coffee Coffee 56:37 16. Over the rainbow 1:00:06 17. Subway Inn 1:02:25 18. The Hymn 1:06:27 19. All the things you are 1:12:04 20. Communion 1:15:25 21. Lake in the woods 1:21:31 22. The Feeling of Love 1:25:01 23. Bongo Beep 1:32:14 24. From Mundy On 1:36:55 25. Pittfall 1:40:15 26. Impulse 1:43:50 27. Long Knife 1:49:16 28. Melancholy Madeline 1:51:35 29. Stop and Listen 1:54:18 30. Blues For A Stripper 1:59:05 31. Born Again 2:02:30 32. Gabriel 2:08:14
Browse in the Library:
Artist or Composer / Score name | Cover | List of Contents |
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Bach J.S. Cello Suite No. 6 arr. piano solo by Joachim Raff | ||
Bach J.S. Cello Suite No.1 arr. for piano solo | ||
Bach J.S. Das Musikalisches Opfer BWV 1070 | ||
Bach J.S. Fifield Transcription Cantata BWV 147 Jesu, Joy of Man’s Desiring piano solo | ||
Bach J.S. Harpsichord Concerto A-major arr. 2 pianos | ||
Bach J.S. J.S.- Das Wohltemperierte Klavier I (Urtext) | ||
Bach J.S. Marcello – BWV 974 Concert no. 3 | ||
Bach J.S. My First Book of Bach favorite pieces in easy piano arrangements by D. Dutkanicz | Bach J.S. My First Book of Bach favorite pieces in easy piano arrangements by D. Dutkanicz | |
Bach J.S. Parodi Siciliano from BWV 1031 Piano solo transcription | ||
Bach J.S. Prelude XXIV | ||
Bach J.S. Ricercar 6 BWV 1079 from “The Musical Offering | ||
Bach J.S. Sarabande for cello | ||
Bach J.S. Siciliano from BWV 1031 Piano solo transcription by Eugen D’Albert | ||
Bach J.S. Ten Choral Preludes KiV B 27 | ||
BACH J.S. The Art Of Fugue Bach Fugues For Keyboard, 1715 1750 | ||
BACH J.S. The little music book of Anna Magdalena (20 easy pieces) | ||
Bach J.S. Toccata & Fugue Dminor for Piano | ||
Bach J.S. Two Transcriptions Of St. Matthew Passion For Piano Solo | ||
Bach J.S. Two-Voice Inventions | ||
Bach J.S.-Busoni BVB36 Prelude Fugue and Allegro BWV998 | ||
Bach J.S.-Busoni BWV 933-938 | ||
Bach J.S.-Busoni Prelude in C minor BWV 999 | ||
Bach J.S.-BWV 1055 4 hands | ||
Bach J.S.-Choral-BWV-639-Transcr-Busoni | ||
Bach J.S.-Lipatti – Two Transcriptions of Bach J.S.’s Cantatas 208 | Bach-Lipatti – Two Transcriptions of Bach’s Cantatas 208 | |
Bach J.S.-Petri – Cantata 208 “Sheep May Safely Graze” Piano solo arr. | Bach-Petri – Cantata 208 Sheep May Safely Graze | |
Bach J.S.-Siloti- Andante from Sonata for Solo Violin BWV 1003 | ||
Bach JS “Sheep May Safely Graze” from Cantata 208 (easy piano) | ||
Bach Liszt Prelude & Fugue In A Minor, Bwv 543 | ||
BACH Master Musicians Series by Malcom Boyd (eBook) Biography | ||
Bach Prelude Iv Bwv 849 Wtc I (Musescore File).mscz | ||
Bach The Goldberg Variations Cambridge Music Handbooks (eBook) | ||
Bach The Goldberg Variations Cambridge Un. Press (Book) | ||
Bach The New Bach Reader A Life Of Johann Sebastian Bach In Letters And Documents (Arthur Mendel Hans T. David Christoph Wolff) Book | ||
Bach Toccata And Fugue In D Minor (Piano Solo) (Musescore File).mscz | ||
Bach Toccata and Fugue in D Minor BWV 565 (Piano solo arr.) | ||
