1. Billie's Bounce (03:09)
2. A Night In Tunisia (03:05)
3. Moose The Mooche (03:03)
4. Ornithology (03:01)
5. Yardbird Suite (02:55)
6. Cheryl (03:00)
7. Donna Lee (02:36)
8. Half Nelson (02:44)
9. Milestones (02:37)		play
10. Bird of Paradise (03:11)		play
11. Dewey Square (03:06)
12. Dexterity (02:58)
13. Embraceable You (03:21)
14. Klact oveedseds tene (03:05)
15. Scrapple from the Apple (02:54)

In 1947 Miles Davis was playing in Charlie Parker's quintet. Parker had called on Davis's trumpet after splitting with Dizzy Gillespie in 1945 due to the formers growing alcohol and drug problem. Davis recorded several albums with Parker at this time, including Parker's Sessions for the Savoy and Dial labels. By 1948 Davis had three years of bebop playing under his belt, but he struggled to match the speed and ranges of the likes of Gillespie and Parker, choosing instead to play in the mid range of his instrument. In 1948 Davis, becoming increasingly concerned about growing tensions within the Parker quintet, left that group and began looking for a new band with which to work.

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1 Bloomdido (Master Take) (3:24)
2 An Oscar For Treadwell (Alternate Take) (3:20)
3 An Oscar For Treadwell (Master Take) (3:22)
4 Mohawk (Alternate Take) (3:48)
5 Mohawk (Master Take) (3:34)                      play
6 My Melancholy Baby (Alternate Take) (3:16)
7 My Melancholy Baby (Master Take) (3:23)
8 Leap Frog (Alternate Take) (2:33)
9 Leap Frog (Alternate Take) (2:00)
10 Leap Frog (Alternate Take) (2:05)
11 Leap Frog (Master Take) (2:28)                  play
12 Relaxin' With Lee (Alternate Take) (3:53)
13 Relaxin' With Lee (Master Take) (2:44)

Personnel:
Charlie Parker - Alto Saxophone
Dizzy Gillespie - Trumpet
Thelonious Monk - Piano
Curly Russell - Bass
Buddy Rich – Drums

This date from June 6, 1950, was an unusual one for Charlie Parker. He chose to play with fellow bop creators Dizzy Gillespie and Thelonious Monk, in a striking reunion with the trumpeter and the only occasion on which Parker recorded with the pianist. Though the three may have felt encumbered by the presence of swing drummer Buddy Rich, they're in brilliant form, with Parker and Gillespie spurring one another to heights that range from the warm to the electric. Bird's ideas flow with characteristic ease and swing while Gillespie sparks and flares. It's unlikely that anyone else but Gillespie could match Parker on the dazzling interplay of "Leap Frog," a performance supplemented by several alternate takes. Monk's characteristically skewed solos are a rare delight in what is otherwise an orthodox bop setting. The tunes are all Parker's except for "My Melancholy Baby," which inspires witty play. --Stuart Broomer

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1. Billie's Bounce 
2. Now's The Time 
3. Meandering 
4. Donna Lee 
5. Chasin' The Bird          play
6. Cheryl 
7. Buzzy 
8. Milestones 
9. Little Willie Leaps 
10. Half Nelson 
11. Sippin' At Bell's 
12. Another Hair-Do 
13. Blue Bird                play
14. Klaunstance 
15. Bird Gets The Worm 
16. Barbados 
17. Ah-Leu-Cha 
18. Constellation 
19. Parker's Mood 
20. Perhaps 
21. Marmaduke 
22. Steeplechase 
23. Merry-Go-Round

Nelson Boyd - Bass
Miles Davis - Trumpet
Dizzy Gillespie - Piano
Duke Jordan - Piano
John G. Lewis - Piano
Charlie Parker - Sax (Alto), Sax (Tenor)
Tommy Potter - Bass
Bud Powell - Piano
Max Roach - Drums 

