The Dial Recordings of Charlie Parker: A Discography (Discographies: Association for Recorded Sound Collections Discographic Reference)

THE DIAL RECORDINGS OF CHARLIE PARKER

Charlie Parker performing at the 19 February 1947 Dial Records session, C. P. MacGregor Studios, Los Angeles. Photo reproduced by permission of Ross Russell.

THE DIAL RECORDINGS OF CHARLIE PARKER A Discography Compiled by

Edward M. Komara

Discographies, Number 76 Michael Gray, Series Editor

GREENWOOD PRESS Westport, Connecticut • London

Library of Congress Cataloging-in-Publication Data Komara, Edward M., 1966The Dial recordings of Charlie Parker : a discography / compiled by Edward M. Komara. p. cm.—(Discographies, ISSN 0192-334X ; no. 76) Includes bibliographic references (p. ) and index. ISBN 0-313-29168-3 (alk. paper) 1. Parker, Charlie, 1920-1955—Discography. I. Title. II. Series. ML 156.7.P35K66 1998 016.7887'3165'092—dc21 98-16781 MN British Library Cataloguing in Publication Data is available. Copyright © 1998 by Edward M. Komara All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 98-16781 ISBN: 0-313-29168-3 ISSN: 0192-334X First published in 1998 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. Printed in the United States of America

The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10

9 8 7 6 5 4 3 2 1

CONTENTS List of Tables

vii

Preface

ix

Acknowledgments

xi

HISTORICAL NARRATIVE The Founding of Dial Records The Dial Jazz Sessions The Later Years of Dial The Spotlite Reissue The University of Texas at Austin Parker's Dial Contracts and Royalties Dial Studio Session Conditions Titles and Couplings Parker's Dial Studio Session Repertory Dial Pieces in Parker's Live Repertory The Dean Benedetti Collection Afterword Notes

1 3 6 8 9 11 13 14 16 21 22 27 27

Structure of the Catalogue

39

List of Record Issues by Label

41

Transcription Sources with Sigla

53

CATALOGUE June 6, 1945 February 5, 1946 March 28, 1946 July 29, 1946 February 1, 1947 February 19, 1947

57 63 65 71 75 79

Contents

VI

February 26, 1947 October 28, 1947 November 4, 1947 December 17, 1947 COMMENTARY June 6, 1945 February 5, 1946 March 28, 1946 July 29, 1946 February 1, 1947 February 19, 1947 February 26, 1947 October 28, 1947 November 4, 1947 December 17, 1947

85 91 99 105 113 115 119 121 127 129 133 137 141 147 153

List of Performance Sources with Sigla

157

Appendix 1: Dial Issues of Charlie Parker

169

Appendix 2: Titles Suggested by Tempo Music Shop Customers

177

Appendix 3: Titles Suggested by Charlie Parker

179

Appendix 4: The Dizzy Gillespie Dial Session

181

Appendix 5: Grand Prix du Disque Honors for Charlie Parker

191

Bibliography

193

Index of Names

197

Index of Titles

201

Index of Transcriptions

205

TABLES 1. Charlie Parker's Comet and Dial Label Repertories and Their Harmonic Sources

17

2. Charlie Parker's Harmonic Sources for His Comet and Dial Repertories

19

3. Frequency of Parker's Comet and Dial Label Repertories in All Studio, Radio, and Private Performance Sources

23

4. Frequency of Parker's Savoy Label Repertory in All Studio, Radio, and Private Performance Sources

24

5. Frequency of Parker's Dial Label Repertory in the Dean Benedetti Recordings

25

6. Frequency of Parker's Comet and Dial Label Repertories in All Studio, Radio, and Private Performance Sources Excluding the Dean Benedetti Recordings

26

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PREFACE A saxophonist is standing alone, away from the rest of the band; his frizzy hair, his tapering hands, and the curve of his instrument are faintly perceptible in outline. Enveloped in a smoky haze, he slowly wends his way through a ballad, seemingly playing whatever inspires him at the moment. Such is a typical depiction of a "modern jazz" musician as perceived in works of art, photographic stills and motion pictures, television shows and commercials, and printed advertisements. Charlie "Bird" Parker (1920-1955) sometimes looked unkempt, but he always defied the notion that a jazz musician had to perform carelessly. Time and again his alto saxophone solos became models of elegant improvisation for other musicians and listeners to consider and follow. For his clever creativity and his persistence in presenting his musical innovations to indifferent if not hostile audiences, Parker is counted among the towering figures in jazz history. For maintaining his distinctive musical identity and personal composure through crushing troubles, Parker is also thought of as a great modern cultural hero. Parker did not compose music in the sense of writing all the notes before the first performance. Rather, in front of public audiences, he improvised his themes and solos from the song structures, his favorite saxophone licks, and various motifs and melodies from his wide knowledge of different kinds of music. He notated few of his musical themes and none of his solos; and he spoke little about his music and wrote even less. As a result, his recordings are the primary sources of his music. Most of Parker's studio recordings were made for Savoy Records, Dial Records, and the Mercury/Clef/Verve labels owned by Norman Granz. Hundreds of his concert and nightclub performances were recorded and released to the public. To some extent then, an evaluation of Parker's music as a whole or in part should take into account what he performed, and where, for whom, and under what circumstances his surviving recordings were made. Such accounting requires a critically prepared descriptive catalogue, an investigation of the recordings' history or histories, and, in some cases, repertorial studies towards recognizing a musical piece's significance in the musician's performing career. In Parker's case, the recordings most in need of this treatment are those performed for and bought by Dial Records. By preparing discographical descriptions, historical narratives, and repertorial collations for these Dial recordings, it is hoped that the obstacles of multiple titles and matrix switches will be cleared, thus enabling the examination and unfettered enjoyment of Parker's music on its own terms. This book can be broadly divided into three parts. The historical narrative treats the

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Preface

establishment of Dial Records by Ross Russell, the arrival of Charlie Parker, the two-year relationship between label owner and artist, and the nature of the repertory that Parker played during his Dial sessions. Since many events in the saga of Parker and Dial have long passed into the realm of jazz folklore, this narrative is heavily annotated to substantiate individual statements with as many written or published sources as possible. The catalogue presents the Dial recordings and pressings, the subsequent reissues, and the notated transcriptions of Charlie Parker's solos from eight Dial studio sessions, one Comet studio session later bought by Dial, and a set of private recordings now known as the "Kopely-Home Cooking" session. It was tempting to attach a prefix code before each take, but doing so would have cluttered up the catalogue. Researchers, transcribers, and writers citing individual takes should include the appropriate matrix and take numbers whenever possible. The commentary provides supplemental notes on individual pieces, including details about harmonic sources, and variant and substitute titles. Collations of additional recordings of Parker performing his Dial repertory are also given, using sigla from the list of performance sources following the commentary. At the back of the book are appendices and indices. The appendices give full details on the Dial issues of Parker's performances, suggested titles, a Dial session that Parker had skipped, and French honors on certain overseas issues of Parker's Dial takes. The indices cover not only performers, composers, and titles, but also the notated transcriptions of Parker's solos, including the voluminous efforts of Thomas Owens and Andrew White. A feature of the catalogue that I wished to include was the use of notated incipits or excerpts from each take, in order to distinguish one recorded performance from another. In the M.A. thesis version of this book (Komara, "The Dial Recordings of Charlie Parker," State University of New York at Buffalo, 1992), I included notated excerpts from the theme and Parker's opening phrase from each take, adding additional excerpts when necessary. The result was a thematic catalogue that relied directly on the musical content, rather than on verbal description that can be less precise than musical notation. Barry Kernfeld and Howard Rye, in footnote 8 to the first part of their overview "Comprehensive Discographies of Jazz, Blues, and Gospel" (Notes 51, no. 2 [December 1994J: 511), anticipated the book publication of this thesis because of its systematic use of notated incipits towards musical description. However, while preparing the thesis for publication, there was great difficulty obtaining information from one music publisher about the permission to quote certain copyrighted pieces as incipits. When two years of correspondence with this music publisher ended at a standstill, I felt that the publication of the rest of the work could no longer be delayed. Without the unambiguous notated incipits, it is hoped that the track citations of the Spotlite Records systematic reissues of Parker's Dial sessions, which may be found in many academic and public music libraries, can provide practical points of comparison and identification to those listeners possessing other reissues and various notated transcriptions. Those who wish to see how notated incipits can be used in jazz discography should look at my M.A. thesis, and at James Patrick's article "Discography as a Tool for Musical Research" (Journal of Jazz Studies 1, no. 1 [October 1973]: 65-81). For many readers, the enormous amount of details in the catalogue and commentary may be overwhelming. If so, they should return to the historical narrative to regain the overall sense of where a given piece fits into Parker's life and oeuvre. But all readers are encouraged to seek the books and articles cited throughout this volume, and even to engage in conversation with anyone they see putting on a Charlie Parker record. If Bird still lives, it is through the hearts and minds of those spurred by his music to ask about him.

ACKNOWLEDGMENTS Many people helped me with this project through its incarnations as thesis, article, and this book. The first version was a thesis towards the M.A. in Music History, written at the State University of New York (SUNY) at Buffalo under the advisorship of James Patrick, with additional comments from James Coover and Dr. Carol Bradley. Their contributions to this fledgling project did not end with their acceptance of the thesis, but continued through all stages of this book's preparation. Richard McRae of the SUNY at Buffalo Music Library was unstinting in his assistance, from the initial research to the finishing touches. Also to be thanked are the SUNY at Buffalo Music Library professionals and staff, especially Nancy Nuzzo, Gudrun Kilburn, and Joyce Ciurczak, as well as David Nuzzo of the SUNY at Buffalo Lockwood Library for his technical advice. Funding for thesis research was provided by a grant from the Mark Diamond Research Fund administered by the SUNY at Buffalo Graduate Student Association. Primary source research was conducted with the Ross Russell Collection at the Harry Ransom Humanities Research Center (HRHRC), the University of Texas at Austin. I am thankful to Cynthia Farar and George Leake of the HRHRC for their notes and guidance during my research visit there in November 1990. A return visit to the University of Texas at Austin for the Jazz Symposium and Exhibit in April 1992 gave me another opportunity to see Mr. Leake again and to meet Dell Hollingsworth and Dave Oliphant, both of the HRHRC; these three have since kept me up-to-date on the Ross Russell Collection and its maintenance. The proceedings of the 1992 symposium and exhibit, including my contribution, "The Dial Recordings of Charlie Parker," were edited by Dave Oliphant and published under the title The Bebop Revolution in Words and Music (Austin: Harry Ransom Humanities Research Center/University of Texas, 1994). The two most important contributors to this volume were Ross Russell and Spotlite Records owner Tony Williams. In 1994, David Oliphant introduced me by mail to Ross Russell, who in turn introduced me to Tony Williams. Without their help, this book would not be as comprehensive as it is. In early 1995, Ross Russell and I checked over the narrative, correcting mistakes and adding new details. Discrepancies between what Russell remembered and what was recorded on disc or in the Dial files were investigated, then reconsidered; Russell spared me nothing in his recollections and interpretations of key events, including some not covered in his writings. For his part, Tony Williams supplied me with the Spotlite LP reissues of the Dial sessions, then kept me up-to-date with the Dial compact disc series as each release was completed. The generosity and keen attention these two men have

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Acknowledgements

shown me in this project have been unflagging, even during the time when book's preparations were stalled. It is regrettable that the notated incipits for musical description will not be used in the catalogue at this time, for reasons discussed in the preface. Of great help were calligrapher Tina Davidson, who dexterously copied the incipits from my musical manuscript; and Thomas Owens, Andrew White, and Lawrence Koch, all of whom granted me permission to make use of their respective transcriptions of Parker's Dial solos for incipits. Much advice and support came from my colleagues at the University of Mississippi Libraries, including Martha Swan, John Cloy, and Nancy Fuller. I am very thankful to Lynda McNeill and Laura Sullivan, my staff at the Music Library and Blues Archive, for easing my workload while I was finishing the revised texts. I have enjoyed many discussions about the music and mystique of Charlie Parker with various friends and colleagues, including Douglas Allanbrook, Dale Phillips, Laudelyn Asinas, Barry Burrows, Jason McDeavitt, Vincent Pelote, Monica Burdex, Dave Rubin, Alan Green, James Grattan, Bart Galloway, Douglass Parker, Richard Lawn, and David Sanjek. Doug Meriwether, the discographer of Buddy Rich, was very encouraging, especially during the revision of the list of record issues. And finally, thanks to my family, who unfailingly supported me throughout, and who lent their printing expertise towards the visual preparation of the text you are now reading. Typesetting, including choice of fonts and camera-ready copy production, was expertly done by my brother, John P. Komara, at the Printing Center, Geneva, New York. Specifications and advice for the book were ably supplied by Alicia Merritt and Pamela St. Clair at Greenwood Press. Material first published in Komara, "The Dial Recordings of Charlie Parker," in Library Chronicle of the University of Texas at Austin 24, nos. 1-2 (1994) is incorporated into the historical narrative by permission from Dave Oliphant, Harry Ransom Humanities Research Center, The University of Texas at Austin. (This issue is also available in trade publication as Dave Oliphant, ed., The Bebop Revolution in Words and Music [Austin: Harry Ransom Humanities Research Center, University of Texas, 1994].) The frontispiece photograph of Charlie Parker performing at the February 19, 1947 Dial session at C. P. MacGregor Studios, and Ross Russell's two Dial memoranda regarding suggested titles, are reproduced by permission of Ross Russell, and are housed in the Ross Russell Collection, Harry Ransom Humanities Research Center, The University of Texas at Austin.

HISTORICAL NARRATIVE THE FOUNDING OF DIAL RECORDS Dial Records was founded by Ross Russell in 1946 in Hollywood. Born Ross Moody Russell on March 18, 1909, in Los Angeles,1 he graduated from Glendale High School in 1926.2 The following year, Russell enrolled at the University of Washington, Seattle, but after one semester he transferred to the University of California, Los Angeles. To support himself through college during the Depression, he worked as an assistant pro at the Westwood Country Club.3 Russell began listening to jazz in 1931, a time when Louis Armstrong was still recording for Okeh in Chicago, and when Duke Ellington performed separate versions of "Creole Rhapsody" for Victor and Brunswick. Russell quickly made friends with two fellow UCLA students, Marvin Freeman and Campbell Holmes, both of whom had brought back various jazz publications acquired from their year of study at the University of Heidelberg.4 With the encouragement of these friends, Russell began seeking and buying discontinued jazz 78s, driving from place to place in a Model T Ford.5 From 1933 through 1941, Russell concentrated on writing pulp fiction.6 During those same years, he continued his active interest in jazz and its recordings; many letters and photographs from jazz musicians and record collectors survive from this period.7 In 1937, Ross Russell met Luis Russell, the veteran musician then leading Louis Armstrong's road orchestra. The bandleader invited the young writer to come along with the orchestra when it accompanied Armstrong for a week-long string of performances in northern California. Ross Russell accepted the invitation, and thus enjoyed some memorable nights witnessing Armstrong, Zutty Singleton, and other jazz pioneers on- and offstage.8 During World War Two Russell served in the merchant marine.9 Upon receiving a medical discharge in early 1945, he worked at Lockheed Aircraft until the war's end.10 With the money saved from both jobs, Russell opened a retail record store in Hollywood called Tempo Music Shop on July 20, 1945.11 At first, Tempo Music Shop specialized in rare recordings of early jazz, but by the end of 1945 it was becoming involved with a new style of jazz coming out of New York City nicknamed "bebop."12 The "bebop" style of jazz had its origins in New York City in the early 1940s among young jazz musicians such as Dizzy Gillespie, Thelonious Monk, Kenny Clarke, and Charlie Parker. Gathering in after-hours clubs such as Minton's Playhouse and Monroe's Uptown House, these musicians experimented with different chords and rhythms in place of the mu-

The Dial Recordings of Charlie Parker

2 13

sical conventions associated with swing bands. Gillespie and Parker continued their musical experiments while touring with Earl Hines in 1942-1943 and with Billy Eckstine in 19431944.14 An American Federation of Musicians union ban on recording sessions prevented the recording of the new musical developments that occured during 1942 and 1943.15 When Gillespie, Parker, and Sarah Vaughan eventually recorded in 1944 and 1945, they did so for labels such as Comet, Continental, and Manor, short-lived independent labels which could easily afford to press and ship a few thousand copies to the few jazz specialty shops then existing in the country.16 Into the fall of 1945, these independent firms could still record major "bebop" talent. One notable opportunity was taken by Herman Lubinsky and Teddy Reig to record Charlie Parker for the Savoy label on November 26, 1945.17 For Parker, it was the first time he acted as a recording session leader, directing the participating musicians, and selecting the compositions to be performed. During this Savoy session, Parker recorded his signature tour de force "Koko," based on the chords of Ray Noble's "Cherokee." A few weeks later, Parker embarked with Dizzy Gillespie to Los Angeles for a series of performances. Meanwhile at Tempo Music Shop, Russell noted these recent musical developments and saw the opportunities for a record label specializing in this new music. Russell attended Parker and Gillespie's performances in December 1945 at Billy Berg's club in Los Angeles, and he came away deeply impressed.'8 In the following month, January 1946, Russell founded Dial Records as an outgrowth of Tempo Music Shop, in emulation of Commodore Records run by Milt Gabler from the Commodore Record Shop in New York City.19 Assisting Russell was his UCLA friend Marvin Freeman, now a Los Angeles attorney.20 Freeman had also noticed the new style of jazz, and he joined Russell as a financial and operational partner in the fledgling record company.21 Among Freeman's contributions was the name "Dial," which he took from the 20th century literary review The Dial that he read as a student.22 Neither Russell or Freeman had prior experience in recording jazz. They learned an expensive lesson on how to run an orderly recording session while preparing for the first Dial session, originally planned for late January23 but postponed until February 6, 1946.24 The session was to be held at Electro Broadcasting Studios, a cheap, cut-rate radio station in Glendale, California.25 Acting as "orchestra leader" of this session, George Handy, pianist for Boyd Raeburn at the time, listed on the American Federation of Musicians (henceforth AFM) union contract the soloists Dizzy Gillespie, Charlie Parker and Lester Young, with Lucky Thompson as an alternate if Young did not show.26 Gillespie and Parker had just finished their last engagements on the West Coast, and they were planning to play this Dial date before catching an airplane back to New York.27 Russell and Freeman were still awaiting formal approval to establish Dial as a business, yet they did not wish to miss this opportunity to record Gillespie and Parker. They approached Alec Compinski, owner of the Alco Recording Company, to sign the AFM union contract in their stead and to assist in the recording session. Compinski agreed to help, signing the AFM union contract and advising the Dial owners, for a fee with an executive sales commission (or "overrides") in return.28 The February 5 rehearsal was hampered by inexperienced studio technicians and many unwanted spectators and bystanders.29 A test take of "Diggin' Diz" [Dial mx. D 1000] was all that was completed, featuring Handy, Gillespie, Parker, guitarist Arvin Garrison, and Lucky Thompson filling in for the absent Lester Young. The recording session on the following day was almost never held. At 7:30 p.m., one half hour before the scheduled session time of 8:00 p.m., Handy told Russell on the telephone that he had lost track of Parker the previous night, that he was having trouble with the other personnel, and that he wanted to cancel the session.30 Russell quickly enlisted the help of Dizzy Gillespie, who brought his working band, minus the still unlocated Parker, to the Glendale studio. Five pieces were recorded,

