On May 7, 1949, Charlie Parker and his Quintet
flew to France to take part in that year’s Paris International Jazz Festival
together with a star-studded line-up of American jazz stars of the era
including Sidney Bechet, Hot Lips Page, Miles Davis, Big Chief Russell Moore,
Pete Johnson, and Tadd Dameron among others. On May 5, Bird and his group were
in the studio taping tracks for Norman Granz’ Mercury label.
A musically successful session, but the results
were never released in any logical format until decades later. As a result, the
tracks have been overlooked by many reviewers, discographers and commentators
down the years owing to the chaotic, error-strewn, piece-meal naming and releasing
of the songs and by the incompetence of the various music organisations, mainly
Granz, involved.
However, thanks to Phil Schaap (a Parker
‘authority’ who has spent his life researching all aspects of Bird’s music in minute detail), all the
material recorded on that day has been correctly released “warts-and-all” on Unheard Bird: Charlie Parker The Unissued
Takes on Verve 00602547846587. The three tracks are now known as Tune X (Segment/Diverse) Tune Y (Blues) and
Tune Z (Passport) and throughout, Charlie’s playing is amazing. He is
confident, unbelievably imaginative, playful, daring and fully in control of
the situation. One can tell that the whole group were also looking forward to
this prestigious event in Paris.
Al Haig, in my opinion, Bird’s best accompanist –
his comping was so musical, apposite and supportive that it would inspire the
front line players. Max Roach, equally impressive, prompting, cajoling, guiding
and thoughtfully kicking the whole session along.
Trumpeter Kenny Dorham’s playing was somewhat
uneven, however, it must be remembered that he was a young man learning his
trade in the shadows of Gillespie and Navarro in the crucible of the Parker
Quintet and who, later in his career, became a fluent first-rate player with a
lovely burnished tone.
Tommy Potter on bass was Bird’s ‘Mr Dependable’ providing
accurate, bouncy, bebop bass-lines completing the ideal rhythm section. There
is a photograph taken at the Salle Pleyel where Tommy is playing at the front
of the group and Bird and Kenny are standing behind – it looks as though Bird
wanted the bass lines to be picked up by the house sound system (there were no
amps for the bass in those days).
From the numerous alternate takes provided by Phil
Schaap it’s possible to hear Charlie trying out ideas, improving or discarding
them. There are several examples of him using a favourite device where he
begins his phrase a bar or two before the conventional sequence leaving the
listener (and possibly the rhythm section) disconcerted – this was
groundbreaking in 1949! He also gets himself into musical tight corners in his
solos but always seems ‘to get away with it’ naturally. The aural fidelity of
the session is surprisingly high for the time and Charlie’s own tone was
captured fully ranging from gentle, warm, beguiling and sensuous to harsh,
electrifying and demanding.
Bird, vous etes formidable, Bravo!
Dave B.
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