Can you find the glaring omission in this otherwise excellent overview of Charlie Parker's Savoy studio recordings? Definitive, belying their label's very name, left three titles off of BlueBird: Legendary Savoy Sessions. Although "Waking Up a Riff" and "Thriving from a Riff" could conceivably be considered expendable, the absence of "Ko-Ko" constitutes a serious lapse of judgment on the part of the producers of this compilation. Built upon the chord progressions of Ray Noble's "Cherokee," "Ko-Ko" is a fundamental milestone of modern music. Why was it not included here? Even allowing for the space taken up by four titles from Miles Davis' first session as a leader, there would and should have been room for "Ko-Ko." This is a great little album with one gravely unfortunate flaw. Maybe some other Charlie Parker Savoy collection would be a wiser choice. ---arwulf arwulf, Rovi

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Side 1
1. Air Contitioning
2. Don't Blame Me
3. Bird Feathers
4. Embraceable
5. Dewey Square
6. Scrapple From The Apple

Side 2
1. Quasimodo
2. Crazeology
3. My Old Flame
4. Klactoveedsedtene
5. Out Of Nowhere
6. Bongo Bop

Charlie Parker  - Saxophone 
Tommy Potter  - Bass 
Max Roach – Drums
Duke Jordan  - Piano
J.J. Johnson - Trombone
Miles Davis - Trumpet 

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1 Rocker
2 Moose The Mooche
3 Just Friends
4 My Little Suede Shoes
5 I'll Remember April (Theme)
6 Sly Mongoose
7 Laura
8 Star Eyes
9 This Time The Dream's On Me
10 Easy To Love
11 Cool Blues
12 What Is This Thing Called Love
13 I Didn't Know What Time It Was
14 Repetition
15 Lester Leaps In
16 East Of The Sun
17 April In Paris
18 Out Of Nowhere
19 Rocker

Charlie Parker (alto saxophone);
Mundell Lowe (guitar);
Walter Bishop, Sr. (piano);
Teddy Kotick (bass);
Max Roach (drums).

AUTUMN IN NEW YORK was recorded live at the Rockland Palace Dance Hall in New York in 1952. Like many live Parker albums recorded with inferior equipment by devoted members of the audience, the sound quality is poor. Parker is in fine form however, and the set list includes such treats as "Moose The Mooche," the groovy, infectious "Sly Mongoose" and a breakneck treatment of "Lester Leaps In." Parker's alto, on tracks like "This Time The Dream's On Me," jumps through stream-of-consciousness phrases in a way that's truly miraculous. ---Rovi

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1. Coll Blues
2. Ornithology
3. 'Round Midnight
4. Bird’s Nest
5. Bird of Paradise
6. Cheryl
7. Donna Lee
8. Koko
9. Chasin' the Bird
10. Lover Man
11. Moose The Mooch
12. My Old Flame
13. Red Cross
14. Stupendous

The only child of Charles and Addie Parker, Charlie Parker was one of the most important and influential saxophonists and jazz players of the 1940’s.

When Parker was still a child, his family moved to Kansas City, Missouri, where jazz, blues and gospel music were flourishing. His first contact with music came from school, where he played baritone horn with the school’s band. When he was 15, he showed a great interest in music and a love for the alto saxophone. Soon, Parker was playing with local bands until 1935, when he left school to pursue a music career.

From 1935 to 1939, Parker worked in Kansas City with several local jazz and blues bands from which he developed his art. In 1939, Parker visited New York for the first time, and he stayed for nearly a year working as a professional musician and often participating in jam sessions. The New York atmosphere greatly influenced Parker's musical style.

In 1938, Parker joined the band of pianist Jay McShann, with whom he toured around Southwest Chicago and New York. A year later, Parker traveled to Chicago and was a regular performer at a club on 55th street. Parker soon moved to New York. He washed dishes at a local food place where he met guitarist Biddy Fleet, the man who taught him about instrumental harmony. Shortly afterwards, Parker returned to Kansas City to attend his father’s funeral. Once there, he joined Harlan Leonard’s Rockets and stayed for five months. In 1939, Yardbird rejoined McShann and was placed in charge of the reed section. Then, in 1940, Parker made his first recording with the McShann orchestra.