Historical Narrative

3

among which were Parker's composition "Confirmation" [Dial mx. D 1001-E], and "Dynamo A" [D 1003-A] and "Dynamo B" [D 1003-B] that were to be issued back-to-back on Dial 1001, the label's first release. Although the performances were acceptable, the recorded sound quality was slightly marred by an extra microphone inadvertently left open, resulting in some distortion.31 Not wishing to repeat this experience, Russell set three rules that were enforced in future Dial sessions and that contributed to the high recorded sound quality heard on Dial's best known releases. One rule was that session leadership was to be granted only to those musicians on whom the session supervisor could rely to appear and to guide their supporting musicians. Another rule forbade uninvited observers from rehearsals and recording sessions. The third rule Russell set for himself was that Dial sessions would be held not in cut-rate studios like Electro Broadcasting Studios, but rather in professional recording studios like C. P. MacGregor Studios and Universal Recorders in Los Angeles.32 The enforcement of these rules ensured efficient use of expensive studio time and resulted in records displaying professional musicianship and faithful sound reproduction. THE DIAL JAZZ SESSIONS Ross Russell held sixteen jazz recording sessions for Dial Records. Seven of these sessions, in addition to the "Diggin' Diz" rehearsal, are covered in the following catalogue featuring alto saxophonist Charlie Parker. All of Dial Records' jazz sessions were devoted to bebop, providing a contemporary musical context within which Charlie Parker's Dial releases were issued and promoted. The first Dial session was the Dizzy Gillespie date described above. Nearly two months passed before the second Dial session was held. Russell spent the intervening time promoting the new label, releasing Dial 1001 (containing "Dynamo A" and "Dynamo B"), and signing new musicians. One of them was Charlie Parker, who did not return to New York City with Dizzy Gillespie as planned, but stayed in Los Angeles; in hindsight, Ross Russell believed Parker had cashed his plane ticket and had spent it in a single day.33 To support himself on the West Coast, Parker played various club dates in Los Angeles and appeared when possible in Norman Granz's Jazz at the Philharmonic shows. In order to cement Parker's affiliation with Dial, a handwritten contract was signed by Parker and Russell on February 26, 1946.34 A session was planned for March 4, 1946,35 but it was postponed until March 28, 1946. For the coming recording date, Parker recruited Miles Davis, Lucky Thompson, Dodo Marmarosa, bassist Red Callender, Arvin Ganison, and Roy Porter to perform as his sidemen.36 The preparatory rehearsals did not go well. A 2:00 p.m. rehearsal on March 27 at the Finale Club was postponed until 2:00 a.m., after Parker's performance there. However, the sidemen were ill at ease about their session leader's lack of planning for repertory and solos,37 Red Callender being uncomfortable enough as to quit the recording ensemble.38 In what little time between the rehearsal and the session, Russell contacted Vic McMillen to play bass in the studio.39 The situation improved at the session itself. Parker recorded "Moose the Mooche," "Yardbird Suite" and "Ornithology" in quick succession. During a rest break, Russell suggested a Parker rendition of Dizzy Gillespie's "A Night in Tunisia" to complete the session.40 After some rehearsal and five takes, Parker approved the fifth take of "A Night of Tunisia" for issue. Parker's next session for Dial was led by Howard McGhee on July 29, 1946. Parker had not fared well since the previous spring: he was suffering from lack of both drugs and steady work, relying on port wine and whiskey to sustain himself.41 By July 1946 when he

4

The Dial Recordings of Charlie Parker

was located by McGhee, Parker had deteriorated into a severely weakened physical and mental condition.42 On July 29, Russell and McGhee filed an AFM union contract for a session with Parker later that day,43 in an apparent effort to record Parker before his condition worsened.44 McGhee signed as leader, rendering Parker as a sideman with no power to approve the release of any recorded takes. McGhee recorded four numbers with Parker, and then two additional pieces after the saxophonist left the session.45 While he was at the studio, Parker continued to suffer mentally and physically, afflicted especially by a nervous tic that jerked his whole body. To reduce the erratic sound quality of Parker's solos caused by the spasmodic tic, Russell held the saxophonist still in front of the microphone during the takes of "The Gypsy" and "Bebop."46 The ill musician was brought back to his hotel in care of a Finale Club custodian and put to bed. Not long after waking, Parker involved himself in an incident of indecent exposure and arson, which eventually resulted in a six- month treatment at Camarillo State Hospital for drug addiction.47 Despite the nightmarish circumstances, the session's recordings were released on Dial 78 rpm discs. Russell explained he did so for the young hipster customers at Tempo Music who felt the records were important documents of Parker playing under stress.48 McGhee stated to an interviewer "there were no wrong notes, and I feel that the records are beautiful."49 Parker, after his mental recovery, differed to the other extreme: "If you want to know my worst on wax . . . that's easy. I'd take 'Lover Man' . . . no, I think I'd choose 'Be-Bop' (sic), made at the same session, or 'The Gypsy.' They were all awful."50 Elliott Grennard, a Billboard reporter, witnessed the session and the following year published a lightly fictionalized account of the event. At the end of his short story, Grennard stated why these records were so fascinating: "Yeah, Sparrow's last recording would sure make a collector's item. One buck, plus tax, is cheap enough for a guy going nuts."51 The fourth and fifth Dial sessions were held during Parker's treatment. The fourth date was at C. P. MacGregor Studios on September 21, 1946, featuring Woody Herman bandmembers Saul "Sonny" Berman on trumpet, Bill Harris on trombone, Flip Phillips on tenor saxophone, Serge Chaloff on baritone saxophone, and pianist Ralph Burns, performing arrangements by Shorty Rogers.52 One of the recordings made was "Blue Serge," an improvisation by Serge Chaloff on the chords of "Cherokee." The fifth session, on October 18, 1946, was led by Howard McGhee, recording for Dial for the second time.53 Among the pieces McGhee did was "Dialated Pupils," a revision of the ill-fated "Max Making Wax" attempted with Parker the previous July. During the fall of 1946, Russell sold Tempo Music Shop and bought Marvin Freeman's share of Dial, becoming the sole owner; without the daily concerns of Tempo Music Shop, he could devote his full energy towards developing the label.54 He monitored Parker's improvement at Camarillo, and with Sunset Records owner Eddie Laguna he held a benefit concert to raise funds for Parker.55 Parker was released in Russell's custody from Camarillo State Hospital in late January 1947.56 On February 1, 1947, Russell exercised the renewal option in Parker's Dial contract,57 and within three weeks, Parker entered C. P. MacGregor Studios to resume recording for Dial. The dates led by Parker in February 1947 were Dial's sixth and seventh sessions overall. The sixth session was held on February 19, 1947 with vocalist Earl Coleman and the Erroll Garner Trio.58 Russell, who had never signed vocalists for Dial nor was keen to do so, put together this date to appease Parker's repeated requests to record with Coleman.59 Two songs, "This Is Always" and "Dark Shadows," were recorded with Coleman's vocals, and another two pieces, "Bird's Nest" and "Cool Blues," were spontaneous yet professional instrumentals by Parker and the Garner Trio. The seventh session, on February 26, 1947, featured an all-star lineup including Parker,

Historical Narrative

5

Howard McGhee, tenor saxophonist Wardell Gray, Dodo Marmarosa, and Barney Kessel. A rehearsal was held on the preceding day.60 Parker, the session leader, brought only one piece, a blues that was to be issued under the title "Relaxin' at Camarillo." Parker's sinuous theme seemed to take in the entire 12-measure chorus in one long phrase, and it confounded the other musicians. Parker had to teach it to them by ear.61 Trumpet soloist Howard McGhee provided the other three pieces to round out the session: "Cheers," "Carvin' the Bird," and "Stupendous." Parker returned to New York City in March 1947. Before following him there in July 1947, Russell held three sessions. The eighth Dial session, at C. P. MacGregor Studios on June 5, 1947, paired tenor saxophonist Dexter Gordon with trombonist Melba Liston. The ninth session, recorded on June 12, 1947, featured Dexter Gordon with Wardell Gray.62 Two of the pieces waxed on this date were the noted "Bikini" [Dial mx. D 1087-A] 63 and "The Chase," the latter using an introduction that would later show up in Parker's "Klact-oveesedstene." The tenth session was a solo piano date with Erroll Garner on June 10, 1947.64 Garner recorded eight pieces, including his celebrated "Fantasy on Frankie and Johnny." 65 While setting up the Dial offices in New York City, Russell learned that Parker violated his Dial contract by doing a session with Savoy Records. 66 During the entanglements that ensued between the two labels over Parker, the musician was advised by his agent Billy Shaw to record no more for Savoy and to sit out his Dial contract. However, when news came of the upcoming AFM recording ban-planned to begin on January 1, 1948-Shaw gave Parker approval to continue recording for Dial.67 Remembering how idle the recording firms were during the 1942-1944 AFM recording ban,68 Russell hurriedly scheduled sessions with his contracted musicians, and he encouraged them to record as many pieces as possible within the allotted studio times. For his own part, Parker scheduled two sessions with Russell, for October 28 and November 4, filing the AFM union papers on October 25. 69 Since time was of the essence, Parker used his working band instead of a hand picked all-star ensemble for these two sessions. Fortunately, Parker's working band was an all-star ensemble in itself: Miles Davis, trumpet; Duke Jordan, piano; Tommy Potter, bass; and Max Roach, drums. This group recorded six pieces at both sessions. For the October 28 date, they recorded "Dexterity," "Bongo Bop," "Dewey Square," "The Hymn," "Bird of Paradise," and "Embraceable You." The following week, the quintet performed another six pieces: "Bird Feathers," "Klact-oveesedstene," "Scrapple from the Apple," "Don't Blame Me," "Out of Nowhere," and "My Old Flame." Like Parker, Howard McGhee was encouraged to record as many pieces as he could during his Dial session at WOR Studios in New York City on December 3, 1947. Leading an ensemble that included tenor saxophonist James Moody and vibraphonist Milt Jackson, McGhee recorded the haunting "Night Mist" and "Night Music," with seven additional master takes.70 From Dial's New York offices, Russell scheduled separate sessions in Los Angeles for Dodo Marmarosa and Dexter Gordon before the ban. These sessions were supervised by Eddie Laguna, who had helped Russell with the Parker benefit the previous year.71 On December 3, 1947, Marmarosa with bassist Harry Babasin and drummer Jackie Mills recorded five pieces at C.P MacGregor Studios.72 On the following day at the same studio, Dexter Gordon and Teddy Edwards cut five acceptable masters, two of which were parts one and two of "The Duel." 73 After this flurry of recording activity, there was still a little time for one more Charlie Parker session before the AFM ban was to begin in January 1948. Ross Russell suggested to Parker one more studio date, this time with trombonist J. J. Johnson sitting in with Parker's

6

The Dial Recordings of Charlie Parker

working band. Parker liked the idea, and he and Russell agreed to have the session on December 17.74 A rehearsal was held on December 15 to prepare some very difficult material for the session.75 "Drifting on a Reed," "Charlie's Wig" and "Crazeology" required much patience to record successfully, and they needed to have five, five and four takes respectively in order to produce satisfactory masters. "Quasimado," "Bongo Beep," and "How Deep Is the Ocean" were also recorded on that day. Two weeks after the "Crazeology" session, the AFM union ban on studio recording went into effect; it was to last almost eleven months. Afterwards, Russell held the sixteenth and last Dial jazz session on November 29, 1948 in New York City, featuring Earl Coleman, Fats Navarro, and Max Roach. The ensemble recorded six pieces, one of which was a vocal version of "Yardbird Suite" [Dial mx. D 1163-C].76

THE LATER YEARS OF DIAL Russell's recording activities after 1948 were mostly devoted to sessions of twentieth century classical music. The resulting series, the Dial Library of Contemporary Classics, issued music by Schoenberg, Berg, Webern, Bartok, Stravinsky, Messiaen, and Jolivet, as performed by Rene Leibowitz, the Pro Arte Quartet, Gunther Schuller,77 and Edward Steuermann. The Dial classical program, particularly with a view to the correspondence between Ross Russell and Arnold Schoenberg, has been described by David H. Smyth.78 Also, Dial Records issued calypso and folk music recordings in 1953. The Dial Ethnic series released eight issues on ten-inch 33 1/3 rpm microgroove vinyl discs. Ross Russell himself recorded the music, took the front cover photographs, and prepared the liner notes while on an extended trip through the British, French, and Netherlands West Indies in February and March 1953. Recording location sites were Trinidad (including the Festival at Port of Spain during the two days preceding Ash Wednesday 1953), Martinique, and Curacao. The Dial Ethnic series appeared on Dial 400 labels from June to November 1953.79 Russell continued to release material from the 1946-1948 jazz recording sessions. The long-playing record afforded greater amounts of music and more takes per single disc. Parker received great exposure on the Dial jazz albums, having seven such issues released under his name as leader. In the ten-inch 33 1/3 200 series, Dial LP201, -202, -203, and -207 were devoted exclusively to matrices from the Parker studio sessions. The twelve-inch 900 series albums appeared later: Dial LP901 (originally Dial LP1), Bird Blows the Blues; Dial LP904, Unreleased Masters; and Dial LP905, Unreleased Masters - Volume Two. These twelve-inch releases also drew solely from Parker's Dial sessions, except for LP905 which contained three "Home Cooking" excerpts from what are now known as the "Chuck Kopely" recordings.80 Chuck Kopely may not have been responsible for the "Home Cooking" recordings themselves, but it was at his home where they were recorded. On February 1, 1947, a party was held at Kopely's residence in Los Angeles to celebrate Parker's release from Camarillo State Hospital. A joyful jam session ensued, during which a disc cutter, possibly a Packard Bell model, recorded Parker's solos. Howard McGhee and other musicians held the microphone near Parker's saxophone. Ross Russell wasn't there;81 but a few days later on February 4 he and engineer Bunny Robein listened to, dubbed, and edited the discs at Universal Recorders. A tape transfer was later made by Doug Hawkins in New York on August 25, 1953, from which three excerpts were selected to appear on Dial LP905. The catalogue describes not just the three selections released as "Home Cooking," but also the other recordings that survive from this occasion.82 Russell occasionally bought matrices from other labels. In July 1949, Russell closed

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a deal with Paul Reiner, owner of Black and White Records, for matrices recorded by Comet Records.83 Comet was run by Les Schreiber in 1944 and 1945 in New York, and it released many of its issues on twelve-inch 78 rpm discs.84 Russell acquired the first three Comet sessions from Reiner, namely an Art Tatum Trio session on May 1, 1944,85 a Cyril Haynes session with Don Byas,86 and a Red Norvo date on June 6, 1945. That Norvo-Comet date was and is notable for the curious selection of musicians, some associated with bop like Dizzy Gillespie and Charlie Parker, and others with swing, such as Red Norvo, Slam Stewart, and Teddy Wilson.87 Four pieces were recorded that day, and the master takes of each were released by Comet in 1945. However, soon after closing the deal with Reiner, Russell located outtakes from the Norvo session at WOR Studios.88 The master and alternate takes with two breakdowns were soon issued by Dial on 1035, 1045, and LP903. Russell also bought two Melrose Records sessions from Melvin Rose. One batch of masters [Melrose mx. 105-108] came from the June 7, 1945 Melrose session with the Buck Clayton Quintet.89 Another four masters [Melrose mx. 109-112] came from a Hot Lips Page session for Melrose on September 7, 1945.90 No alternate takes came with the masters with these sessions. Six of these eight Melrose masters bought by Russell appeared on Dial LP213.91 A few Dial series were planned but not developed to full fruition. The 78 rpm label numbers 1100 and 1200 were started for recordings by pianist Jean Germain, yet neither series appeared to have gone beyond 1101 and 1201. The 750 Popular Series, also in the 78 rpm format, re-released Dial performances by Earl Coleman and Erroll Garner, and it leased masters from the French label Blue Star to provide the latest records by Don Byas and Django Rheinhardt to American audiences. The 750 series was cut after ten releases for perhaps the same reason as the 1000 series: to make room for the first Dial long-playing records. A 300 microgroove Historical Series was assembled, its first six albums featuring performances by Sidney Bechet, Earl Hines, Roy Eldridge, and Willie "The Lion" Smith, from various sessions held in Paris by Vogue Records.92 Coming as they did before the perfection of stereo and magnetic tape, the Dial jazz sessions were recorded in monaural sound onto 78 rpm discs. Each of those studio discs or matrices needed to have audition discs and metal stampers processed from them to enable production and issue. For the first Dial rehearsal and session in February 1946, processing of the masters and tests were done by a firm named Allied.93 Most if not the rest of the California sessions were processed at Universal Recorders in Hollywood.94 The New York session masters were processed at WOR Studios.95 Russell evidently took great care in checking the dubbing quality of each matrix; a page from a master dubbing list heavily annotated with Russell's typewritten and handwritten remarks still survives.96 Some unwanted Dial matrices in recording studio vaults were destroyed upon Russell's request,97 a practice that fortunately was not often repeated.98 Although magnetic tape was developed just too late to be used during the Dial jazz sessions, it greatly aided mastering of the Dial microgroove issues. In 1950, Russell and his engineer Doug Hawkins converted the Dial studio discs to tape. The tape transfers greatly reduced the amount of handling of the original source discs, and they simplified masterings of the same recorded performances for 10- and 12-inch commercial releases.99 The pressing quality of the Dial issues varied from series to series. With regard to the 1000 series 78 rpm issues derived from the studio discs, some were pressed in shellac, some in semi plastic, some in pure plastic, and others in pure vinyl. The disc composition changed yet a few more times for the microgroove records mastered from Hawkins' tape transfers. Some if not all of the 200 series 33 1/3 rpm issues were pressed in a plastic compound yielding higher surface noise than pure vinyl. The 900 series 33 1/3 rpm issues used vinyl, if not virgin vinyl.100

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The Dial Recordings of Charlie Parker