Bach Toccata And Fugue In D Minor Bwv 565 (Piano Solo Arr.) (Musescore File).mscz | ||
Bach Two Part Inventions (No. 1 Bwv 772) (Musescore File).mscz | ||
Bach-Bauer Die Seele Ruht..Cantata 127 for piano solo | ||
Bach-Busoni – Chaconne D minor arr. piano solo | ||
Bach-Busoni Ich Ruf’ Zu Dir Herr Bwv 639 Piano Solo Arr. (Musescore File).mscz | ||
Bach-Gouin – Harpsichord Concerto in F Minor (Arioso) BWV1056 piano | ||
Bach-Rummel Ertodt-Uns BWV22 | ||
Bach-Siloti – Praeludium In B Minor BWV 855a | Bach-Siloti – Praeludium In B Minor Bwv 855a | |
Bach-Siloti – Praeludium In B Minor Bwv 855a (Musescore File).mscz | ||
Bach-Siloti Transcription of Bach’s Air from Suite for String Orchestra No.3, BWV 1068 | ||
Bach-Stradal Trio Sonata No 4 in E minor BWV 528 | ||
Bach, Johann Sebastian – Complete Lute Music (transcribed for Guitar) | ||
Bach, J. S. Concert In D Minor Bwv 1043 For Two Violins And Piano Musescore File.mscz | ||
Bach, J.S. Jesus Bleibet Meine Freude Easy Guitar Arr. Jesu, Joy Of Man’s Desiring Cantata Nr. 147 | Bach, J.S. – – Jesu Bleibet Meine Freude Guitar arr. | |
Bach, J.S. Jesus Bleibet Meine Freude Guitar Arr. Jesu, Joy Of Man’s Desiring Cantata Nr. 147 | Bach, J.S. Jesus Bleibet Meine Freude Guitar Arr. Jesu, Joy Of Man’s Desiring Cantata Nr. 147 | |
Bach, J.S. Orchestral Suite No. 1 In C Major Bwv 1066 Passepied (Easy Piano Solo) | ||
Bach, J.S. Arioso For Piano Solo BWV 156 | ||
Bach, J.S. For Electric Guitar [Guitar SongBook] | Bach, J.S. For Electric Guitar | |
Bach, J.S. Myra Hess Chorale from Cantata 147 Jesu Joy Of Man’s desiring Hess Myra piano solo Arrangement | ||
Bach, J.S. – Jesus bleibet meine Freude Guitar arr. Jesu, Joy of Man’s Desiring Cantata Nr. 147.mscz | ||
Bach, J.S. – Jesus_bleibet_meine_Freude_Cantata_Bwv147_10_Choral SATB with Piano by Johann_Sebastian_Bach.mscz | ||
Bach, J.S. – Toccata and Fugue in D Minor (Piano Solo) | ||
Bach, J.S. Arioso (Guitar) from Cantata BWV 156 Guitar arr. by Per Orlov Kindgren | ||
Bach, J.S. Awake, tu us the Voice is calling – Wachet Auf, ruft uns die Stimme Piano solo arr. (Borwick) | ||
Bach, J.S. Chorale from Cantata 147 Jesu Joy Of Man’s desiring Easy piano solo Arr. | ||
Bach, J.S. Dinu Lipatti Pastorale in F ( Piano solo transcription) | ||
Bach, Johann Sebastian (bio book LUX-Lesebogen) (Deutsch-German) Biography | ||
Bach, JS Partitas Partita 1 | ||
Bach’s Well-tempered Clavier The 48 Preludes and Fugues (Book ) David Ledbetter | ||
Bachianas Brasileiras No. 5 (Heitor Villa-Lobos) | ||
Bachianas Brasileiras No. 5 (Heitor Villa-Lobos) 2 pianos | ||
Back To The Future Music from the Motion Picture Soundtrack Piano Vocal guitar | Back To The Future | |
Backstreet Boys – All I Have To Give | ||
Backstreet Boys – As Long As You Love Me | ||
Backstreet Boys – Drowning | ||
Backstreet Boys – How Did I Fall In Love With You | ||
Backstreet Boys – I Need You Tonight | ||
Backstreet Boys – I Want It That Way | ||
Backstreet Boys – Incomplete | ||
Backstreet Boys – Quit Playing Games With My Heart | ||
Backstreet Boys – Show Me The Meaning Of Being Lonely | ||