During the four years that Parker stayed with McShann's band, he got the opportunity to perform solo in several of their recordings, such as Hootie Blues, Sepian Bounce, and the 1941 hit Confessing the Blues. In 1942, while on tour with McShann, Parker performed in jam sessions at Monroe’s and Minton’s Playhouse in Harlem. There he caught the attention of up-and-coming jazz artists like Dizzy Gillespie and Thelonious Monk. Later that year, Parker broke with McShann and joined Earl Hines for eight months.

The year 1945 was extremely important for Parker. During that time he led his own group in New York and also worked with Gillespie in several ensembles. In December, Parker and Gillespie took their music to Hollywood on a six-week nightclub tour. Parker continued to perform in Los Angeles until June 1946, when he suffered a nervous breakdown and was confined at a state hospital. After his release in January 1947, Parker returned to New York and formed a quintet that performed some of his most famous tunes.

From 1947 to 1951, Parker worked in a number of nightclubs, radio studios, and other venues performing solo or with the accompaniment of other musicians. During this time, he visited Europe where he was cheered by devoted fans and did numerous recordings. March 5, 1955, was Parker’s last public engagement at Birdland, a nightclub in New York that was named in his honor. He died a week later in a friend’s apartment.

Charles "Yardbird" Parker was an amazing saxophonist who gained wide recognition for his brilliant solos and innovative improvisations. He was, without a doubt, one of the most influential and talented musicians in jazz history. --- cmgww.com

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01. Perdido (8:16)
02. Salt Peanuts (7:38 )
03. All The Things You Are (7:14)
04. 52nd Street Theme (0:43)
05. Drum Conversation (4:38 )
06. Cherokee (4:56)
07. Embraceable You (4:25)
08. Hallelujah (Jubilee) (4:01)
09. Sure Thing (2:13)
10. Lullaby Of Birdland (2:34)		play
11. I've Got You Under My Skin (3:02)		play
12. Wee (Allen's Alley) (6:47)
13. Hot House (9:10)
14. A Night In Tunisia (7:34)

Personnel
    Dizzy Gillespie — trumpet
    Charles Mingus — bass
    Charlie Parker — alto sax
    Bud Powell — piano
    Max Roach — drums

This concert was held at Massey Hall in Toronto, Canada on May 15, 1953, and was recorded by bassist Charles Mingus, who overdubbed some additional bass parts and issued it on his own Debut label as THE QUINTET. Charlie Parker (listed on the original album sleeve as "Charlie Chan") performed on a plastic alto, pianist Bud Powell was stone drunk from the opening bell, and Dizzy Gillespie kept popping offstage to check on the status of the first Rocky Marciano-Jersey Joe Walcott heavyweight championship bout.

Subsequent editions of this evening were released as a double live album (featuring Bud Powell's magnificent piano trio set with Mingus and Roach), dubbed THE GREATEST JAZZ CONCERT EVER. The hyperbole is well-deserved, because at the time of this concert, each musician on JAZZ AT MASSEY HALL was considered to be the principle instrumental innovator within the bebop movement.

All of these musicians were influenced by Charlie Parker and their collective rapport is magical. As a result, their fervent solos on the uptempo tunes ("Salt Peanuts" and "Wee") seem to flow like one uninterrupted idea. "All The Things You Are" redefines Jerome Kern's classic ballad, with frequent echoes of "Grand Canyon Suite" from Bird and Diz, and a ruminative solo by Powell. And on Gillespie's classic "Night In Tunisia," the incomparable swagger of Bird's opening break is matched by the keening emotional intensity of Gillespie's daredevil flight.