Dial issue labels had distinctive visual qualities. The Dial logo in capital letters was designed by Tempo Music customer Wally Berman for use on the record labels and office stationery.101 The Dial 1000 78 rpm commercial issues displayed Berman's logo in sepia on a canary field. Like those on Commodore and Blue Note 78 rpm releases, Dial's 78 rpm labels bore recording details such as title, composer, featured artist and every sideman, "supervisor" (usually Ross Russell), label issue number, and on many issues the recording date and matrix number. The artist David Stone Martin designed the labels for the Dial 33 1/3 rpm issues of jazz, folk, and classical performances released from at least 1952 onwards. 102 The jazz and folk releases featured a yellow circle eccentric with the spindle hole on a field of red, and the classical issues had a similar design in black and red. After 1948, Ross Russell was no longer interested in recording jazz, however much of it he was reissuing on microgroove. In later years, Russell regretted not scheduling additional jazz sessions, admitting that he had opportunities to record Thelonious Monk and the Modern Jazz Quartet. 103 He continued his jazz reissues along with the new releases in contemporary classical music and calypso. Despite these recording sessions and acquisitions in jazz, classical, and folk, Dial Records closed in 1954. Russell sold his jazz sessions to the firm Concert Hall, sending them the mastering tapes, master pressing lists and log sheets on June 3, 1954.104 Less than a year later, on March 12, 1955, Dial's leading artist Charlie Parker died in New York. THE SPOTLITE REISSUE For a brief time after the sale, Russell moved to Massachusetts and took up two of his previous professions, golf and writing. He was the operator of the Revere Golf Range in 1955; later that year, he bought the Mount Pleasant Country Club. Renaming the golf course Leicester Country Club, Russell stayed there until 1959, when he returned to California.105 In the meantime, Russell worked on The Sound, a novel depicting jazz musicians and hipsters in the 1940s. Also, Russell was contacted by Grove Press in 1957 for a biography of Charlie Parker, but with no results at that time.106 After the publication of The Sound by Dutton in 1960, Russell continued to write on jazz. Eventually Russell began drafting his biography on Parker, taking stock of the Parker materials already at hand and collecting additional documents. In 1968, Russell took an inventory of the pressings of the Dial Records jazz session takes in his possession. 107 Considering the distances that it had been moved over the years, from California to New York, then to Massachusetts and back to California, Russell's personal collection of Dial pressings was remarkably complete, notwithstanding what few fragile items that may have been broken in transit. Among the surviving discs, Russell's inventory sorted out the different kinds of pressings: acetate dubs for Dial; test pressings made for Dial for approval before the press run; Dial 1000 series ten-inch 78 rpm issues; Dial 200 series ten-inch 33 1/3 rpm microgroove issues; and Dial 900 series twelve-inch 33 1/3 rpm microgroove issues. The inventory organized the various kinds of discs by session and matrix number. The 78 rpm acetates, test pressings and commercial issues were easily identified by the matrix numbers etched into the surfaces. Since the Dial studio log, master pressing lists and master number lists had been sent to the firm Concert Hall in 1954, Russell made use of Jepsen's discography of Parker to catalogue the 200 and 900 series albums. 108 In some entries, Russell made annotations in his inventory to point out matrices not listed in Jepsen's discography. 109 While Russell was taking his inventory of his Dial pressings, he was contacted by Tony Williams to assist him in a reissue of Parker's Dial sessions. Williams, a British jazz

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collector, established Spotlite Records to reissue bebop recordings. Of special interest to Williams was a comprehensive reissue of Parker's Dial recordings. Such a reissue was timely. The circulation status of those recordings had been erratic after Dial Records' demise. During the firm's active years, Russell leased the recordings to the French label Blue Star for European issue.110 However, soon after the sale of Dial to Concert Hall, a number of labels began to issue Parker's Dial takes; it is not known which of these labels leased their Parker recordings from Concert Hall, and which did not.111 Tony Williams' reissue, Charlie Parker on Dial (Spotlite LP101 - LP106), settled and fixed many discographical problems when it first appeared in 1970. With Ross Russell's cooperation, Williams recovered every surviving take that Parker recorded for Dial. Williams' liner notes for each album supplied dates, locations, personnel, matrix numbers, consistent titles, durations, and historical background. Much of the background information was supplied by Ross Russell himself, including the photograph of Parker's handwritten spelling of "Klact-oveeseds-tene" reproduced on the sleeve of Spotlite LP105. 112 A few years later, the Charlie Parker on Dial albums were leased to EMI-Toshiba in Japan and to Warner Brothers in the United States.113 In recent years Williams leased these recordings to State side/Spotlite in Japan and Stash Records in North America for compact disc issue.114 From the discs of Parker made at Chuck Kopely's home in February 1947, Williams issued on his Charlie Parker on Dial albums only the three excerpts that had appeared as "Home Cooking" on Dial LP905 (Charlie Parker, Unreleased Masters - Volume Two). Later, he issued for the first time in any medium the Kopely versions of "Yardbird Suite" and "Lullaby in Rhythm" on Spotlite LP107. There remained to be issued two examples of Parker improvising some blues choruses in the key of C, in poorer sound than the other recordings made that day but nevertheless still of historical significance. Williams included these blues fragments with the previously released selections when he reassembled the Kopely recordings for Stash ST-CD-25. THE UNIVERSITY OF TEXAS AT AUSTIN After assisting Williams with the Spotlite reissue, Ross Russell published his book Jazz Style in Kansas City and the Southwest (University of California Press, 1971). A little later, after several years in research and writing, he completed his Charlie Parker biography Bird Lives!: The High Life and Hard Times of Charlie "Yardbird" Parker (Charterhouse, 1973). Contemplating retirement, Russell began contacting research universities in 1976 for possible deposit of his research materials; among these schools were the University of Pittsburgh and the University of Texas at Austin.115 About this same time, Russell was accused of plagiarism from Robert Reisner's book, Bird: The Legend of Charlie Parker, the lawsuit being brought by Reisner and his wife.116 Because of this legal situation, Russell could not commit his materials to an institution immediately. After some while, Russell was declared sole owner of copyrights and rights to his own materials, allowing him to resume negotiation with universities.117 In December 1980, Richard Lawn, director of jazz studies at the University of Texas at Austin, contacted Russell's wife to resume talks concerning the research materials. Mrs. Russell told Lawn that the collection had been turned over to the antiquarian Laurence McGilvery, since she and her husband were setting up their retirement home in Warm Bath, South Africa. The University of Texas at Austin contacted McGilvery later that month, and it closed the deal for the collection shortly before Christmas 1980. After preparing an inventory of the various files in the collection,118 McGilvery sent the materials to the Austin campus in January 1981. 119

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The Dial Recordings of Charlie Parker

The Ross Russell Collection is kept in two locations at the University of Texas at Austin at the present time. The jazz book collection is housed at the Fine Arts Library. The audio materials including Russell's Dial pressings, the business files, and the research folders, are maintained at the Harry Ransom Humanities Research Center. Although the papers of the Russell collection at the Humanities Research Center were catalogued in 1995, they are organized in the same order as listed in Laurence McGilvery's inventory. Thus, the collection's sections are referred to as "boxes"; pertinent "boxes" to jazz research are as follows: Box 1: Personal correspondence with family, friends, and jazz writers and collectors. Box 2: Jazz articles and short fiction, with drafts of Russell's novel The Sound. Box 3: Orignial ms. of The Sound, with corresponding reviews and screenplay drafts; research materials for Jazz Style in Kansas City and the Southwest. Box 4: Original ms. of Jazz Style in Kansas City and the Southwest, with corresponding reviews; research materials and original ms. of Bird Lives. Important folders in this box include: "Parker unpublished reference," containing signed documents from Charlie Parker, Chan Parker, and Emry Byrd; "Tempo Music Shop," containing typescript accounts by Russell about the early days of Tempo Music Shop and the founding of Dial Records. Box 5: Reviews and screenplay adaptations of Bird Lives; documents from agents and publishers. Box 6: Reisner litigation documents; research materials on Red Rodney; record company documents. Important folders in this box include: "Dial Mechanical Rights," containing the AFM union contracts for all Dial jazz sessions, holograph documents from Charlie Parker including the "Klact-oveeseds-tene" card, Emry Byrd letters, and Camarillo State Hospital documents; "Dial parts," containing Ross Russell's personal inventory of his Dial pressings; "Comet masters," regarding Russell's acquisition of three Comet Records sessions; "Dial: logos, catalogs, labels" and "Labels-10" 78 rpm jazz: 1000 series, 750 series," both folders containing labels for jazz releases stapled on to paper leaves. Box 7: Correspondence with Spotlite records and other labels; lists of live performance recordings in personal possession; materials for jazz courses taught by Russell. In the spring of 1992, an extensive visual exhibit of the Ross Russell Collection was prepared and curated at the University of Texas at Austin by George Leake and Dell Hollingsworth, staff at the Humanities Research Center. "The Bebop Revolution in Words and Music, An Exhibition" presented an overview of Russell's life and work, supplied documents and photographs from various Dial Records sessions and promotions, and provided a general overview of jazz discography, bibliography, biography, poetry, and fiction from 1920 through the present. The exhibit was shown from April 1992 through the following September. Tied in with the exhibit was a symposium, "Bird Lives: The Enduring Influence of Charlie Parker," on April 22-25, 1992.120 The symposium was co-sponsored by the Harry

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Ransom Humanities Research Center and the University's Department of Music, the latter also holding its biennial Longhorn Jazz Festival during that week. Papers on Parker's life, times, and music were presented by Gary Giddins, Dan Morgenstern, Dr. Thomas Owens, Dr. Douglass Parker, Carl Woidek, Jose Hosassion, James Riggs, Bernard Gendron, and Edward Komara. A notable session examining jazz fiction and poetry featured Lorenzo Thomas, Bret Benjamin, Mia Carter, Nick Evans, and Eric Nelson. Performances were given by the Red Rodney Quintet, and the University of Texas at Austin Jazz Orchestra with guest soloist Marvin Stamm. Also, Richard Lawn, who had done much to bring the Russell Collection to the University of Texas at Austin, read a statement from Ross Russell. Several years previous, Russell had returned to the United States from South Africa, relocating his home near San Diego. Although he was unable to attend the Austin conference in person, he corresponded with the exhibit curators and symposium organizers throughout their preparatory work.121 PARKER'S DIAL CONTRACTS AND ROYALTIES Parker's association with Dial Records began with the rehearsal for the label's first session at Glendale. Despite the chaos that had reigned due to the owners' inexperience that winter evening, Parker nevertheless signed with the new company as a "featured artist or bandleader" because he was offered the freedom of choice regarding repertory and musicians.122 Surviving AFM union contracts and royalty statements document this two-year business relationship between Parker and Dial, and they also hint at the personal problems Parker had at various times.123 Parker's first Dial date was the February 5, 1946 rehearsal that yielded the test take of "Diggin' Diz" [Dial mx. D 1000]. Parker was not required to sign an AFM union or Dial contract as he was not the session leader, only a sideman. On February 20, 1946, Ross Russell and Charlie Parker filed an AFM union contract for a Dial recording session on March 4, 1946, Parker co-signing as session leader.124 However, the two men had some difficulty finding and selecting sidemen, for which reason they postponed the session until March 28, filing a new AFM contract for that date.125 Then, on February 26, 1946, Parker and Russell signed a handwritten contract.126 This agreement stipulated that Parker would record exclusively for Dial Records for one year; in return Dial would make twelve ten-inch sides with Parker as "featured artist or band leader" for that contracted year. After signing, Russell gave Parker an advance of one hundred dollars.127 Some days later, Dial partner Marvin Freeman rendered the handwritten contract in formal terms, added an option for a renewal of one year, and sent it to the AFM union.128 The option was indeed exercised on February 1, 1947, as duly reported to James Petrillo of the AFM.129 Parker was paid leader's wages for every Dial session which he signed the AFM contract as leader, except for the "Diggin' Diz" rehearsal and the July 29, 1946 session when he was listed on the AFM contracts as a sideman.130 Parker received both flat wages and composing royalties for his studio work. The wage and deduction sheets in the surviving Dial files show that Parker received a total gross wage of $855.00 for seven studio sessions; Parker was not paid for the "Diggin' Diz" rehearsal as he skipped the recording session the following day.131 The royalties were another matter. As James Patrick has pointed out,132 there were three rights available to Parker as composer with regard to copyrights: recording or mechanical right, publication right, and public performance right. In the case of the mechanical right, the composer and the publisher each received one cent per side of each 78 rpm disc sold, provided that the composition was published and

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The Dial Recordings of Charlie Parker

licensed.133 Indeed, Russell and Freeman set up the Dial Publishing Company to copyright Parker's compositions. However, Parker never signed and returned the publishing contract, a document that would have allowed him to receive either 50% of gross sums received or 70% of net sums received by Dial Publishing for his pieces.134 Somehow, "Confirmation," "Moose the Mooche," "Yardbird Suite," and "Ornithology" were copyrighted by Dial Publishing and licensed by BMI.135 In lieu of publishing Parker's music-and thus leaving the bulk of his Dial pieces uncopyrighted—the Dial owners paid Parker two cents per side for all records sold using his compositions, the full equivalent of the mechanical royalty.136 By not registering his pieces with Dial Publishing, Parker was not entitled to the publication and public performance fees. Parker would have received little from the publication right, since few of his pieces were transcribed and published in fixed form before his death.137 With regard to public performance fees, Patrick has shown that Parker often performed "Cool Blues" and "Scrapple from the Apple" in his career yet received no public performance royalties since those compositions were not copyrighted.138 But as Russell Sanjek told Patrick, proceeds from all three rights, had Parker taken steps to receive them, would have been tiny compared to Parker's annual guarantee as a BMI member.139 Yet, with Parker's influence and stature having grown since his early death, and the reissues and notated transcriptions of his recorded performances continuing to appear on a regular basis, the royalties would now be very considerable. The significance of Dial providing royalties to Parker should be appreciated at some length, since Dial did not have to provide any: Parker never signed his publishing contract, and the AFM union contracts say nothing about royalties. In their UCLA days, Russell and Freeman had read about and discussed the lives of European writers who were poorly compensated for their work. In their own efforts for American jazz musicians, the two men made it a "point of honor" to give their record artists their financial due.140 Russell and Freeman were initially puzzled by Parker's indifference to the matter of Dial publishing royalties, and later they found their business relations with him becoming complicated and, with the appearance of Emry Byrd, compromised. Emry Byrd, nicknamed "Moose the Mooche," was a drug dealer in Los Angeles. His legs paralyzed by polio, Byrd dealt his illicit wares through his shoeshine stand on Central Avenue.141 Desperate for heroin, Parker signed half of his Dial royalties to Byrd on a handwritten agreement dated April 3, 1946, six days after the March 28, 1946 Dial session. This agreement was typed and notarized on May 3, 1946, becoming legally binding.142 The texts of these documents were carefully chosen to mask the true intent behind the pact. As Parker had and never did sign the publishing contract, the only royalties he would share with Byrd would be for his pieces recorded for Dial through the day of the notarized agreement: "Confirmation," "Moose the Mooche," "Yardbird Suite" and "Ornithology." From 1946 to 1949, Byrd notified Dial of his changes of address: 1135 East 45th Street (April-June 1946); San Quentin Prison (June 1946-October 1948); presumably back in Los Angeles (fall 1948-summer 1949); and Los Angeles County Jail (summer 1949-to be released August 1950).143 In his letter to Dial dated February 18, 1947, Byrd made it clear he understood that he would share in Parker's royalties only for the four Charlie Parker compositions recorded for Dial through May 3, 1946, and that he had no claims on the royalties for any Parker pieces composed afterwards.144 Thus Byrd received one cent per side of a 78 rpm disc that contained "Confirmation," "Moose the Mooche," "Yardbird Suite" or "Ornithology"; he never received any royalties for the subsequent Parker compositions recorded in 1947.145 Royalties for "Ornithology" itself were further split when Russell learned that Benny Harris had co-composed the tune with Parker. The royalties for this piece were then divided

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as follows: one cent per 78 rpm disc for Harris, one-half cent each for Parker and Emry Byrd. Up through June 1948, "Ornithology" was Dial Records' best selling record.146 Instead of waiting for his royalty checks, Parker usually took advances against his royalties. During his months in California, Parker received two advances that totaled $150.00. However, in the fall of 1947, Parker received four check advances totaling $1659.50. Adding a balance check and a cash advance, Parker's royalty receipts from Dial totaled $2011.06, a difference of $1187.09 from Parker's earned royalties of $823.97 up through June 1948.147 Russell stopped royalty payments to Parker until the difference was earned through record sales, if it ever was. In case the debt was repaid, Russell was prepared to contend that Parker's contract was no longer in force due to the latter's recording contract violations, and so the musician could not be entitled to additional advances.148 As it happened, Parker had broken his exclusive Dial contract by participating in three Savoy Records sessions,149 a session supervised by Norman Granz,150 and a Jazz at the Philharmonic concert recorded and issued by Granz.151 Parker's Dial contract ran out in the spring of 1948, during the AFM recording ban. In due time, Parker signed with Granz to record exclusively on the latter's labels.152 As far as it appears, Parker never asked for a royalty check from Dial in 1948 or thereafter, nor did he receive another such check if the royalty balance was ever achieved. DIAL STUDIO SESSION CONDITIONS Studio procedures were uniform for Parker's Dial sessions as leader. Three of those sessions-the "Ornithology," "Relaxin' at Camarillo," and "Crazeology" dates-were preceded by rehearsals supervised by Ross Russell.153 These rehearsals were held in seclusion to avoid the chaos of the "Diggin' Diz" rehearsal. With the pieces learned in advance, the ensemble would require fewer takes during the recording session. The other Parker-led sessions-the "Cool Blues," "Embraceable You," and "Klactoveeseds-tene" dates-were held without rehearsal due to the lack of preparation time. The "Cool Blues" session was hastily arranged to appease Parker's wish to record with Earl Coleman.154 The latter two dates used Parker's working band on 52nd Street, and they were last-minute sessions to record as much as possible before the 1948 AFM recording ban.155 Parker's preferred method of recording for Dial was performing one take, listening to it immediately for any flaws in the performance, and recording additional takes until he approved the final take of each given piece.156 Session leaders' approval of takes was a courtesy lent by Dial and other independent labels who concerned themselves with the musical performance. The AFM union did not require artists' approval of the takes, and on its union contracts the union prescribed the label as employer having complete control of the recorded product.157 So in some cases, the issued master was not a Parker-approved final take. Sometimes the final take was lost or damaged, as in the cases of "Moose the Mooche," "Dark Shadows," and "Dexterity." Sometimes an earlier take had a better Parker solo or it fared better sonically during processing. Yet the final takes of "A Night in Tunisia," "Ornithology," "Yardbird Suite," and "This Is Always," to name but a few, were released as master takes. The initial suppression of final takes should not be seen as deception on Russell's part, but rather as a means that he used to achieve his goal of releasing the best possible issue with regards to performance and sound.158 Parker was granted his choices for supporting musicians, but sometimes he let Russell fill some vacant spots. For example, Red Callendar was scheduled to be the bassist for the March 28, 1946 session, but when he quit, he was replaced by Vic McMillan, who was called by Ross Russell. So far as Russell believed later, the takes from that date were McMillan's

