CHARLIE PARKER [Night at Carnegie Hall] DIZZY [Birdland

$

155

195? BIRDLAND Records LP-425
DEEP GROOVE * MONO ORIGINAL 10"
with:  Dizzy Gillespie * John Lewis * Al McKibbon Joe Harris

*

VINYL is VG+(+)  fine copy! great shape for it's age lot's of gloss! light hairline marks, nothing severe or  that can be felt
 COVER is VG+ light surface/edge wear wobc


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**** Those of you who are not familiar with 10" collecting, should be made aware that though the vinyl quality is  generally heavier & can withstand more handling, most 10" Lps were issued without inner sleeves & can have more surface wear than 12" lps. Additionally, the sound quality in some recordings  may be lacking due to "live" recordings & microphone placement. Most collectors seek out these records for their historical importance or completists who are looking to fill out an entire discography.  Please keep this in mind when bidding & remember that all of our products are 100% guaranteed & may be returned for a no-questions-asked refund if dissatisfied.
****

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One of a handful of musicians who can be said to have permanently changed jazz, Charlie Parker was arguably the greatest saxophonist of all time. He could play remarkably fast lines that, if slowed down to half speed, would reveal that every note made sense. "Bird," along with his contemporaries Dizzy Gillespie and Bud Powell, is considered a founder of bebop; in reality he was an intuitive player who simply was expressing himself. Rather than basing his improvisations closely on the melody as was done in swing, he was a master of chordal improvising, creating new melodies that were based on the structure of a song. In fact, Bird wrote several future standards (such as "Anthropology," "Ornithology," "Scrapple from the Apple," and "Ko Ko," along with such blues numbers as "Now's the Time" and "Parker's Mood") that "borrowed" and modernized the chord structures of older tunes. Parker's remarkable technique, fairly original sound, and ability to come up with harmonically advanced phrases that could be both logical and whimsical were highly influential. By 1950, it was impossible to play "modern jazz" with credibility without closely studying Charlie Parker. 

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