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CD1

01-Just Friends
02-Swedish Schnapps
03-Laird Bird
04-K.C. Blues
05-April in Paris                  play
06-Laura
07-Embraceable You
08-Ballade
09-Au Privave
10-The Song is You
11-Mango Mangue
12-Confirmation                    play
13-Segment
14-She Rote
15-Kim
16-In the Still of the Night
17-Star Eyes
18-How High the Moon

CD2

01-Cardboard
02-I Didn't Know What It Was
03-Oh, Lady, Be Godd!
04-I Can't Get Started
05-Lover Man                   play
06-Funky Blues
07-Old Folks
08-Now's The Time
09-Tico-Tico                   play
10-What Is This Thing Called Love_
11-Blues For Alice
12-Leap Frog
13-Bloomdido
14-My Little Suede Shoes
15-Chi Chi
16-Repetition

Personnel includes: 
Charlie Parker
Stan Freeman -  Piano
Ray Brown - Bass
Buddy Rich - Drums
Jimmy Carroll Arranger, Conductor
Red Rodney - Trumpet
John Lewis - Piano
Kenny Clarke - Drums
Hank Jones - Piano
Teddy Kotick - Bass
Max Roach - Drums
Miles Davis - Trumpet
Walter Bishop, Jr. - Piano
Joe Lipman - Arranger, Conductor

Recorded between 1947 and 1953.

This generous and carefully-documented compilation provides a wide overview of Parker's work from the late 40's and early 50's. It includes well-recorded material that previously appeared on the GENIUS OF CHARLIE PARKER LPs, tunes from concept albums like SOUTH OF THE BORDER (with Machito's orchestra) and CHARLIE PARKER WITH STRINGS (cooler than you'd expect, at times), and cuts from various JAZZ AT THE PHILHARMONIC releases on the Clef label. The main unifying element besides Parker's work is the touch of impressario Norman Granz, the man who created Jazz At The Philharmonic, and founded Clef records and the Verve label. Granz's faith in the idea of spontaneity--and thus the concept of the jam session as concert or recording event--was tempered by a desire to challenge Parker into going beyond the finite possibilities of the small bebop group. Parker wails with quartets and quintets on the GENIUS tunes, but we also hear him in orchestral settings (one of Parker's own ambitions) on the WITH STRINGS material and bumping up against swingsters like Hodges and Eldridge on the PHILHARMONIC sessions.

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01. Groovin’ High
02. All The Things You Are
03. Dizzy Atmosphere
04. Salt Peanuts
05. Shaw’nuff
06. Hot House
07. Mean To Me
08. Hallelujah
09. Get Happy
10. Slam Slam Blues
11. Congo Blues
12. Takin’ Off
13. If I Had You
14. 20th Century Blues
15. Street Beat
16. Billie’s Bounce
17. Now’s The Time
18. Warming Up A Riff
19. Thriving From A Riff
20. Meandering
21. Ko Ko
22. Dizzy Boogie
23. Flat Foot Floogie
24. Popity Pop
25. Slim’s Jam

Tracks 1 – 3 : Dizzy Gillespie, 1945-02-28
Charlie Parker (as); J.B. “Dizzy” Gillespie (tpt); Clyde Hart (p); Remo Palmieri (g);
 Slam Stewart (b); William “Cozy” Cole (d)

Tracks 4 – 6 : Dizzy Gillespie, 1945-05-12
Charlie Parker (as); J.B. “Dizzy” Gillespie (tpt, voc); Al Haig (p);
 Dillon “Curley” Russell (b); Sid Catlett (d)

Track 7 : Sarah Vaughan, 1945-05-25
Charlie Parker (as); J.B. “Dizzy” Gillespie (tpt); Flip Phillips [Joseph Filipelli] (ts); Nat Jaffe (p);
 Tadd Dameron (p); Bill De Arango (g); Dillon “Curley” Russell (b); Max Roach (d); Sarah Vaughan (voc)

Tracks 8 – 11 : Red Norvo, 1945-06-06
Charlie Parker (as); J.B. “Dizzy” Gillespie (tpt); Flip Phillips [Joseph Filipelli] (ts);
 Red Norvo [Kenneth Norville] (vb); Teddy Wilson (p); Slam Stewart (b); Gordon “Specs” Powell (d); J.C. Heard (d)