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The Dial Recordings of Charlie Parker

only studio recordings.159 It was Howard McGhee, not Parker, who led the July 29, 1946 session.160 Among the five musicians was Jimmy Bunn, brother of Teddy Bunn. Russell thought well enough of Jimmy Bunn as a supporting pianist to have him back Dexter Gordon at the June 12, 1947 Dial session.161 With Parker's approval, Russell selected the ensembles for the February 1947 sessions. For the February 19, 1947 date, Russell contracted the Erroll Garner Trio to accompany Parker and Earl Coleman.162 It should be noted that the Garner Trio continued recording after Parker and Coleman had left the recording session.163 The "Relaxin' at Camarillo" session one week later gathered Parker, Barney Kessel, Wardell Gray, Howard McGhee, Dodo Marmarosa, Red Callendar, and Don Lamond in the Dial studio; of these, only McGhee, Marmarosa, and Callendar had previously recorded with Parker.164 The three Parker Dial sessions in New York City in 1947 featured the celebrated quintet of Parker, Miles Davis, Duke Jordan, Tommy Potter and Max Roach. For the December 17, 1947 session, Russell added trombonist J.J. Johnson with Parker's consent.165 Ross Russell was the producer for all of Parker's studio sessions for Dial Records, except for the December 17, 1947 session. Russell came down with the flu just before that recording session, so his wife Dorothy supervised it in his place.166 When Dial was based in the Tempo Music Shop in Los Angeles, Russell received business and legal advice from his partner Marvin Freeman. Shortly after moving Dial to New York, Russell engaged the services of attorney Moms Rauscher for the remaining life of the company.167 Russell's engineers for the Los Angeles Dial sessions were Ben Jordan at C. P. MacGregor Studios and Bunny Robein at Universal Recorders. For the New York Dial dates, Doug Hawkins was the sole engineer, and he stayed with Dial to record the classical albums.168 In an indoor setting such as a recording studio with microphones placed in position, the sight of seeing "Bird" taking off in flight could be enthralling if a little bewildering for those present. Recalls Barney Kessel from the "Camarillo" session: "Parker had a way of marking the tempo and bringing us in that was most unique . . . [H]e would sing the melody to himself and sometimes finger the keys of his saxophone-not the melody, just random keys in tempo. Finally, instead of counting 1-2-3-4 to get us into the music, he would jump up (not high), and land first on his left foot, then on his right, then on his left, and again on his right, as if he were jogging. His feet touched the floor in the tempo we were to play. I have served under the baton of many a conductor . . . but this half-jog, half-Fred Astaire count of Charlie's was a mindblower long before the days of LSD. To say that it arrested my attention is an understatement, it captivated me. I was amazed how Charlie could land on the last count and get his horn into his mouth for the first note, but he did and we all came in perfectly."169 TITLES AND COUPLINGS Titles were incidental to the recording process. As Russell explained: "As a rule Charlie did not bother to title his compositions. Often they were known to members of the Quintet by numbers. The Dial studio log listed them by means of a different series of master numbers, with a new set assigned each session. Until it was titled, Klactoveesedstene (sic) was simply Dial D-1112. Usually I dreamed up some kind of a title when it was time to release the record."170 Russell did have two lists of titles to draw from. One was a list of titles suggested by

Historical Narrative

15

Tempo Music Shop customers (see Appendix 2). One of those titles was used for a Parker issue, but others were used for other Dial artists' records. The other list came from Parker himself, relayed through his agent Billy Shaw to Dial on June 8, 1948 (see Appendix 3). From this list came, in Parker's spellings, "Quasimado," "The Hymn," and "Klactoveesedsteen." Parker also gave a hyphenated form of the last title on the back of a charge card to Russell some months earlier; for the Spotlite reissue, the hyphenated form was adopted as the preferred spelling.171 Some Parker compositions appeared on Dial under more than one title, and only with the Spotlite reissue were the pieces begun to be titled consistently. The best example of inconsistent titles occurs with the Dial D 1154 matrices. Take A was never issued, perhaps lost. Take B was issued on Dial LP904 as "Dexterity," previously given to matrices Dial D 1101-A and -B, the latter matrix issued on Dial 1032. Take C was issued on Dial LP207 as "Bird Feathers," the same title given to Dial D 1111-C on Dial 1058 and Dial LP207. It was on the Spotlite reissue that the matrices D 1154 were uniformly issued as "Bongo Beep" for the first time.172 Issue couplings on Dial were similarly checkered. Among the twenty-five ten-inch 78 rpm Parker serial issues on Dial, six paired a Parker performance with a performance by another artist. Dial 1003 paired "Yardbird Suite" [D 1011-4] with Dizzy Gillespie's performance of "Round About Midnight" [D 1005-A] on some copies. Dial 1004 appeared in three different couplings: "Diggin Diz" [D 1000] with Gillespie's rendering of "Confirmation" [D 1001-E], "Moose the Mooche" with the "Diggin' Diz" rehearsal or Gillespie's "When I Grow Too Old To" [D 1004-B], or the respective performances of "Moose the Mooche" and "Diggin' Diz" issued back-to-back. Dial 1006 combined Parker's "Bird Lore" [D 1012-3] or Bill Harris's "Bird Lore" [D 1033-C] with Sonny Berman's "Curbstone Scuffle" [D 1031G]. On Dial 1012, "Relaxin' at Camarillo" [D 1071-C] was issued with Serge Chaloff's "Blue Serge" [D 1035-B]. "Stupendous" [D 1074-A] was joined with Dexter Gordon's "Bikini" [D 1087-A] or Chaloff's "Blue Serge" [D 1035-A] for Dial 1022. On some pressings of Dial 1034, Parker's solos on the three outtakes of "Crazeology" were coupled on the flip side with a Jean Germain performance titled "The Chase." Presumably once enough Parker matrices were on the Dial backlog, it was then easier to issue two Parker performances on one disc. There appears to have never been any method to couple performances on 78 rpm releases. One aspect of the resulting 78 rpm series that has engrossed and exasperated collectors and discographers is the recoupling of some issues with alternate takes (for a listing of that series marked with the instances of such recouplings, see Appendix 1). Russell asserted to the author that such recouplings with alternate takes were due to the interest of musicians but not of collectors, and that the presence of those takes had little effect on sales.173 The long-playing microgroove issues featuring Parker were in two series: the 200 "Jazz Series," and the 900 "Collector's Series." The four Charlie Parker 200 series albums (201, 202, 203, 207) issued at least one performance of each piece recorded by Parker for Dial, with some exceptions. The matrices D 1102 were omitted, their title "Bongo Bop" used for matrix 1153-D instead. Also left out of the above four albums were the matrices D 1104 (now titled "The Hymn") and D 1156 ("How Deep Is the Ocean"). However, D 1104-B was issued as "Superman" by the Miles Davis Quintet on the trumpet anthology Dial LP212, and D 1156-B was issued on the saxophone anthology Dial LP211. The 900 series issued alternate takes and other items, and apparently it was intended more for collectors than for musicians. Dial LP901, originally LP1, was titled Bird Blows the Blues: the first side was for "original issues" and the second side for "alternate masters" to the pieces on the first side.174 Dial LP903 issued the Comet session led by Red Norvo, omit-

16

The Dial Recordings of Charlie Parker

ting the takes then still available on Dial 78 rpm issues. Dial LP904 and LP905 were two volumes of unreleased masters in a "collector's limited edition."175 Included on Dial LP905 were the three "Home Cooking" excerpts being issued for the first time. The only Parker takes not to be issued on Dial microgroove, ten-inch or twelve-inch, were: "Hallelujah" [Comet mx.T8-B] and "Congo Blues" [Comet mx.Tl 1-B] from the Comet session with Norvo; "Moose the Mooche" [Dial mx. D 1010-3], "Dark Shadows" [D 1052-C and -D], "Relaxin' at Camarillo" [D 1071-C], "Cheers" [D 1072-B, -C, -D], "Stupendous" [D 1074-A], "Out of Nowhere" [D 1115-C] and "Crazeology" [D 1155-A, -B, -C] from the Dial studio sessions; and two excerpts of blues in C, "Yardbird Suite" and "Lullaby in Rhythm" from the Kopely recordings. Of these, "Moose the Mooche" [D 1010-3], "Cheers" [D 1072C and -D] and "Out of Nowhere" [D 1115-C] were issued for the first time ever in the Spotlite reissue. The Kopely versions of "Yardbird Suite" and "Lullaby in Rhythm" were first published on Spotlite LP107, and the two blues excerpts first appeared on Stash ST-CD-25. PARKER'S DIAL STUDIO SESSION REPERTORY Excluding the Kopely recordings and the Red Norvo session for Comet, Parker's repertory from his Dial studio sessions comprises of thirty-five pieces derived from twentytwo harmonic sources (see Tables 1 and 2). Of these thirty-five pieces, eleven were issued under the source title, namely "Bebop," "Dark Shadows," "Dewey Square," "Don't Blame Me," "Embraceable You," "The Gypsy," "How Deep Is the Ocean," "Loverman," "My Old Flame," "A Night in Tunisia," "Out of Nowhere," and "This Is Always." Eight of these pieces are ballads performed at the rate of 75 beats per minute or slower. Along with "Bird of Paradise" which uses "All the Things You Are" as its harmonic base, these ballad recordings are among the most exceptional performances in Parker's Dial legacy, as they demonstrate his uncommon ability to place ornaments in between the notes of the given melody. By contrast, Parker recorded one ballad for Savoy during this period, "Meandering," recorded at the November 26, 1945 session and based on the chords of "Embraceable You" by George and Ira Gershwin.176 Eight other Dial pieces employ twelve-measure blues. "The Hymn" uses a background theme that Parker remembered from his tenure with Jay McShann in 1940-1942.177 "Cool Blues" uses the John Kirby theme "Blues Up and Down."178 "Carvin' the Bird" was written by Howard McGhee. The remaining Dial blues pieces feature sinuous, winding themes devised by Parker. Seven pieces use George and Ira Gershwin's "I Got Rhythm" for their harmonic foundations. Of these, Parker is credited for "Bird's Nest," "Dexterity," and "Moose the Mooche." Oscar Pettiford's "Max Making Wax," Howard McGhee's "Cheers," and Benny Harris's "Crazeology" are composed on the same harmonic chords. In addition, Parker's "Scrapple from the Apple" is built on "I Got Rhythm," but it replaces the B section with the corresponding section fron Fats Waller's "Honeysuckle Rose." Other Gershwin songs used as harmonic models for Parker's Dial repertory are "Embraceable You" (for Parker's "Quasimado") and "'S Wonderful" (for "Stupendous," credited to Howard McGhee). The remaining Dial pieces come from a variety of sources, including other jazz pieces ("Klact-oveeseds-tene" based on Juan Tizol's "Perdido," "Yardbird Suite" on Earl Hines's "Rosetta"), popular song ("Ornithology" from "How High the Moon"), and musical theater ("Bird of Paradise" from "All the Things You Are," "Charlie's Wig" from "When I Grow Too Old to Dream"). The repertory recorded at the Los Angeles sessions is markedly different from that

Historical Narrative

17

Table 1 Charlie Parker's Comet and Dial Label Repertories and Their Harmonic Sources Title and Composer

Harmonic Source and Key

Remarks

Bebop (Gillespie) Bird Feathers (Parker) Bird of Paradise (Parker) Bird's Nest (Parker) Bongo Beep (Parker) Bongo Bop (Parker) Carvin' the Bird (McGhee) Charlie's Wig (Parker)

original (A flat) blues (B flat) All the Things You Are (A flat) I Got Rhythm (B flat) blues (C) blues (C) blues (E flat) When I Grow Too Old to Dream (B flat) I Got Rhythm - A Honeysuckle Rose - B (B flat) blues (C) blues (B flat) I Got Rhythm (B flat)

B improvised (McGhee)

Cheers (McGhee)

Cool Blues (Parker) Congo Blues (Norvo) Crazeology (Harris) Dark Shadows (Shifty Henry) original (E flat) Dewey Square (Parker) original (E flat) Dexterity (Parker) I Got Rhythm (B flat) Diggin' Diz (Handy) Lover(C) Don't Blame Me (McHugh-Fields) original (C) Drifting on a Reed (Parker) blues (B flat) Embraceable You (G. Gershwin-I. Gershwin) original (F) Get Happy (Arlen-Koehler) original (F) original (D flat) Gypsy (Reid) Hallelujah original (E flat) (Youmans-Robin-Grey) 'S Wonderful - A Home Cooking I Honeysuckle Rose - B (D flat) Home Cooking II Cherokee (B flat) I Got Rhythm (E flat) Home Cooking III How Deep Is The Ocean (Berlin) original (E flat) The Hymn (Parker) blues (B flat) Klact-oveeseds-tene (Parker) Perdido (B flat) Loverman (Davis-Ramirez-Sherman) original (D flat) Max Making Wax (Pettiford) I Got Rhythm (C) Moose the Mooche (Parker) I Got Rhythm (B flat)

8 measure intro no theme

B improvised B improvised

Comet session Earl Coleman vocal B improvised

no theme no theme Comet session no theme Comet session Kopley session Kopley session Kopley session no theme B improvised no theme

18

The Dial Recordings of Charlie Parker

Table 1 continued Title and Composer

Harmonic Source and Key

My Old Flame (Johnston-Coslow) original (F) A Night in Tunisia (Gillespie-Paparelli) original (F) Ornithology (Parker) How High the Moon (G) Out of Nowhere (Green-Heyman) original (G) Quasimado (Parker) Embraceable You (E flat) Relaxin' at Camarillo blues (C) (Parker) Scrapple from the Apple (Parker) Honeysuckle Rose-A I Got Rhythm - B (F) Slam Slam Blues (Norvo) blues (B flat) Stupendous (McGhee) •S Wonderful (E flat) This Is Always (Myrow-Gordon) original (E flat) Yardbird Suite (Parker) Rosetta (C)

Remarks

no theme B improvised no theme

B improvised

Comet session B improvised Earl Coleman vocal B improvised

19

Historical Narrative Table 2 Charlie Parker's Harmonic Sources for His Comet and Dial Repertories Harmonic Source

Dial title

All the Things You Are (Kern-Hammerstein II) Bebop (Gillespie) blues (12 measure)

Bird of Paradise

Cherokee (Ray Noble) Dark Shadows (Shifty Henry) Dewey Square (Parker) Don't Blame Me (McHugh-Fields) Embraceable You (G. Gershwin-I. Gershwin) Get Happy (Arlen-Koehler) Gypsy (Reid) Hallelujah (Youmans-Robin-Grey) Honeysuckle Rose (Waller-Razaf) How Deep Is the Ocean (Berlin) How High the Moon (Lewis-Hamilton) I Got Rhythm (G. Gershwin-I. Gershwin)

Lover (Rodgers-Hart) Loverman (Davis-Ramirez-Sherman) My Old Flame (Johnston-Coslow) A Night in Tunisia (Gillespie-Paparelli) Out of Nowhere (Green-Heyman) Perdido (Tizol) Rosetta (Hines-Woode)

same Bird Feathers Bongo Beep Bongo Bop Carvin' the Bird Congo Blues (Comet session) Cool Blues Drifting on a Reed The Hymn Relaxin' at Camarillo Slam Slam Blues (Comet session) Home Cooking II (Kopely session) same same same same Quasimado same (Comet session) same same (Comet session) Cheers - B Home Cooking I - B Scrapple from the Apple - A same Ornithology Bird's Nest Cheers - A Crazeology Dexterity Home Cooking III (Kopley session) Max Making Wax Moose the Mooche Scrapple from the Apple - B Diggin' Diz same same same same Klact-oveeseds-tene Yardbird Suite

20

The Dial Recordings of Charlie Parker

Table 2 continued Harmonic Source

Dial title

'S Wonderful (G. Gershwin-I. Gershwin)

Home Cooking I - A Stupendous same Charlie's Wig

This Is Always (Myrow-Gordon) When I Grow Too Old to Dream (Romberg-Hammerstein II)

Historical Narrative

21

recorded at the New York dates. The Los Angeles sessions featured all-star lineups or small ensembles that did not often perform with Parker at that time. When recording ballads on the West Coast dates, Parker preferred using small ensembles. However, on one small group session, the July 29, 1946 "Loverman" date, Parker was indisposed; and at the February 19, 1947 session with the Garner Trio, he was supporting young Earl Coleman on "This Is Always" and "Dark Shadows." Sessions featuring many soloists, such as the "Diggin' Diz" rehearsal and the February 26, 1947 date, required pieces whose forms were familiar to every musician present, such as the twelve-measure blues and the AABA structure. "Ornithology" is the only ABAB tune recorded at the California Parker sessions; the remaining pieces are blues or AABA pieces. Parker's New York sessions were recorded with his working quintet. Miles Davis, Tommy Potter, Duke Jordan and Max Roach were quickly learning Parker's extensive repertory. Thus Parker could select pieces with unusual forms for the New York Dial sessions, knowing his ensemble could perform them with little rehearsal. Pieces with ABAB, ABAC and even ABCB forms can be found in these sessions. Tommy Potter told Robert Reisner that Parker often worked out new pieces in the recording studio.179 However "off the cuff Parker's composing methods could sometimes be, traces of his musical past can be found in his Dial recordings. "Yardbird Suite," "Ornithology," and "The Hymn" come from Parker's years with Jay McShann.180 A few recorded performances of "Embraceable You," "Bird of Paradise," "Honeysuckle Rose," and "How Deep Is the Ocean" predate the Dial recordings.IKi It may even be possible that Parker played "Bebop" and "A Night in Tunisia" while a member of Dizzy Gillespie's ensemble.182 However rooted in the past, Parker also performed newly written pieces by other composers, such as "Dark Shadows," "Carvin' the Bird," and "Stupendous." Also, for "Klactoveeseds-tene," he uses the same introduction with which Dexter Gordon and Wardell Gray began their recording of "The Chase."183 DIAL PIECES IN PARKER'S LIVE REPERTORY Parker's Dial repertory, as recorded, acquired, and issued by Ross Russell, has a significant presence in his total career repertory. Dial pieces turn up often in his surviving radio broadcasts, private recordings of live concerts and appearances, and informal jam session tapes. When the various performances are compiled, tabulated, and charted, a picture of Parker's performing history begins to emerge (detailed lists and performance collations may be found in the commentary following the catalogue). Tables 3, 5, and 6 show the number of times a given Dial piece appears in the surviving Parker recorded legacy gathered from the discographies by Koster and Bakker184 and Saks.185 If the piece survives only in the Dial version, it is considered to have been performed seldom, if at all. Pieces with additional surviving renditions are grouped according to quantity: two to five times, six to nine times, and ten or more times. Table 3 tabulates all recorded sources. The items in the first column includes three of the four Comet sides, and the informal Kopely "Home Cooking" sides. Of the remaining twelve Dial unica, eight are from the New York sessions, including "Charlie's Wig" and "Klact-oveeseds-tene" which use ensemble introductions. The middle column shows pieces that were played occasionally by Parker. Among them are "Yardbird Suite" which was sometimes performed with a vocalist,186 "Bebop," "Loverman," and "My Old Flame." The last column in Table 3 may be considered the "war-horse" category. It is highly notable that all of the pieces listed here, except for "Don't Blame Me," "Moose the Mooche,"

22

The Dial Recordings of Charlie Parker

and "Scrapple from the Apple," exist in at least one recording made before the Dial versions, especially so in the cases of "Bird of Paradise (All the Things You Are)," "Embraceable You," and "Ornithology." By comparison, the Savoy recordings repertory, as seen in Table 4 and developed at the same time as the Dial repertory, was seldom played. Seventeen pieces appear not to survive in any live recordings. Only five pieces (four if "Meandering" is considered a duplicate of the Dial "Embraceable You") fall into the war-horse category. Like the Dial warhorses, "Koko" (including performances of its harmonic source "Cherokee") and "Meandering" (along with the themeless performances of "Embraceable You") are pieces that can be traced back to 1942, when Parker was still developing his mature bop style. Some periods of Parker's career are represented with greater emphasis in his collected discography due to the survival of whole groups of recordings, such as the Robert Redcross recordings,187 the Granz labels recordings,188 and the Royal Roost broadcasts.189 However, the body of recordings that carry the greatest weight in the Parker discography is the Dean Benedetti collection.