Backstreet Boys As Long As You Love Me | ||
Backstreet Boys Backstreets Back | ||
Backstreet Boys Black Blue | ||
Backstreet Boys Drowning | ||
Backstreet Boys Everybody | ||
Backstreet Boys I Want It That Way | ||
Backstreet Boys Shape Of My Heart | ||
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Baden Powell – Samba Do Aviao (Jobim) Guitar arr | ||
Baden Powell – Samba Em Preludio Guitar TAB | ||
Baden Powell – Serenata Do Adeus Guitar TABs | ||
Baden Powell Complete Brazil On Guitar transcriptions with Tablature | Baden Powell complete sheet music | |
Baden Powell Contemporary solo guitar (Book In Japanese) | ||
Baden Powell Prelude In A Minor (guitar) | ||
Baden Powell Retrato Brasileiro Choro Lento (Guitar) | ||
Baden Powell Songbook – Volume 1 (Guitar) | Baden Powell 1 | |
Baden Powell Songbook – Volume 2 (Guitar) | Baden Powell 2 | |
Baden Powell Songbook Volume 3 (Guitar) | Baden Powell songbook 3 | |
Badfinger – No Matter What | ||
Baghdarsaryan, Eduard 24 Preludes For Piano | ||
Baker’s Biographical Dictionary Of Popular Musicians 1990 Complete Vol 1 A L and Vol 2 M Z | ||
Balada Para Alessandro (Raul Di Blasio) | ||
Balázs Havasidom Freedom Piano Solo Sheet Music | ||
Ballad No Name (William Joseph) | ||
Ballade No. 1 In G Minor (Musescore File).mscz | ||
Ballads Big Book Of Ballads 2nd Edition Piano Vocal Guitar | Ballads Big Book Of Ballads 2nd Edition Piano Vocal Guitar | |
Ballads For Classical Guitar | Ballads For Classical Guitar | |
Ballads Really easy piano (24 great songs) | Ballads Really easy piano (24 great songs) | |
Ballads The Big Book Of Ballads 3rd Edition Piano Vocal Guitar | Ballads The Big Book Of Ballads 3rd Edition Piano Vocal Guitar | |
Bambina (Lara Fabian) | ||
Banana Boat Day-O – Guitarr Arr. With Tabs (Traditional Jamaican Folk Song (Sheet Music) | ||
Banana Boat Day-O – Guitarr Arr. With Tabs (Traditional Jamaican Folk Song (Sheet Music)) (Musescore File).mscz | ||
Banana phone (Raffi) | ||
Bangles – Eternal Flame | ||
Bar Piano Susi’s – Band 1 – Swing Evergreens and Pop Classics by Susi Weiss | Bar Piano Susi’s – Band 1 – Swing Evergreens and Pop Classics by Susi Weiss | |
Bar Piano Susi’s – Band 2 – Swing Evergreens and Pop Classics by Susi Weiss | Bar Piano Susi’s – Band 2 – Swing Evergreens and Pop Classics by Susi Weiss | |
Bar Piano Susi’s – Band 3 – Swing Evergreens and Pop Classics by Susi Weiss | Bar Piano Susi’s – Band 3 – Swing Evergreens and Pop Classics by Susi Weiss | |
Bar Piano Susi’s – Band 4 – Swing Evergreens and Pop Classics by Susi Weiss | Bar Piano Susi’s – Band 4 – Swing Evergreens and Pop Classics by Susi Weiss | |
Bar Piano Susi’s Merry Christmas by Susi Weiss | Bar Piano Susi’s Merry Christmas by Susi Weiss | |
Bar Piano, Susi’s – Band 5 – Swing, Evergreens and Pop Classics by Susi Weiss | Bar Piano, Susi’s – Band 5 – Swing, Evergreens and Pop Classics | |
Barbara Livre D’or 18 Chansons Partition Musicale | Barbara Livre D’or 18 Chansons Partition Musicale | |
Barbara Arens Moonbeams |