Tracks 12 – 15 : Sir Charles Thompson, 1945-09-04
Charlie Parker (as); Buck Clayton (tpt); Dexter Gordon (ts); Danny Barker (g);
 Sir Charles Thompson (p); Jimmy Butts (b); J.C. Heard (d)

Tracks 16 – 21 : Charlie Parker, 1945-11-26
Charlie Parker (as); Miles Davis (tpt); J.B. “Dizzy” Gillespie (tpt, p);
 Sadik Hakim [Argonne Thornton] (p); Dillon “Curley” Russell (b); Max Roach (d)

Tracks 22 – 25 : Slim Gaillard, 1945-12-19
Charlie Parker (as); J.B. “Dizzy” Gillespie (tpt); Jack McVea (ts); Michael “Dodo” Marmarosa (p);
 Bulee “Slim” Gaillard (g, p, voc); Bam Brown (b); Arthur “Zutty” Singleton (d)

He wasn't a legend in 1941, not even a star; rather, he was a kid with the Kansas City blues playing in Jay McShann's Orchestra, the alto sax player propping up the swing with half a dozen other men. He's a sideman throughout the bulk of this 23-song disc. Here is Parker killing time in McShann or Gillespie or Cootie Williams' bands. Those seeking to find a few revelations through all this static and history are likely to come away disappointed. It's like trying to understand where "Purple Haze" came from while listening to a young Jimi Hendrix playing with the Isley Brothers. This disc does contain the birth- of-bop masterpiece "Cherokee," when Parker decided dissonance beget beauty. Better to buy the Yardbird Suite, which weeds out the best-of and tosses out the rest-of. You may not find a better performance of "Shaw 'Nuff," but you will find one that sounds better. --Robert Wilonsky, Editorial Review

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01 - Confirmation (3:02) 
02 - An Oscar For Treadwell (3:26) 
03 - Dancing In The Dark (3:23) 
04 - Segment (3:23) 
05 - Star Eyes (3:31) 
06 - Mango Mangue (2:56) 
07 - Repetition (2:59) 
08 - The Bird (4:48)               play
09 - K.C. Blues (3:28) 
10 - My Melancholy Baby (3:26) 
11 - Blues For Alice (2:50) 
12 - I Can't Get Started (9:18) 
13 - Kim (3:01) 
14 - Just Friends (3:34) 
15 - She Rote (3:09) 
16 - Lover Man (3:21)              play

Personnel includes: 
Charlie Parker, Willie Smith (alto saxophone); 
Lester Young (tenor saxophone); 
Miles Davis, Dizzy Gillespie, Kenny Dorham, Red Rodney, Al Killian, Howard McGee (trumpet); 
Joseph Singer (french horn); 
Eddie Brown, Mitch Miller (oboe); 
Verley Millsm, Myor Rosen (harp); 
Bernie Leighton, Al Haig, Thelonious Monk, Hank Jones, Walter Bishop, Jr., John Lewis, 
Arnold Ross, Stan Freeman (piano); 
Percy Heath, Curly Russell, Ray Brown, Tommy Potter, Terry Kotick, Billy Hadnott (bass); 
Max Roach, Buddy Rich, 
Shelly Manne, Kenny Clarke, Lee Young (drums).

For those who haven't yet invested in Definitive's excellent four-CD set Charlie Parker: The Complete Norman Granz Master Takes, Verve Jazz Masters 15 may serve as a useful sampler containing some of this master improviser's best performances recorded between January 1946 and July 1953. In addition to Jazz at the Philharmonic jams ("I Can't Get Started" clocks in at over nine minutes), collaborations with orchestras led by Machito, Joe Lippman, Jimmy Carroll, and Neal Hefti, Bird is heard in the company of the best modern jazzmen of the day. By virtue of the excellent material compiled herein, this potent package rates as one of the best entries in Verve's Jazz Masters series. ---arwulf arwulf, Rovi

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