THE DEAN BENEDETTI COLLECTION Dean Benedetti (1922-1957) was a jazz saxophonist active in Los Angeles in the mid-1940s. In order to study Parker's musical style closely, Benedetti bought a home disc cutter in 1947 and recorded Parker's solos while the latter was performing in Los Angeles in March 1947. One year later, Benedetti came to New York with a tape recorder and recorded additional examples for study. Before Benedetti moved to Italy, where he later died, he left his Parker recordings with his brother, Rick Benedetti. The discs and tapes remained in the care of Rick Benedetti until they were purchased by Mosaic Records in April 1988. After much audio restoration and research, Mosaic issued the Benedetti collection in 1990.190 The Benedetti collection is of paramount importance to the Dial recordings for several reasons. The first reason is the proximities of the dates and recording locations to those of the Dial studio sessions. The second is the presence of many Dial pieces, some of which do not survive in any other source save the Dial studio sessions. Thirdly, there are several alternate titles to some Dial pieces noted by Benedetti at the time of recording. Finally, with its musical and documentary values, the Benedetti collection calls for some reassessment of many Dial pieces in Parker's career repertory. The chronological relations between the Dial studio sessions and the Benedetti recordings are very close. Benedetti first recorded Parker at the Hi-De-Ho Club in Los Angeles in March 1947. Parker's two post-Camarillo Dial sessions were held during the previous month. The personnel on the March 1947 Benedetti recordings include Parker, Howard McGhee, Roy Porter, and possibly Earl Coleman. With these Dial musicians present, these performances supplement Parker's Dial sessions by providing more examples of these men performing pieces that they first learned towards recording Dial releases. The second and third batches in the Benedetti collection, recorded in March and July 1948 respectively, feature the classic Parker ensemble with Davis and Roach during the 1948 AFM recording ban. Some of these performances had been available to collectors for some time through secondary dubs edited from Benedetti's tapes.191 However, the Mosaic restoration and collation of the primary source tapes enabled the previously known performances to be heard in fuller sound and longer duration than before.192 These live recordings preserve performances of Dial pieces previously thought to have been never or seldom performed by Parker outside the studio. Benedetti performance takes of "Carvin' the Bird," "The Hymn," "Relaxin' at Camarillo," and "Stupendous" are the

Historical Narrative

23

Table 3 Frequency of Parker's Comet and Dial Label Repertories in All Studio, Radio, and Private Performance Sources 1 (Dial Studio)

2=5.

6z9

10 or more

Bird Feathers Bird's Nest Bongo Beep Bongo Bop Charlie's Wig Congo Blues Dark Shadows Dewey Square Dexterity Gypsy Hallelujah Home Cooking I Home Cooking II Home Cooking III Klact-oveeseds-tene Max Making Wax Quasimado Slam Slam Blues

Bebop Carvin' the Bird* Crazeology Diggin' Diz Get Happy How Deep Is the Ocean The Hymn* Loverman Stupendous* This Is Always Yardbird Suite

Cheers* My Old Flame* Relaxin' at Camarillo*

Bird of Paradise (All the Things You Are) Cool Blues Don't Blame Me* Drifting on a Reed* Embraceable You Moose the Mooche* Night in Tunisia Ornithology Out of Nowhere Scrapple from the Apple

inflated by the Benedetti recordings

24

The Dial Recordings of Charlie Parker

Table 4 Frequency of Parker's Savoy Label Repertory in All Studio, Radio, and Private Performance Sources 1 (Savoy Studio)

2-5

6z9

10 or more

Ah-Leu-Cha Another Hair Do Bird Gets The Worm Blue Bird Constellation I'll Always Love You Just the Same Klaunstance Marmaduke Meandering Merry-Go-Round Milestones Perhaps Red Cross Romance Without Finance Sippin' at Bells Warmin' Up a Riff Tiny's Tempo

Billie's Bounce Buzzy Donna Lee Steeplechase Parker's Mood

Barbados Chasm' the Bird* Half Nelson Little Willie Leaps

Koko (Cherokee) Thrivin' on a Riff (Anthropology) Cheryl Now's the Time Meandering (Embraceable You)

* inflated by the Benedetti recordings

25

Historical Narrative Table 5 Frequency of Parker's Dial Label Repertory in the Dean Benedetti Recordings 1

2-5

6-9

10 or more

Carvin' the Bird Cool Blues Don't Blame Me The Hymn

All the Things You Are (Bird of Paradise) Drifting on a Reed Moose the Mooche My Old Flame Out of Nowhere Stupendous Yardbird Suite

Cheers A Night in Tunisia Relaxin' at Camarillo

Ornithology

26

The Dial Recordings of Charlie Parker

Table 6 Frequency of Parker's Comet and Dial Label Repertories in All Studio, Radio, and Private Performance Sources Excluding the Dean Benedetti Recordings 1 (Dial Studio)

2z5

6^9

10 or more

Bird Feathers Bird's Nest Bongo Beep Bongo Bop Carvin' the Bird* Charlie's Wig Congo Blues Dark Shadows Dewey Square Dexterity Gypsy Hallelujah Home Cooking I Home Cooking II Home Cooking III The Hymn* Klact-oveeseds-tene Max Making Wax Quasimado Relaxin' at Camarillo* Slam Slam Blues Stupendous*

Bebop Cheers* Crazeology Diggin' Diz Get Happy How Deep Is the Ocean Loverman My Old Flame* This Is Always Yardbird Suite

Don't Blame Me* Drifting on a Reed* Moose the Mooche*

Bird of Paradise (All the Things You Are) Cool Blues Embraceable You Night in Tunisia Ornithology Out of Nowhere Scrapple from the Apple

affected by the absence of the Benedetti recordings

Historical Narrative

27

only surviving Parker renditions aside from the Dial takes. "Cheers," "My Old Flame," "Don't Blame Me," and "Moose the Mooche" exist in many versions in the Benedetti collection, adding significantly to the scant number of live performances that exist in other Parker recordings. It is curious to see that all Benedetti takes of "Carvin' the Bird," "Relaxin' at Camarillo," "Stupendous," "Cheers" and "Moose the Mooche" are in the Los Angeles group, and that all such takes of "The Hymn," "My Old Flame" and "Don't Blame Me" are in the New York group. In addition to recovering Parker's performances, the Benedetti collection provides a number of alternate titles to Dial pieces. Unaware of how Ross Russell titled a given piece for its Dial issue, Parker sometimes called for the same piece with his own title. Hence "Drifting on a Reed" was called "Big Foot" by Parker, as he continued to do even in his Royal Roost broadcasts.193 Parker referred to the John Kirby theme as "Blues Up and Down," not as "Cool Blues."194 What Ross Russell titled "Relaxin' at Camarillo," Parker himself labeled "Past Due."195 Benedetti also contributed a few alternate titles, such as "Howard's E-flat Blues" for "Carvin' the Bird."196 For the most part, the Benedetti recordings lend considerable importance to the Dial repertory's presence in the total Parker discography. Table 6 is the frequency of Parker's use of his Dial pieces exclusive of the Benedetti recordings. "Moose the Mooche" and "Drifting on a Reed" fall from the war-horse category. "Cheers" goes into the "two to five times" slot, and "Relaxin' at Camarillo" becomes a Dial unicum. Yet seven war-horses remain from Table 3, including "Ornithology" and "A Night in Tunisia" when their numerous Benedetti versions are subtracted. The discographical status of Parker's Savoy repertory is little affected, except in the case of "Chasin' the Bird" which appears twice in the Benedetti tapes. AFTERWORD For all the turbulence in Parker's life while staying in California and upon returning to New York, and for the sheer amount of music that he recorded during his Dial studio sessions, it is often easy to forget that Parker's active recording association with Ross Russell lasted only two short years. This length of time is considerably shortened when Parker's six month treatment in Camarillo State Hospital is taken into account. The matter of Parker's sanity, not to mention of those of the people who saw the musician through his misfortunes, should be set aside. What should remain from the Dial years are the recordings of Parker's new examples of musical coherence and logic. Although his Dial performances were issued in a confusing array of formats and titles, they could be listened to, replayed, and studied. Parker's Dial records, and his Savoy and the Granz labels recordings as well, were attractive examples of his jazz craft. Maybe his records were too attractive. Just as some jazz musicians mimicked Parker's narcotic habits only to become addicts themselves, so did the less imaginative of them copy his latest solos only to become too dependent on his available recordings. Of the latter musicians, Charles Mingus commented after Parker's death, "Most of the soloists at Birdland had to wait for Parker's next record in order to find out what to play next. What will they do now?"197 NOTES '"Russell, Ross." Contemporary Authors, New Revised Series 34 (1985): 398-399. Chronology, folder "Ross Russell auto bio-chronology," box 8, Ross Russell Collection, Harry Ransom Humanities Research Center, University of Texas at Austin. 3 Ibid. The specific date of attendance at the University of Washington, Seattle was the 192728 academic year, ending with a transfer to UCLA within that time. Quitting UCLA in 1928, Russell returned there from 1930 to 1933, and he was employed at Westwood Country Club 2

28

The Dial Recordings of Charlie Parker

during those same years. Russell, letter to the author, 28 January 1995. 5 Russell, letter to the author, 21 February 1995. In contrast, Freeman would pay an opera disc collector to pick up jazz records. 6 Chronology, folder "Ross Russell auto bio-chronology," box 8, Ross Russell Collection. 7 See folder "Correspondence-jazz, prior 1940," box 1, Ross Russell Collection, for letters on record collecting. *Ross Russell, "Symposium Keynote Address." David Oliphant, ed., The Bebop Revolution in Words and Music (Austin, Texas: Harry Ransom Humanities Research Center, 1994), 25. 9 Chronology, folder "Ross Russell auto bio-chronology," box 8, Ross Russell Collection. Specific dates of tenure were: February 26, 1942-March 7, 1942 (S. S. [Sea Ship] William C. Atwater); April 4, 1942-September 1942 (S. S. Olopana); June 1943-December 1943 (S. S. Paul Shoup); April 3, 1944-January 27, 1945 (S. S. Samuel Seabury). Russell also earned an FCC license at Pacific Radio School in May 1943. l0 Ibid. "Folder "Tempo Music Shop," box 4, Ross Russell Collection. !2 Ross Russell, Bird Lives! (New York: Charterhouse, 1973), 207. 13 An excellent discussion of the experiments at Monroe's Uptown House may be found in James Patrick's "Al Tinney, Monroe's Uptown House, and the Emergence of Modern Jazz in Harlem," Annual Review of Jazz Studies 2 (1983): 150-179. 14 Parker and Gillespie made some recordings on a home disc cutter owned by Robert Redcross in a Chicago hotel room in February 1943. The surviving recordings are available now on The Complete Birth of Bebop (Stash ST-CD-535). 15 See Scott Deveaux, "Bebop and the Recording Industry: The 1942 AFM Recording Ban Reconsidered," Journal of the American Musicological Society 41 (1988): 126-165. 16 Russell (letter to the author, 15 March 1995) recalled few "successful" jazz stores outside New York City, Detroit, Chicago, and Los Angeles. 17 See Koster and Bakker, Charlie Parker 1940-1955 (Alphen aan den Rijn: Micrography, 1976) no. 17 or Saks, The Charlie Parker Discography (Redwood, NY: Cadence Jazz Books, 1993) no. 27 for discographical data. 18 Russell, Bird Lives!, 208. ,9 Ibid. 20 See Russell, Bird Lives!, 208, for a description of Freeman during this time. 2 'See statement "Dial Record Company Income and Expense Statement to May 31, 1946," folder "Dial Mechanical Rights," box 6, Ross Russell Collection, for capital contributions. Russell invested $500.00, Freeman $2750.00. 22 Ross Russell, letter to the author, 28 January 1995. 23 In the folder "Dial Mechanical Rights," box 6, Ross Russell Collection, the AFM union contract filed on January 21, 1946 bears no session date. Tony Williams in his liner notes to Charlie Parker, Charlie Parker on Dial vol. 1 (Spotlite 101), says on January 21, 1946, session leader George Handy suggested the session be moved up to January 29, 1946, as Lester Young, one of the soloists scheduled to appear for this Dial date, was going to San Diego for a gig. However, Parker and Gillespie, also listed on the AFM contract, were scheduled by Norman Granz to appear in a Jazz at the Philharmonic concert on January 29, so the session was postponed for yet another week. 24 Doubts remain for the dates of the rehearsal and session. The AFM contract (see note 23) bears no scheduled date. Tony Williams (liner notes, Charlie Parker on Dial, vol. 1) and Phil Schaap (liner notes, Charlie Parker, Bird at the Roost vol. 3 [Savoy 4413]) agree that the rehearsal was held on February 5, 1946. Russell (Bird Lives!, 205), while not specifying 4

Historical Narrative

29

dates, said Handy called the session to begin at 8:00 p.m. the day after the rehearsal. Russell also told Martin Williams (Robert Reisner, Bird: the Legend of Charlie Parker [New York: Citadel Press, 1962] 197) that the rehearsal and the session were a few days apart, again not specifying dates. Tony Williams has Handy calling the session to be held on February 7 at 9:00 p.m., yet Schaap places the recording date on February 6 due to the Gillespie band's departure for New York on February 7. After considering the various accounts and different arguments, and after re-examining the labels of Dial 1001, I have come to believe that the rehearsal took place on February 5, and that Gillespie's recording session started in the late hours of February 6, continuing past midnight into February 7. Readers who feel the rehearsal and session took place on different dates should take these chronological problems into account when consulting the catalogue entry for February 5, 1946, and Appendix 4. 25 Russell to Williams in Reisner, Bird: The Legend of Charlie Parker, 196. In his contribution, Russell described the studio: "It took place at sort of a little offbeat studio in Glendale, California, which was part of some kind of religious network. It was actually in a wing of a church in a little park-almost a Grey's 'Elegy' setting." 26 AFM union contract dated January 21, 1946 (see note 23). Also listed on this contract were guitarist Arvin Garrison, bassist Jimmy Stutz, and drummer Jackie Mills, the latter two respectively replaced by Ray Brown and Stan Levey before the rehearsal. 27 Phil Schaap's account (liner notes, Bird at the Roost, vol. 3) is being followed, with my adjustment of dates from note 24. 28 Ross Russell, typescript "Dial Records," folder "Tempo Music Shop," box 4, Ross Russell Collection. 29 Russe\\, Bird Lives!, 205. 3() Ibid, 205-206. 31 Russell, typescript "Dial Records," folder "Tempo Music Shop," box 4, Ross Russell Collection. In his letter to the author of 13 March 1995, Russell added that many of the unwanted bystanders at the rehearsal returned for the Gillespie recording session. The collected session takes have been reissued on The Tempo Jazzmen/The Hermanites, Confirmation (Spotlite SPJ132), and on Gillespie/Berman/Navarro On Dial: All Known Existing Takes (Spotlite SPJ-CD 132). 32 Russell, typescript "Dial Records," folder "Tempo Music Shop," box 4, Ross Russell Collection. "Russell, Bird Lives!, 206. 34 Reproduced in Russell, Bird Lives!, 210. 35 AFM contract dated February 20, 1946, folder "Dial Mechanical Rights," box 6, Ross Russell Collection. Russell recalled (letter to the author, 13 March 1995) that the session was planned before the exclusive Dial contract was written; for more, see the section "Parker's Dial Contracts and Royalties" later in this historical introduction. 36 AFM contract dated 25 March 1946, folder "Dial Mechanical Rights," box 6, Ross Russell Collection. 37 Miles Davis with Quincy Troupe, Miles: The Autobiography (New York: Simon and Schuster, 1989), 88-89. Recalled Davis: "I remembered we rehearsed at the Finale Club the night before we recorded. We argued half the night about what we were going to play and who was going to play what. There had been no rehearsal for the recording date, and the musicians were pissed because they were going to be playing tunes they were unfamiliar with." 3K Ross Russell, "Notes on the Moose the Mooche rehearsals," folder "Tempo Music Shop," box 4, Ross Russell Collection. In these notes, Russell wrote that Parker had left his side musicians at the Finale Club for ninety minutes, returning at 3:30 a.m. 39 Ross Russell, typescript "Recollections of the 'Ornithology' date," folder "Parker unpub-

30

The Dial Recordings of Charlie Parker

lished reference," box 4, Ross Russell Collection. Russell, typescript account of Charlie Parker dated 3 January 1956, folder "Tempo Music Shop," box 4, Ross Russell Collection, page 2. 41 Russell,^>r/L/v^s7, 220. 42 Ibid., 219-220. 43 AFM union contract dated 29 July 1946, folder "Dial Mechanical Rights," box 6, Ross Russell Collection. 44 Russell remembers McGhee suggesting recording Parker despite the latter's health (letter to the author, 13 March 1995). 45 The surviving takes of McGhee's "Trumpet at Tempo" and "Thermodynamics" have been reissued on Howard McGhee, Trumpet at Tempo (Spotlite SPJ131), and Howard McGhee On Dial (Spotlite SPJ-CD 131). 46 Russell (Bird Lives!, 223-224) writes that he did so only during "Bebop." Williams (liner notes, Charlie Parker on Dial, vol. 1) states that Russell steadied Parker on "The Gypsy" and "Bebop." The aural evidence supports Williams. 47 These events are related in full in Russell, 224-230. 48 Russell, letter to the author, 15 February 1995. 49 Howard McGhee as told to Robert Reisner, Bird: The Legend of Charlie Parker, 144. 50 Charlie Parker, "My Best on Wax." Down Beat 18 (29 June 1951): 15. 51 Elliott Grennard, "Sparrow's Last Jump," Harper's Magazine (May 1947): 419-426. 52 The surviving takes have been collected on The Tempo Jazzmen/The Hermanites, Confirmation (Spotlite SPJ132), and on Gillespie/Berman/Navarro on Dial (Spotlite SPJ-CD 132). 53 See Jepsen, Jazz Records 1942-1969 (Copenhagen: Knudsen, 1963-1970), 5:86 for discographical data. All surviving takes from this session may be found on Howard McGhee, Trumpet at Tempo (Spotlite SPJ131), and on Howard McGhee on Dial (Spotlite SPJ-CD 131). 54 Russell, 233. 55 Ibid. 56 Schaap, in his liner notes to Charlie Parker, Bird at the Roost vol. 3, states January 31, 1947 as the date of Parker's release from Camarillo. 57 Ross Russell to James Petrillo, 1 May 1947, folder "Dial Mechanical Rights," box 6, Ross Russell Collection. See the section "Parker's Dial Contract and Royalties" later in this historical introduction for more about this contract renewal. 58 Brian Priestley (John Coltrane [London: Apollo, 1987] 18) relates Earl Coleman's claim that John Coltrane witnessed this session while in Los Angeles with the King Kolax ensemble. The claim seems unlikely, as none of the published photographs of this session (see Reisner, Bird: The Legend of Charlie Parker, 101 and 199, and Giddins, Celebrating Bird, 100) show Coltrane. Furthermore, Russell kept uninvited bystanders to a minimum. Verification of King Kolax's personnel and locations in 1947 must be done before Coleman's anecdote can be seriously considered. 59 Russell to Williams in Reisner, The Legend of Charlie Parker, 200-201. 60 Russell, Bird Lives!, 240. 61 Ibid. 62 See Jepsen, Jazz Records 1942-1969, 4b:3 for discographical data. Gordon's sessions with Liston and Gray can be found reconstructed on Dexter Gordon on Dial--The Complete Sessions (Spotlite SPJ-(CD) 130). 63 Included in The Smithsonian Collection of Classic Jazz (Smithsonian P6 11891). 64 See Jepsen, Jazz Records 1942-1969, 4a:244 for discographical data. These records have been collected on Erroll Garner, Play, Piano, Play (Spotlite SPJ129). 40

