It is a concept the Rob Swift produced “Cheers (X-Ecutioners Style)” pushes even further by adding loops of spoken voice, record scratches, and digital beats.īird Calls – Rudresh Mahanthappa (Act Music, 2015)Īlto saxophonist Mahanthappa has long been interested in testing the abilities of his horn. On “Steeplechase (Sittin’ on 22’s),” Dan the Automator validly contends that any perceived line between “jazz” and “hip hop” is arbitrary one could even argue that Parker’s approach to improvisation of placing together different shards of phrases was an antecedent to sampling. Meshell Ndegeocello’s deep bassline guides her “Relaxin’ At Camarillo (August 29)” duet with Ray Angry’s soulful organ. John and Mocean Worker join in along the way, over the backdrop of Dizzy Gillespie’s Quintet. It begins with the Kronos Quartet presenting a few bars reminiscent of the great Charlie Parker with Strings (Mercury Records, 1950) before it forges its own path drawing equally from jazz, classical, and folk. Peanut Chronicles),” one of the finest tracks, and the brainchild of the late Hal Wilner. Electronic and acid are writ large but far from the only influences. Producer Matthew Backer assembled an impressive team of collaborators from across the musical spectrum to make his reimagined picture a reality. Each overtly honor Bird but, like the saxophonist himself, aren’t intent on replicating what came before but instead pushing into new territory.īird Up: The Charlie Parker Remix Project (Savoy Jazz, 2003)Īlthough the title is a bit of a misnomer as it does not, in any technical sense, remix any of Parker’s recordings, it does adopt the spirit of that approach by taking the originals and introducing new thoughts and context to them. But man, there’s no boundary line to art.”Īnd so, this list selects less traditional albums dedicated to his artistic greatness. As Parker himself said, “hey teach you there’s a boundary line to music. Instead, it is in his expansive ethos, one that sees rules not as hard and fast but barriers to test. But neither is where his true glory lies. Yes, “Yardbird Suite,” “Anthropology,” and several others continue to fascinate. And while each is well-appreciated, in some ways, they also miss the central point of Parker’s legacy. As such, it is unsurprising that there are several tributes to him on the centennial anniversary of his birth. In the process, he inspired countless musicians. Although improvisation played a significant role in “jazz” before Bird, he took it to the next level by using small parts of compositions to build new harmonic fixtures while exploring the outer ranges of melodicism. Despite living only a short thirty-four years, Parker established himself as one of history’s greatest musicians. The name of the street was also fortuitous as he would be the one to free music from its confines to a higher plane of expression. was born in a home at 852 Freeman Avenue, Kansas City, Kansas.
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