Historical Narrative 65

31

Included in The Smithsonian Collection of Classic Jazz (Smithsonian P6 11891). Ibid., 248. Also, in folder "Dial Mechanical Rights," box 6, Ross Russell Collection, Russell kept a running list of Parker's violations of his exclusive Dial contract. The session referred to in this particular instance is the May 8, 1947 Savoy session that produced "Donna Lee" and three other pieces. See the section "Parker's Contracts and Royalties" later in this historical narrative for more on Parker's breach of contract. 67 Russell, Bird Lives!, 249. For a contemporary report, see "Squabble over Bird's Sides," Down Beat 14 (16 July 1947): 12. 68 Ibid. 69 These AFM contracts are in the folder "Dial Mechanical Rights," box 6, Ross Russell Collection. 70 See Jepsen, Jazz Records 1942-1969, 5:86 for discographical data. All masters and surviving outtakes are on Howard McGhee, Trumpet at Tempo (Spotlite SPJ131), and on Howard McGhee on Dial (Spotlite SPJ-CD 131). 71 Laguna was credited as supervisor on Dial 1025, which issued two pieces from the Marmarosa session. 72 See Jepsen, Jazz Records 1942-1969, 5:36-37 for discographical data. The complete surviving session appears on Dodo Marmarosa, Dodo's Dance (Spotlite SPJ128). and on Dodo Marmarosa on Dial (Spotlite SPJ-CD 128), with additional Marmarosa items acquired by Ross Russell and Tony Williams. 73 See Jepsen, 4b:3-4 for discographical data. The takes have been reissued in the order they were recorded on Dexter Gordon on Dial—The Complete Sessions (Spotlite SPJ-(CD) 130). 74 Russell to Williams in Reisner, Bird: The Legend of Charlie Parker, 202. 75 Russell, Bird Lives!, 253. 76 See Jepsen, 2:378 and 5:327 for discographical data. However, Jepsen gives the session date as December 1947. The November 29, 1948 date is taken from Ross Russell's Dial pressings inventory (folder "Dial parts," box 6, Ross Russell Collection). The various surviving takes except for those of "I Wished on the Moon" have been reissued on Dexter Gordon, Move! (Spotlite SPJ133) and on Gillespie/Berman/Navarro on Dial (Spotlite SPJCD 132). 77 In his 13 March 1995 letter to the author, Ross Russell described Schuller as "my advisor" on artists and repertory. 78 David H. Smyth, "Schoenberg and Dial Records: The Composer's Correspondence with Ross Russell," Journal of the Arnold Schoenberg Institute, 12 (1989): 68-90. 79 Much of the information about the Dial 400 Ethnic series come from copies of the original microgroove releases that I have been able to examine in the Kenneth Goldstein Collection, Music Library/Blues Archive, University of Mississippi. In addition, George Leake, of the Humanities Research Center, University of Texas at Austin, had presented some of Russell's original photographs and field notes in his curatorial exhibit of the Ross Russell Collection, shown at the University of Texas at Austin in the spring and summer of 1992.1 must thank Mr. Leake for displaying these particular items, and for verifying Ross Russell's fieldwork for the Dial Ethnic series. 80 See Appendix 1 for the contents of these Dial 200 and 900 albums featuring Parker. 81 Russell, letter to the author, 13 March 1995. "Details on recording and transfers taken from the mastering sheet and the accompanying re-audition sheets for these recordings, folder "Dial Mechanical Rights," box 6, Ross Russell Collection. 83 Documents related to this sale are in folder "Comet masters," box 6, Ross Russell Collection. 84 Ross Russell, inventory of Dial pressings, folder "Dial parts," box 6, Ross Russell Collec-

66

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The Dial Recordings of Charlie Parker

tion. However, at present, pp.21 and 22, containing details on the Comet-Norvo date, are misfiled in the folder "Liner notes-Art Tatum, Red Norvo," box 2, Ross Russell Collection. 85 See Jepsen, Jazz Records 1942-1969, 7:337 for discographical data. 86 See ibid., 4b:236 for discographical data. H7 For comparative descriptions of their styles as evident during this session, see Richard Wang, "Jazz Circa 1945: A Confluence of Styles," Musical Quarterly 59 (1973): 531-546. 8H Ross Russell to Paul Reiner, 3 August 1949, folder "Comet masters," box 6, Ross Russell Collection. 89 See Jepsen, Jazz Records 1942-1969, 2:346 for discographical data. 90 See ibid., 6:39 for discographical data. 9l Ross Russell, inventory of Dial pressings, folder "Dial parts," box 6, Ross Russell Collection. 92 I am indebted to Tony Williams of Spotlite Records for giving me the artist and matrix number information for the 750 and 300 series (letter to the author, 14 April 1995). 93 Session cost sheet for "Dial—Session I, Dizzy Gillespie (Gabriel)," folder "Dial Mechanical Rights," box 6, Ross Russell Collection. 94 In a letter from Ross Russell to Universal Recorders dated June 11, 1949 (folder "Comet masters," box 6, Ross Russell Collection), reference is made to the October 18, 1946 Howard McGhee session and one of the February 1947 Parker sessions. Also, the Kopely recordings were dubbed at Universal (see note 82 above). 95 Documents for WOR are in folder "Dial parts," box 6, Ross Russell Collection. 96 "Dial Records, Master Dubbing, 2" (p.2), folder "Discography-Dial," box 6, Ross Russell Collection. 97 Ross Russell to Universal Recorders, 11 June 1949, folder "Comet masters," box 6, Ross Russell Collection. Russell requests the matrices from the October 18,1946 Howard McGhee session to be destroyed. 98 Russell acknowledged that he had the October 1946 McGhee masters smashed (letter to the author, 13 March 1995) but he quickly added that this was not a usual Dial practice. "Russell described the tape conversion of the Dial catalog in his letter to the author of 13 March 1995. 10(, Ross Russell, "Note re Parker Masters," folder "Discography/ Dial/Parker," box 6, Ross Russell Collection. 101 Russell, letter to the author, 28 January 1995. l02 Annotation on leaf containing the red, yellow and white label of Dial LP901, folder "Dial: logos, catalogs, labels," box 6, Ross Russell Collection. This leaf has been reproduced in full in David Oliphant, editor, The Bebop Revolution in Words and Music (Austin: Harry Ransom Humanities Research Center, University of Texas at Austin, 1994): 97. l()3 Russell to Martin Williams, "Dial Days," Downbeat 31 (17 December 1964): 22. 1()4 Folder "Dial discography-reference," box 6, Ross Russell Collection. 105 Chronology, folder "Ross Russell auto bio-chronology" (sic), box 8, Ross Russell Collection. 106 Ross Russell to Marguerite B.Russell, 17March 1958, folder "Letters-after 1955,"box 1, Ross Russell Collection. 107 The inventory is kept in folder "Dial parts," box 6, Ross Russell Collection. 1<)8 "Note re Parker Masters," folder "Discography/Dial/Parker," box 6, Ross Russell Collection. 109 Ibid. 1,0 David H. Smyth, "Schoenberg and Dial Records," 69. '"Concert Hall issued its Dial material on its jazz subsidary, Jazztone. The ownership of

Historical Narrative

33

some of the labels that reissued Dial jazz was a source of puzzlement to many people, including Martin Williams and Ross Russell. In his interview with Russell ("Dial Days" Downbeat (3 December 1964) 17) Williams said, "Then, a few of them [Dial recordings], badly edited, and incidentally the same masters that appeared on Jazztone, appeared on a label called Baronet. There were about four—by Dizzy, Bird, Garner—from Dial masters." Russell asked, "Who was behind Baronet?" Williams admitted, "I don't know." The "equivalents" issues listed in Koster and Bakker, Charlie Parker 1940-1955, and in the list of record issues following this narrative suggest some intriguing connections, but they will not be followed in this book due to the lack of verification. 112 The card containing Parker's "Klact-oveeseds-tene" scrawl is now kept in the folder "Dial Mechanical Rights," box 6, Ross Russell Collection. ,13 EMI-Toshiba ITJ50001-6, and Warner Brothers 6BS 3159. Warner also issued a selection of Parker's Dial takes on two microgroove records (Warner 2WB 3198). U4 The Legendary Dial Masters volumes 1 and 2 (Stash ST-CD-23 and ST-CD-25), consists of selections of Parker's takes and the complete Chuck Kopely "Home Cooking" recordings. Stateside/Spotlite reissued the six Spotlite albums as a compact disc set titled Charlie Parker on Dial Completed in Japan. In 1993, Tony Williams reissued in the United States the complete surviving Parker/Dial studio recordings and the complete Kopley recordings together as Charlie Parker, The Complete Dial Sessions (Stash ST-CD-567-68-69-70); in Great Britain, that same set was titled Charlie Parker on Dial—The Complete Sessions (Spotlite SPJCD 4-101). 115 Richard Lawn, "From Bird to Schoenberg: the Ross Russell Collection," Library Chronicle of the University of Texas at Austin 25/26 (1984)): 137. Russell's first letter to the University of Texas at Austin arrived there in August 1976. 116 Ibid., 138. Russell's folders regarding the Reisner litigation are in boxes 6 and 79, Ross Russell Collection. "Tbid. 118 I thank Cynthia Farar, Assistant to the Research Librarian at the Harry Ransom Humanities Research Center at the time of my research, for providing me with a copy of McGilvery's inventory, which was then used to organize the collection. m Lawn, "From Bird to Schoenberg," 140. 120 The symposium proceedings have been edited by David Oliphant, appearing as The Bebop Revolution in Words and Music (Austin, Texas: Harry Ransom Humanities Research Center, 1994). 121 George Leake corresponded with Ross Russell before and during the 1992 exhibit and symposium. I thank Mr. Leake for the information on Russell's return to the U.S. and on his part in planning the Austin events. 122 Russell, letter to the author, 21 February 1995. 123 These documents are now kept in folder "Dial Mechanical Rights," box 6, Ross Russell Collection. ]24 AFM union contract dated 20 February 1946. Folder "Dial Mechanical Rights," box 6, Ross Russell Collection. 125 Russell, letter to the author, 13 March 1995. 126 Contract dated 26 February 1946. Folder "Dial Mechanical Rights," box 6, Ross Russell Collection. This document has been reproduced in Russell, Bird Lives!, 210. 127 Russell, Bird Lives!, 209. On the Dial memorandum dated July 20, 1948 titled "Payments Made by DIAL RECORDS to Charlie Parker" (folder "Dial Mechanical Rights," box 6, Ross Russell Collection), no mention is made of this cash advance. m Russdl, Bird Lives!, 209.

34

The Dial Recordings of Charlie Parker

129 Ross Russell to James Petrillo, 1 May 1947, folder "Dial Mechanical Rights," box 6, Ross Russell Collection. Later, Ross Russell admitted taking some criticism for taking the option: "While we're on the subject, I might say that the Dial contract had reached an option point while he was in Camarillo. Before he came out, I discussed this with him, and I told him that I thought in view of the fact we only made one record date that produced four sides that were considered very good, that he ought to renew the contract for a year. He agreed to do this, and that's the way that went. Some people have kinda put me down on this, I guess, and Bird had another version of it later on, but that's the way it was" (Russell to Williams in Reisner, Bird: The Legend of Charlie Parker, 200). 130 The wages and deductions sheets for the Parker sessions for Dial can be located in the folder "Dial Mechanical Rights," box 6, Ross Russell Collection. 131 Refer to the documents mentioned in note 130 above for Parker's wage for any given Dial session. 132 James Patrick, "Charlie Parker and Harmonic Sources of Bebop Composition," Journal of Jazz Studies 2, no. 2 (June 1975): 16. 133 Ibid. 134 A copy of the publishing contract, in the form of a letter from Marvin Freeman to Parker dated 27 April 1946, in the folder "Dial Mechanical Rights," box 6, Ross Russell Colleciton. 135 Patrick, "Charlie Parker and Harmonic Sources of Bebop Composition," 16. On the following page, Patrick relays Russell's claim (from Bird Lives!, 213) that no pieces were copyrighted since Parker did not return a signed publishing agreement and lead sheets to Dial Publishing. Recently, Russell wrote to the author (letter, 13 March 1995) that someone outside Dial Publishing (he did not know who) had registered Parker's pieces with BMI. m Russe\\, Bird Lives!, 213. 137 Patrick, "Charlie Parker and Harmonic Sources of Bebop Composition," 17. 138 Ibid., 19. 139 Ibid., 16, n. 19. In note 19 of this article, Patrick acknowledges a taped discussion with Sanjek on 27 September 1973 about music copyrights available to Parker. For a historical view on the people and events that shaped music copyrights in Parker's time, the third volume of Sanjek's American Popular Music and Its Business: The First Four Hundred Years (New York: Oxford University Press, 1988) is highly recommended. l4u Russell, letter to the author, 13 March 1995. This conscientious action can also be seen as significant, in light of the retrospective "royalty reforms" lately being initiated by several labels; see Bill Holland, "Sony, Rhino Plan Royalty Reforms for Older Artists," Billboard (4 March 1995): 10,20. 141 Russell, Bird Lives!, 202. 142 Both the handwritten and the typewritten versions of Parker and Byrd's agreement appear in Russell, Bird Lives!, 214, 216. 143 Byrd's letters to Russell are kept in the folders "Parker unpublished reference" and "Dial Mechanical Rights," boxes 4 and 6 respectively, Ross Russell Collection. 144 Folder "Dial Mechanical Rights," box 6, Ross Russell Collection. 145 Memorandum, "Breakdown of Records Sold To Date Including 2nd Quarter 1948 Showing Royalties Earned from DIAL RECORDS by Charlie Parker," folder "Dial Mechanical Rights," box 6, Ross Russell Collection. l46 Ibid. "Ornithology" sold 13,363 copies up through June 1948, resulting in royalties of $116.82 for Harris, and $58.41 for Byrd and Parker each. However, Parker and Coleman's Dial version of "This Is Always" (Josef Myrow-Mack Gordon) has been cited by Tony Williams (liner notes, Charlie Parker on Dial, vol. 2) to be the best selling Dial recording ever. '•"Memorandum, "Payments Made by DIAL RECORDS to Charlie Parker," folder "Dial

Historical Narrative

35

Mechanical Rights," box 6, Ross Russell Collection. This memo does not explicitly include the $100.00 cash advance on February 26, 1947, the $50.00 advance before the October 28, 1947 session (Russell, Bird Lives!, 249) and the $150.00 advance before the November 4, 1947 session (Russell, 251). 148 Memorandum, "CHARLY [sic] PARKER: Rauschers Comments on royalty payments." Folder "Dial Mechanical Rights," box 6, Ross Russell Collection. 149 The three Savoy dates in question were the "Donna Lee" session on May 8, 1947 (Koster and Bakker [KB] no. 36), the "Another Hair-Do" session on December 21, 1947 (KB no. 44A), and Miles Davis' first session as leader on August 14, 1947, with Parker as sideman, that produced "Half Nelson" and three other sides (KB no. 37). 150 This is the session with pianist Hank Jones, bassist Ray Brown and drummer Shelly Manne on the "The Bird," and then with the Neal Hefti Orchestra on "Repetition," in December 1947 (see Phil Schaap's booklet to Bird: The Complete Charlie Parker on Verve, Verve 837 141-2). l51 This is the concert on April 22, 1946, at which Parker and others performed a blues released as "JATP Blues" (see Koster and Bakker no. 27). 152 Charlie Parker's agent Billy Shaw planned to have his client signed to a major label when the Dial contract expired in the spring of 1948. See Russell, Bird Lives!, 248-249. 153 Ibid., 211, 240, 253. Russell describes the "Ornithology" rehearsal in great detail in his typescript "Dial Records," folder "Tempo Music Shop," box 4, Ross Russell Collection. 154 Russell, Bird Lives!, 239. 155 Ibid., 249. 156 Ibid., 212, 250. !57 See AFM union contracts, folder "Dial Mechanical Rights," box 6, Ross Russell Collection. The first line of each AFM union contract in that folder reads: "The employer shall at all times have complete control of the services which the employees will render under the specifications of this contract." 158 This point can be illustrated by Russell's master dubbing sheet described on note 96 above. 159 Russell, typescript "Recollections of the Ornithology date," folder "Parker unpublished reference," box 4, Ross Russell Collection. 160 McGhee co-signed the AFM union contract with Ross Russell, and he was paid as leader. Both the AFM contract and the wage sheet for this session are in the folder "Dial Mechanical Rights," box 6, Ross Russell Collection. l61 Ross Russell, letter to the author, 13 March 1995. 162 Russell, Bird Lives!, 239. 163 The Garner Trio recorded two takes of "Pastel" [Dial mx. D 1055-A, -B] and two of "Trio" [Dialmx. D 1056-A,-B]. 164 Russell, Bird Lives!, 239. Russell reviews each musician's activities in jazz at the time of the session. 165 Russell to Williams in Reisner, Bird: The Legend of Charlie Parker, 202. 166 Russell, Bird Lives!, 253. Dorothy Russell, now Indira Smith, was Russell's wife during the early Dial years (Russell, letter to the author, 13 March 1995). On page 29 in the January 1989 issue of JazzTimes, John Detro profiled Smith, and with her reviewed Dial's history. References to Smith as Dorothy Russell can be found among the surviving correspondence and chronologies in Ross Russell's papers at the University of Texas at Austin. 167 Russell, letter to the author, 13 March 1995. 168 Russell, typescript account of Charlie Parker dated January 3, 1956, folder "Tempo Music Shop," box 4, Ross Russell Collection. Page 12 of this typescript contains glowing remarks of Hawkin's expertise.

36 !69

The Dial Recordings of Charlie Parker

Barney Kessel, "Recording with Charlie Parker," Guitar Player (September 1978): 134. Russell, Bird Lives!, 252. 17 'Parker's portion of the card was reproduced by Williams on the back cover of Charlie Parker on Dial vol. 5 (Spotlite LP105). Both sides of the charge card have since been reproduced in Oliphant, The Bebop Revolution in Words and Music, 101. In addition to Parker's scrawl, the card contains notes presumably in Russell's hand of Parker's early career. The present location of this card is in the folder "Dial Mechanical Rights," box 6, Ross Russell Collection. 172 The title "Bongo Beep" was thought up by Billy Shaw (Russell, letter to the author, 13 March 1995). In his inventory of Dial pressings (folder "Dial parts," box 6, Ross Russell Collection), Russell titled the D 1154 matrices "Bird Feathers (Bongobeep)." However, Russell used the title "Bongobeep" once before, for an issue of "Diggin' Diz" [Dial mx. D 1000] on Dial LP207. 173 Russell, letter to the author, 20 February 1995. 174 Dial LP901 labels, folder "Dial: logos, catalogs, labels," box 6, Ross Russell Collection. ]75 Dial LP904 and LP905 labels, folder "Dial: logos, catalogs, labels," box 6, Ross Russell Collection. 176 See Koster and Bakker no. 17 for additional discographical data. 177 0n December 2, 1940 in Wichita, Kansas, the McShann band with Parker participating recorded what is now known as "Wichita Blues," which uses a background accompaniment that later became the theme of Parker's "The Hymn." See Koster and Bakker no. 2 for further discographical data. 178 James Patrick, Bob Porter and Phil Schaap, booklet notes for Charlie Parker, The Complete Benedetti Charlie Parker (Mosaic MD7-129), 17, 26. 179 Tommy Potter as told to Robert Reisner, Bird: The Legend of Charlie Parker 183. 180 Jay McShann, as told to Robert Reisner (Bird: The Legend of Charlie Parker, 150), mentions "Yardbird Suite" being in his repertory during Parker's tenure in his band. The "Ornithology" theme is an extension of Parker's opening phrase of his solo in "The Jumpin' Blues," recorded during McShann's Decca session on July 2, 1942 [Decca matrix 70995A], See note 177 above for the relation between "Wichita Blues" and "The Hymn." 18l See the commentary following the catalogue for collations of Parker's career performances of these pieces. 182 Gillespie recorded both titles in 1945, the same year when he was performing with Parker in 52nd Street clubs. 183 Tony Williams, in his liner notes to volume 5 of Charlie Parker on Dial (Spotlite 105), believes Gordon and Gray adapted the introduction from one of Parker's solos they heard during a 1947 Los Angeles jam session; Russell (letter, 13 March 1995) confirmed this for me. 184 Piet Koster and Dick M. Bakker, Charlie Parker 1940-1955, Alphen aan den Rijn, Micrography, 1976. 185 Norman Saks, Leonard Bukowski and Robert M. Bregman, The Charlie Parker Discography, Port Jefferson, B.B.S., 1989. 186 See the entry on "Yardbird Suite" in the commentary after the catalogue. 187 Issued complete on Stash Records ST-CD-535. I88 lssued in a collected edition on Verve 10-837141-2 as Bird: The Complete Charlie Parker on Verve. 189 Issued collectively as Bird at the Roost on Savoy ZDS 4411,4412,4413, and 4414. 190 James Patrick, Bob Porter and Phil Schaap, booklet notes for Charlie Parker, The Complete Benedetti Charlie Parker (Mosaic MD7-129), 2-11. 170

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37

191 Schaap, on pages 33 and 34 of the booklet accompanying the Mosaic issue The Complete Benedetti Charlie Parker, points out which performances were issued previously on The Band That Never Was (Spotlite SPJ141) and on Bird on 52nd St. (most recently reissued on Fantasy OJC-114). I92 lbid. !93 Parker can be dimly heard giving the title "Big Foot" to "Symphony Sid" Torin during the Royal Roost radio broadcast on December 11, 1948. 194 Patrick, Porter and Schaap, booklet to Parker, The Complete Benedetti Charlie Parker, 17, 26. 195 Ibid., 16, 18. 1% Ibid., 26. i97 Charles Mingus as told to Robert Reisner, Bird: The Legend of Charlie Parker, 152.

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STRUCTURE OF THE CATALOGUE RECORDING SESSION DATES were confirmed with existing AFM union contracts. However, additional documents from the Ross Russell Collection (Harry Ransom Humanities Research Center, University of Texas at Austin) were consulted to verify the dates of the Comet session, the February 5, 1946 Dial rehearsal, the February 6, 1946 Gillespie session (Appendix 4), and the Kopely session. LOCATIONS were verified with the same primary source documents used for the session dates. PERSONNEL were verified with Ross Russell's inventory of Dial pressings and, when possible, existing AFM union contracts, both of them now kept in the Russell Collection mentioned above. Form of name was established with The New Grove Dictionary of Jazz. If a musician's pseudonym is retained, his real name is given in parentheses. The SPOTLITE SYSTEMATIC REISSUES cited in each session catalogue entry will be given in full before the first piece title. The MATRICES of the Comet and Dial studio sessions are arranged in numerical matrix order. For the informal Kopely session, "K" numbers were assigned by Ross Russell to five of the eight matrices; this session's entry treats the unnumbered matrices first, and the "K" discs in numerical order. While a chronological order is certain for the numerical matrix arrangement of the studio sessions, such an order cannot be assumed for the Kopely recordings. PIECE TITLES. As described in the preceding historical narrative, Parker's Dial label recordings were released under a variety of titles, resulting in many discographical inconsistencies that persisted until the Spotlite reissue. For the present catalogue entries, the titles used for the series Charlie Parker on Dial (Spotlite LP101-106) have been adopted. COMPOSING CREDITS are given in parentheses after the piece title. PIECE STRUCTURES, HARMONIC SOURCES, KEYS, METERS, and PERSONNEL CHANGES are noted after the composing credit

40

The Dial Recordings of Charlie Parker

MATRIX NUMBER, TEMPO (given in beats per minute) and DURATION of a given matrix are given in the first line of that matrix's entry. The SOLO ORDER and the CHORUS DISTRIBUTION are described in the line marked "Choruses." Soloists are listed in the order of appearance. Semicolons for complete choruses, numbers in parentheses for multiple choruses, and commas for chorus portions keep track of each soloist's improvising space. Let us take for an example, a chorus entry reading "Theme with PARKER bridge; PARKER (2); Davis; Jordan (AA), Potter (BA); theme with PARKER bridge" for a performance of an AABA piece. In this case, the first chorus is taken up entirely by a statement of the theme, with Parker soloing during the bridge. The theme is followed by Parker soloing for two whole choruses, as indicated by the "(2)" before the semicolon. After Parker, Davis takes one chorus, then Jordan and Potter splitting the next one. The performance closes with a restatement of the theme with Parker alone filling in the B section. As this is a catalogue of Parker, his name appears in capital letters in these chorus entries. The SPOTLITE REISSUE citation of the matrix as it may be found on the LP set Charlie Parker on Dial (Spotlite LP101 -106) and on the CD set Charlie Parker on Dial - The Complete Sessions (Spotlite SPJ-CD 4-101). The LP track listings are applicable to EMI-Toshiba ITJ - 50001 - 50006 and Warner Brothers 6BS 3159, and the CD track listings to Stash STCD-567/70. ISSUES. Dial issues of a particular take are listed first. All other issues are listed alphabetically after the Dial issues. A list of record labels, indiviual issue numbers with titles (if known), and their countries of issue are given before the catalogue. Issues containing the complete session are given in the session comments at the end of the entry. TRANSCRIPTIONS are listed only for Parker's solos. A key to the transcription siglas may be found after the list of record labels, and a transcription index may be located at the back of this volume. NOTES on individual matrices are found at the end of each matrix entry. SESSION COMMENTS close each session entry. These supplemental notes give such data as scheduled session times (from the AFM union contracts), technical personnel, bibliographic citations, issues containing the collected surviving takes from a particular session, and relevant historical background.

LIST OF RECORD ISSUES BY LABEL The labels and their respective issues of Charlie Parker's Dial performances are cited throughout this book by label name and number. Given in alphabetical reference list arrangement are the label name, country of origin if other than the United States (US) for the first issue listed per label, label number, and, when available, the release title. Formats will be provided whenever possible, especially 78 (rpm), LP (Long-Play), or EP (Extended-Play) in the playback speeds 33 1/3 rpm and 45 rpm, cassette, and compact disc. Release dates culled from individual issues, record advertisements and catalogues follow the format, although ascertained dates will be enclosed in brackets; generally speaking for Dial performances, 78s were pressed from 1946 to 1958, microgroove issues from 1949 through 1986, and compact discs from 1986 through the present. For 78 rpm releases, the name of the featured artist will not be given, but the specific matrix numbers of the coupled performances will be interpolated in brackets. The "equivalent," or release of a specific 78 rpm disc coupling or of an album track order on another record label and/or format, and album retitles will also be stated. However, due to the variant pressings of Dial 78 rpm issues (see Appendix 1), equivalents of 78 rpm releases will be based on the Blue Star issues. In addition to the Bielefelder and Schwann Spectrum periodical record catalogues, the discographies will be cited in the following list and catalogue: Blume 1949 Postif 1958 Jepsen 1968 Evans 1968 Koster and Bakker 1976

Blume, Jerry, with Erik Wiedemann and Charles Delaunay. "Discographie De Charlie Parker." Jazz Hot no. 39 (December 1949): 31-32. Additions in no. 43 (April 1950): 30. Postif, Francois, and Guy Kopelowicz. "Discographie de Charlie Parker." Jazz Hot no. 132 (May 1958): 39 - 41; no. 133 (June 1958): 40-41. Jepsen, Jorge Grumnet. A Discography of Charlie Parker. Copenhagen: K. Knudsen, 1968. Evans, Chris. "Dial: A Listing of the Sessions Recorded for Ross Russell's Dial Label." Jazz Journal 21 (September 1968): 19-22. Koster, Piet, and Dick M. Bakker. Charlie Parker 1940-1955. Alphen aan den Rijn: Micrography, 1976.

42

Weir 1995

The Dial Recordings of Charlie Parker Weir, Bob, with corrections and additions by Tony Williams and Edward Komara. Dial Records: A Numerical. Sawbridgeworth: Spotlite Records, 1995. Handlist. Reprinted in booklet to The Complete Dial Recordings, Spotlite/Dial (Japan) TOCJ-0001-0010, 1995.

Allegro (US, England, France) ALL798, Charlie Parker, Yardbird, LP, 1966. America (France) DX3AM008/009/010, Charlie Parker Anthology, 3 LP set, [1971]. This set and its equivalent, Bellaphon 008/9/10, are included in the catalogue with some hesitation, as the contents listed by Koster and Bakker vary in some respects with Bielefelder (1972/1973); such discrepancies are noted according to the respective takes. American Recording Society G449, LP, [1959]. Avenue (England) 1017, LP, equivalent of DJM DJML-062. B & C Records (England) -1, The Essential Charlie Parker, 1945 - 1953, 10 LP set, 1966, reissued 1979. Baronet B105, A Handful of Modern Jazz, equivalent of Jazztone J1204, [1962]. Baronet B107, Early Bird, equivalent of Jazztone J1214, [1962]. Bellaphon (Germany) 008/9/10, Charlie Parker Anthology, equivalent of America DX3 AM008/009/010,3 LP set, [ 1971 ]. See comment after listing for the America equivalent above. Bellaphon BLST6537, Echoes of an Era, 2 LP set, equivalent of Roulette RE-120. Bellaphon BLST6550, The Charlie Parker - Dizzy Gillespie Years, equivalent of Roulette RE-105. Blue Star (France) 60, "Confirmation" [D 1001-E]/"Diggin' For Diz" [D 1002-E],78, 1948. Blue Star 61, "Ornithology" [D 1012-4]/"Night In Tunisia" [D 1013-5], 78, 1948. Blue Star 62, "Bird's Nest" [D 1053-C]/"Cool Blues" [D 1054-D], 78, 1948. Blue Star 106, "'Round About Midnight" [D 1005-A]/"Thermodynamics" [D 1026-A], 78, 1949. Blue Star 109, "Cheers" [D 1072-D]/"Carvin' The Bird" [D 1073-B], 78, 1949. Blue Star 134, "Moose The Mooche [D 1010-2]/"Yardbird Suite" [D 1011-4], 78, 1949. Blue Star 145, "Bongo Bop" [D 1102-A]/"Embraceable You" [D 1106-B], 78, 1949. Blue Star 153, "Dewey Square" [D 1103-C]/"Quasimado" [D 1152-B], 78, 1950. Blue Star 162, "Relaxin' at Camarillo" [D 1071-C]/"Crazeology II" [D 1155-ABX], 78, 1950. Blue Star 183, "Dexterity" [D 1101-B]/"Bird of Paradise" [D 1105-C],78, 1950. Blue Star 187, "Get Happy" [Comet T9-D]/"Congo Blues" [Comet Tl 1-C], 78, 1950. Blue Star 190, "Hallelujah" [Comet T8-F]/"Slam Slam Blues" [Comet T10-B], 78, 1950. Blue Star 216, "Klact-oveedseds-tene" [D 1112-A]/"Charlie's Wig" [D 1153-E], 78, 1950. Blue Star 234, "Max Making Wax" [D 102l-A]/"The Gypsy" [D 1023-A],78, 1951. Blue Star LP6811, Charlie Parker All Stars, LP, 1952. Bravo (England) BR367, cited in Koster and Bakker. Brocades LP74, LP, cited in Koster and Bakker. CED-Explosive (France) 528002, LP. CED-Explosive 528004, equivalent of Jazztone J1241, LP.

List of Record Issues by Label

43

CED-Explosive 528013, equivalent of Jazztone J1204, LP. Celson (Italy) QB7001, equivalent to Blue Star 61, 78, [1949], Celson QB7027, equivalent to Blue Star 109, 78, [1949]. Celson QB7067, equivalent to Blue Star 183, 78, [1949]. Celson QB7073, equivalent to Blue Star 62, 78, [1949]. Celson QB7075, equivalent to Blue Star 134, 78, [1950]. Celson QB7076, equivalent to Blue Star 153, 78, [1950]. Celson QB7083, "Moose The Mooche" [D 1010-2]/[other title by Don Byas], 78, [1950], cited in Postif 1958. Celson RA 8003, equivalent to Blue Star 187, 78, [1950]. Chant du Monde (France) 2063, cited in Koster and Bakker. Chant du Monde 29608, equivalent to Blue Star 62, 78. Chant du Monde 29627, equivalent to Blue Star 145, 78. Chant du Monde 29636, "Dexterity" [D 1101-B(/[other title untraced], 78. Chant du Monde 29641, equivalent to Blue Star 153, 78. Chant du Monde 29647, equivalent to Blue Star 187, 78. Chant du Monde 29659, equivalent to Blue Star 216, 78. Chant du Monde LPHF9, LP, cited in Koster and Bakker. Charlie Parker Records PLP407, Charlie Parker, Bird Symbols, LP, 1962. Charlie Parker Records PLP408, Charlie Parker, Once There Was Bird, LP, 1962. Charlie Parker Records PLP823, Charlie Parker Records Sampler, LP. Charlie Parker Records PLP824, Miles Davis, LP. CID (France) 22001, cited in Koster and Bakker. CID 22002, cited in Koster and Bakker. CID 22003, cited in Koster and Bakker. CID 42.000, LTnoubliable Charlie Parker, equivalent to Roost LP2210, LP, 1960. Columbia (England) 33SX1403, LP. Columbia 33SX1555, Charlie Parker, Portrait of "The Bird, " LP, 1963. Columbia (Japan) YY-7001 RO, equivalent to Roost RLP2234 and Roost RLP2257, 2 LP set. Comet T6, "Hallelujah" [T8-F]/"Slam Slam Blues" [TIO-B], 78, 1945. Comet T7, "Get Happy" [T9-D]/"Congo Blues" [Tl 1-C], 78, 1945. Concert Hall (England) BJ 1204, equivalent to Jazztone J1204, LP, 1955. Concert Hall (England) DJ100-E, equivalent to Jazztone JSPEC100, LP, 1955. Concert Hall (US) CHJ100, equivalent to Jazztone JSPEC100, LP, 1955. Concert Hall (US) CHJ 1004, The Fabulous Bird, equivalent to Jazztone J1004, LP, 1955. Concert Hall (US) CHJ 1017, equivalent to Jazztone J1017, LP. Cupol (Finland) FC 1052, equivalent of Blue Star 62, 78. Cupol (Sweden) 4318, equivalent of Blue Star 60, 78. Cupol 4322, equivalent of Blue Star 61,78. Cupol 4341, equivalent of Blue Star 62, 78. Cupol 4435, equivalent of Blue Star 145, 78. Cupol CEP38, combination of Cupol 4341 and 4435, EP.

DGG 19353, LP, cited in Koster and Bakker. DJM (England) DJML-062, Charlie Parker, Bird and Miles, LP, 1975. Dial (for full contents of each issue, see Appendix 1), 1946-1953. Dial 1000 series, 78, 1946-1949. For details on issues and couplings, see Appendix 1. Dial [unnumbered], Charlie Parker Septet Featuring Gabriel on Trumpet, 4 78s, 1946. Con-

44

The Dial Recordings of Charlie Parker

tains Dial 1002, 1003, 1004, and 1005. Contents are cited in the catalogue by individual label issue numbers. For specific disc contents, see Appendix 1. dial D-l, Bebop 1947, 3 78s, 1946. dial D-2, Bebop 1948, 3 78s, 1948. d i a l L P l see Dial LP901. dial LP201, Charlie Parker, Volume One, LP, 1950. dial LP202, Charlie Parker, Volume Two, LP, 1950. dial LP203, Charlie Parker, Volume Three, LP, 1950. dial LP207, Charlie Parker, Volume Four, LP, 1951. dial LP208, Dodo Marmarosa Trio, LP, 1951. dial LP210, Woody Herman Woodchoppers, LP, [1951]. dial LP211, Mr. Saxophone, LP, [1952]. dial LP212, Dizzy Gillespie and Modern Trumpets, LP, [1952]. dial LP901, Bird Blows The Blues, LP, 1949. dial LP903, Red Norvo's Fabulous Jam Session, LP, 1953. dial LP904, Charlie Parker, Unreleased Masters, LP, 1953. dial LP905, Charlie Parker, Unreleased Masters, Volume Two, LP, 1953.

EMI-Toshiba (Japan) EOR-982G, equivalent of Spotlite 107, LP. EMI-Toshiba ITJ-50001-50006, Japanese issue of Charlie Parker on Dial (Spotlite LP101106), 6 LP discs.

Egmont (England) AJS3, Bird Symbols, equivalent of Charlie Parker Records PLP407, LP, 1965. Ember (England) CJS817, The World of Charlie Parker, equivalent of Roost RLP2257, LP. Emus ES 12017, Charlie Parker, Groovin' High, LP. Emus ES 12027, Dizzy Gillespie/Charlie Parker, LP. Eros (England) ERO 8005, Charlie Parker vol. 1, later Saga ERO 8005, LP. Eros ERO 8007, Charlie Parker vol. 3, later Saga ERO 8007, LP. Esquire (England) 10-017, equivalent of Blue Star 62, 78, 1949. Esquire 10-027, equivalent of Blue Star 61, 78, 1949. Esquire 10-028, equivalent of Blue Star 106, 78, 1949. Esquire 10-031, equivalent of Blue Star 109, 78, 1949. Esquire 10-040, equivalent of Blue Star 60, 78, 1949. Esquire 10-071, equivalent of Blue Star 145, 78, 1950. Esquire 10-078, equivalent of Blue Star 134, 78, 1950. Esquire 10-079, equivalent of Blue Star 162, 78, 1950. Esquire 10-108, equivalent of Blue Star 153, 78, 1951. Esquire 10-109, equivalent of Blue Star 183,78, 1951. Esquire 10-139, equivalent of Blue Star 216, 78, 1951. Esquire [unnumbered] Bebop Album, 3 78s, 1948. Contains Esquire 10-027,10-028, and 10029; as 10-027 is the only one of the three discs to contain Parker performances, it will be cited in the catalogue by its label issue number, its contents equivalent to Blue Star 61. 10-028 will be cited in Appendix 4. Esquire EP57, Charlie Parker, Memories of Bird, combines the music of Esquire 78s 10-017 and 10-027, EP, 1955. Everest FS283, Charlie Parker: Volume 4, equivalent of Charlie Parker Records PLP407,

List of Record Issues by Label

45

LP, [1975]. Everest FS315, Charlie Parker: Volume 5, equivalent of Saga ERO 8052, LP, 1976. Fonit (Italy) 25083, equivalent of Blue Star 61, 78. Fonit 25084, equivalent of Blue Star 62, 78. Fonit 25091, equivalent of Blue Star 109, 78. Fonit 25094, equivalent of Blue Star 145, 78. Forum SF9056, Lullabies ofBirdland, LP, [1959]. Forum Circle FS9082, Lullabies ofBirdland: Command Performance, equivalent of Forum SF9056,LP, [1959]. Guilde du Jazz (France) CH SMS7130/9, LP. Guilde du Jazz CHJ 1313, LP, 1956. Guilde du Jazz J707, Dizzy Gillespie, equivalent to Jazztone J707, LP, 1956. Guilde du Jazz J1004, equivalent of Jazztone J1004, LP. Guilde du Jazz J1241, equivalent of Jazztone J1241, LP. Guilde du Jazz J1245, equivalent of Jazztone .11245, LP. Guilde du Jazz J-SPEC-100, equivalent of Jazztone J-SPEC-100, LP. Harlem Hit Parade LP5011, LP, cited in Koster and Bakker. Hipsville/Rhino R2 70197, Charlie Parker, Bebop and Bird vol. 1, CD, 1988. Hipsville/Rhino R2 70198, Charlie Parker, Bebop and Bird vol. 2, CD, 1988. History of Jazz (Italy) HOJ75, LP, cited in Postif 1958. Jazz Anthology JA 5108, Charlie Parker, Live Sessions 1947, equivalent to Spotlite LP107, LP. Jazz Selection (France) 514, "Loverman" [D 1022-A]/"Bebop" [D 1024-A], equivalent to Dial 1007,78. Jazz Selection 515, "Don't Blame Me" [D 1116-A]/"Scrapple from the Apple" [D 1113-C], equivalent to Dial 1021, 78. Jazz Selection (Sweden) 4010, "Loverman" [D 1022-A]/"Don't Blame Me" [D 1116-A], cited in Postif 1958 as "Lover Man" on Jazz Selection 1010. Jazz Selection 4017, "Superman" [D 1104-B]/"My Old Flame" [D 1114-A], as by Miles Davis, cited in Postif 1958. Jazz Selection 4020, "Bongo Beep" [Diggin' Diz, D 1000]/[other title untraced], cited in Postif 1958. Jazz Selection 4050, "How Deep Is the Ocean" [D 1156-A]/[other title untraced]. Jazz Selection 45X5028, "Loverman" [D 1022-A]/"Don't Blame Me" [D 1116-A], cited in Postif 1958. Jazz Selection JEP4015, EP. Jazz Selection JEP4517, equivalent of Vogue EPV1011, EP. Jazz Selection JEP4537, EP. Jazz Selection JEP4576, EP. Jazz Selection JSLP702, LP. Jazz Society (France) LP67405, equivalent to Charlie Parker Records PLP407, LP.

46

The Dial Recordings of Charlie Parker

Jazztone (Germany, US) J702, LP, cited in Koster and Bakker. Jazztone J707, LP, [1956]. Jazztone J1004, LP. Jazztone J1017, LP Jazztone J1204, Giants of Modern Jazz, LP, 1955. Jazztone J1214, Charlie Parker, The Fabulous Bird, LP, 1955. Jazztone J1240, The Saxes of Stan Getz and Charlie Parker, LP, 1956. Jazztone J1241,LP, [1956]. Jazztone J1245,LP, [1956]. Jazztone J1258, Comparative Blues, LP, 1957. Jazztone J-SPEC-100, LP, Jazz Sampler, 1955. Joker (Italy) SM3288, History of Jazz, equivalent of Roost LP2210, LP, 1977. Joker SM3717, equivalent of DJM DJML-062, LP. Kings of Jazz (Italy) KLJ 20007, Charlie Parker and Dizzy Gillespie at their rarest of all rare performances, vol. 1, equivalent of Jazztone J1204, LP. London (Netherlands) FLX3045, "Crazeology" [D 1155-D]/ "Quasimado" [D 1152-A], 78. London FLX3047, "Scrapple from the Apple" [ D i l l 3-B]/"Embraceable You" [D 1106-A], equivalent of Vogue V2349, 78. London FLX3048, "Don't Blame Me" [D 1116-A]/"Air Conditioning" [D 1151-E], 78. London FLX3054, "Klactoveesedstene" [D 1112-A]/["Charlie's Wig," D 1154-C], 78. London RE7118, EP. Metronome (Sweden) B578, "'Round Midnight" [D 1105-B]/[other title untraced], 78, cited in Evans 1968. Metronome (Sweden) B582, "Carvin' the Bird" [D 1073-B]/"This Is Always" [D 1051-C], 78, cited in Koster and Bakker. MGM (England) 65104, Bird Symbols, equivalent of Charlie Parker Records PLP407, LP, 1963. MGM 65106, Once There Was Bird, equivalent of Charlie Parker Records PLP408, LP, 1965. Modern Music (Sweden) 53, "Hallelujah" [Comet T8-F]/"Slam Slam Blues" [Comet T10B], equivalent to Comet T6 and Blue Star 187, 78. Modern Music 55, "Get Happy" [T9-D]/"Congo Blues" [Tll-C], equivalent to Comet T7 and Blue Star 183,78. Modern Music LP1, LP, cited in Koster and Bakker Music (Italy) 45X5028, EP, cited in Koster and Bakker for [D 1116-A] only but may be equivalent to Jazz Selection 45X5028. Music EPM20007, equivalent of Vogue EPV1011, EP. Musidisc CV982, Bird Symbols, equivalent of Charlie Parker Records PLP407, LP, [1965]. Nap (Italy) LP AJ503, LP, cited in Koster and Bakker. Nap NLP 11059, LP, cited in Koster and Bakker. New World NW 271, Bebop, LP, 1976.

List of Record Issues by Label

47

Odeon (Germany) 286302, "Stupendous" [D 1074-A]/[untraced Howard McGhee side, perhaps D 1044-2?], 78, cited in Postif 1958. Olympic 7135, The Roots of Modern Jazz, 1974, LP. Pacific EP 90358, EP, equivalent of Parlophone 45EAQ-19. Parlophone (England) R3142, "Stupendous" [D 1074-A]/"High Wind in Hollywood" [D 1044-2], 78, 1949, cited in Blume 1949. Parlophone (Italy) 45EAQ-19, "Stupendous" [D 1074-A]/[other title untraced, perhaps Howard McGhee D 1044-2?], EP, [1955], cited in Postif 1958. Parlophone B71088, "Stupendous" [D 1074-A]/[ other title untraced, perhaps Howard McGhee D 1044-2?], cited in Postif 1958. Parlophone PMDQ8011, LP. Parlophone (Switzerland) PZ11222, "Stupendous' [D 1074-A]/[untraced Howard McGhee title, perhaps D 1044-2?], 78, 1950. Parlophone Do 6, LP, cited in Koster and Bakker. Pathe (France) 2C062-95819, equivalent of Charlie Parker Records PLP407, LP. Pathe 45EA-30, EP, equivalent of Parlophone 45EAQ-19, 1955. Philology W.80.2, Charlie Parker, Bird's Eyes: Last Unissued vol. 8, CD. Schwann Spectrum gives the label number as PHCD-4080. Pickwick (England, US) MPD181, equivalent of DJM DJML-062, LP. Pickwick PC3054, Charlie Parker, Yardbird, LP.

Roost RB-2, The Birdland Story, 2 LP set. Roost RLP2210, Charlie Parker, All Star Sextet, LP, 1956. Roost RLP2234, Diz W Bird in Concert, LP, 1959. Koster and Bakker list Columbia (England) 33SX1555 as equivalent; while both issues contain the 29 September 1941 Gillespie/Parker live recordings, the Roost LP uses Gillespie studio recordings as filler, while the Columbia issue has Parker-Dial performances. Roost RLP2257, The World of Charlie Parker, LP. Roost SK-106, Diz W Bird: The Beginning, equivalent of Roulette RE-105, 2 LP set. Roost WGM-2, Pop Jazz: From the Catalogue of Roulette Records, Birdland Series, 10 LP set, [1962]. Roulette RE-105, The Charlie Parker-Dizzy Gillespie Years, 2 LP set. Roulette RE-120, Charlie Parker, Dizzy Gillespie, and John Coltrane, Echoes of an Era, 2 LP set. Saga (England) ERO 8005, Charlie Parker, vol. 1: Cool Blues, LP, 1966. Saga ERO 8007, Charlie Parker, vol. 3: Groovin' High, LP, [1967]. Saga ERO 8052, Charlie Parker, vol. 6: Bongo Bop, LP, 1973. Saga ERO 8053, Charlie Parker, vol. 7: Get Happy, LP, 1973. Sagapan (England) 6907, Charlie Parker, vol. 2: Cool Blues, equivalent to Saga ERO 8005, LP, 1973. Sagapan 6909, Charlie Parker, vol. 4: Groovin' High, equivalent to Saga ERO 8007, LP, 1974. Sagapan 6911, Charlie Parker, vol. 6: Bongo Bop, equivalent to Saga ERO 8052, LP, 1974. Sagapan 6912, Charlie Parker, vol. 7: Get Happy, equivalent to Saga ERO 8053, LP, [1974] Sagapan 6913, Charlie Parker, vol. 8: Ornithology, [1974].

48

The Dial Recordings of Charlie Parker

Savoy/Musidisc (France) 30JA5108, equivalent of Spotlite LP107, LP. Savoy/Musidisc 45-3007, EP. Savoy/Musidisc 45-3015, EP. Savoy/Musidisc 45-3016, EP. Smithsonian P6 11891, The Smithsonian Collection of Classic Jazz, 6 LP set, 1973. Smithsonian R033P7-19477, The Smithsonian Collection of Classic Jazz, revised edition, 7 LPset, 1989. Smithsonian RD004, Dizzy Gillespie: The Development of an American Artist, 2 LP set, 1976. Smithsonian RD033-1-5, CD version of Smithsonian R033P7-19477, 5 CD set, 1989. Society (England) 1026, equivalent of Sagapan 6913, LP. Sonet (Denmark, Sweden) SLP24, equivalent of Roost RLP2210, LP. Sonet SXP2808, EP. Sonet SXP2809, EP. Sonet SXP2815, EP, cited in Postif 1958. Sonet SXP2821, EP, cited in Postif 1958. Sonet SXP2822, EP, cited in Jepsen 1968. Sonet SXP2826, EP. Spotlite (England) LP101, Charlie Parker on Dial, Volume 1, LP, 1970 Spotlite LP102, Charlie Parker on Dial, Volume 2, LP, 1970. Spotlite LP103, Charlie Parker on Dial, Volume 3, LP, 1970. Spotlite LP104, Charlie Parker on Dial, Volume 4, LP, 1970. Spotlite LP105, Charlie Parker on Dial, Volume 5, LP, 1970. Spotlite LP106, Charlie Parker on Dial, Volume 6, LP, 1970. Spotlite LP107, Lullaby In Rhythm Featuring Charlie Parker, LP. Spotlite LP107, Red Norvo Septet, LP. This particular citation crops up in some discographies and guides; to avoid confusion, this LP will be cited in the catalogue as Spotlite SPJ127. Spotlite SPJ 127, Red Norvo's Fabulous Jam Session, LP. Spotlite SPJ 132, Tempo Jazzmen/Hermanites, Confirmation, LP, [1981]. Spotlite SPJ-CD 127, Red Norvo on Dial - All Existing Takes, reissue of Spotlite SPJ127, CD, 1995. Spotlite SPJ-CD 128, Dodo Marmarosa on Dial: The Complete Sessions, CD, 1995. Spotlite SPJ-CD 132, Gillespie/Berman/Navarro on Dial: All Known Existing Takes, CD, 1997. Spotlite SPJ-CD 109-2, Charlie Parker, The Dial Masters: Original Choice Takes, 2 CD set, 1995. Spotlite SPJ-CD 4-101, Charlie Parker on Dial-The Complete Sessions, 4 CD set, 1993. Spotlite [unnumbered] Charlie Parker, The Fabulous Bird Blows, 3 LP set, 1981. Contains facsimile reprints of Dial LP901, LP904, and LP905. As this set has no Spotlite label number, its contents will be cited by the label numbers of the respective Dial issues. Spotlite/Dial (Japan) TOCJ-0001-0010, The Complete Dial Recordings, 10 CD set, 1995. Spotlite/Stateside (Japan) CJ25-5043-6, Charlie Parker on Dial Completed, 4 CD set, [1992]. Stash (Canada, US) ST-CD-23, Charlie Parker, The Legendary Dial Masters vol.1, CD, 1991. Stash ST-CD-25, Charlie Parker, The Legendary Dial Masters vol.2, CD, 1991. Stash ST-CD-567-68-69-70, Charlie Parker, The Complete Dial Sessions, 4 CD set, 1993. Summit (England) AJS3, equivalent of Charlie Parker Records PLP 407, LP. Swing (France) 305, "Stupendous" [D 1074-A]/"Shaw 'Nuff' [Guild mx. G566], 78, 1949.

List of Record Issues by Label

49

Swing 381, "Superman" [D 1104-B]/Howard McGhee, "Trumpet at Tempo" [D 1023-B], 78, 1952. Swing 382, "How Deep Is the Ocean" [D 1156-A]/"Schnourphology" [D 1111-C], 78, 1952. Swing 383, "Dynamo A" [D 1003-A]/"Dynamo B" [D 1003-B], 78, 1952. Swing 384, "Bongo Beep" [D 1000]/[Outof Nowhere, D 1115-A],78, 1952. "My Old Flame" [D 1114-A] is commonly listed in 1952 Jazz Hot advertisements and discographies as having been issued on Swing 384, although Koster and Bakker delete that title in their update in vol. 4 of their Charlie Parker 1940 - 1955. Swing 396, "Parker's Blues" [D 1102-B]/"Prezology" [D 1103-A], 78, 1953 Swing 397, "Embraceable You" [D 1106-A]/"Air Conditioning" [D 1151-E], 78, 1953 Swing 406, "Hot Blues" [D 1054-B]/"Bird Feather" [D 1154-C], 78, 1953 Swing LDM30.067, Memorial Charlie Parker, equivalent of Vogue (England) LAE12002, LP, [1955]

Tell (Switzerland) 29659, "Klact-oveeseds-tene" [D 1112-A]/[other title untraced, perhaps D 1153-E, if this disc is equivalent to Blue Star 216 and Chant du Monde 29659], 78, cited in Postif 1958. Tono (Denmark) AJ503, LP. Tono BZ 19001, equivalent to Blue Star 61, 78. Tono BZ 19003, equivalent to Blue Star 62, 78. Tono BZ 19011, equivalent to Blue Star 153, 78. Tono BZ 19012, equivalent to Blue Star 145, 78. Tono BZ 19015, equivalent to Blue Star 216, 78. Trip TLX5035, Charlie Parker, The Master, LP. Verve (England) VLP9105, Bird Symbols, equivalent of Charlie Parker Records PLP407, LP, [1965]. Verve VSPS57038, equivalent of Spotlite SPJ 127, LP. Vogue (England) EPV1011, Charlie Parker Plays, EP, 1954. Vogue EPV1264, Charlie Parker, All Star Quintet-Sextet, EP, 1960. Vogue LAE12002, Charlie Parker, Memorial Album, LP, 1955. Vogue LDE004, equivalent of Vogue (France) LD057, LP, 1952. Vogue LDE006, equivalent of Vogue LD058, LP, 1952. Vogue LDE016, Charlie Parker vol. 2, equivalent of Vogue LD059, LP, 1952. Vogue V2132, equivalent of Swing 382, 78, 1952. Vogue V2244, "Hot Blues" [D 1054-B]/"Bird Feathers" [D 1103-A], 78, 1954. This disc is a discographical mess. The Jazz Journal review (vol. 7, no. 9 [September 1954]: 14-15) confirms that the side etched "D 1054-B" is a performance of "Cool Blues" by Charlie Parker with Erroll Garner, but Postif (1958) and Koster and Bakker (entry no. 23) state there are copies that play back "Diggin' Diz" [D 1000] instead. Koster and Bakker also state that the other side titled "Bird Feathers" etched D 1154-C plays back the performance numbered D 1103-A ("Prezology" aka "Dewey Square"). Vogue V2349, "Embraceable You" [D 1106-A]/"Scrapple from the Apple" D 1113-B], 78, 1955. Vogue VJT3002-1/2/3, Charlie Parker, Bird's Nest, 3 LP set, 1976. Vogue (France) 500753, Memorial Charlie Parker, equivalent to Vogue LAE12002, LP, 1970. Vogue CLD753, Memorial Charlie Parker, equivalent to Vogue LAE12002, LP.

50

The Dial Recordings of Charlie Parker

Vogue CLVLXR342, Histoire de geants du jazz, 2 LP set, 1969. Vogue CLVLXR397, L'Epopee du Birdland, vol.1: La Trompette, LP, 1969. Vogue CLVLXR400, L'Epopee du Birdland, vol.4: L'Alto, LP, 1970. Vogue DP-08, 3 geants du jazz, equivalent of Roost RLP2234, LP, 1971. Vogue EPL7036, equivalent of Vogue (England) EPV1011, EP, 1955. Vogue EPL8202, EP. Vogue LD057, Charlie Parker vol. 1, equivalent of Vogue (England) LDE004, LP, 1952. Vogue LD058, Originators of Modern Jazz, LP, 1952. Vogue LD059, Charlie Parker vol. 2, equivalent of Vogue (England) LDE016, LP, 1952. Vogue LD624-30, Charlie Parker, The Fabulous Sextet, equivalent of Roost RLP2210. Vogue V45-24, "Lover Man" [D-1022-A]/"Don't Blame Me" [D 1116-A], EP, 1954. Vogue VLP9015, equivalent of Charlie Parker Records PLP407, LP. Vogue-Mode (France) MDINT 9200, Le Plus Grand Festival de Jazz, vol. 1, LP, 1964. Vogue-Mode MDINT 9369, Initiation au Jazz vol. 1, LP, [1966]. Vogue-Mode MDINT 9400, Initiation au Jazz vol. 2, LP, 1966. Vogue Mode MDR 9161, Lullabies ofBirdland, equivalent of Forum SF9056, LP, 1964.

Warner Brothers 6BS 3159, Charlie Parker, US reissue of Spotlite LP101-106, 6 LP set. Warner Brothers 2WB 3198, Charlie Parker: The Very Best of Bird, 2 LP set. Warner Brothers (Europe) WB 66081, Charlie Parker: The Very Best of Bird, equivalent of Warner Brothers 2WB 3198, 2 LP set. Z1M ZL 1001, Lullaby in Rhythm, equivalent of Spotlite 107, LP.

Additional issues not included in the catalogue, due to the lack of details regarding specific takes used: Accord 500122, Charlie Parker Anthology, 2 CD set, 1990. Atoll ATO 8630, Charlie Parker, Bird Symbols, CD, 1988. Bella Musica BMCD 89925, Charlie Parker, CD, 1991. Black Bird 0127, Charlie Parker, Cool Blues, CD. Black Label BLCD 8004, Charlie Parker, West Coast Time, CD. Black Label BLCD 8010, Bird and Miles: Historical Sessions, CD, [1992]. Creative Sounds SSI404, Charlie Parker, Blue Bird, cassette. Crown 5220, Modern Jazz Greats vol. 2: Continental Octette, LP. Dejavu 5017-2, The Charlie Parker Collection, CD, 1988. Dejavu DVMC 2017, The Charlie Parker Collection, CD, 1985. Everest FS-365, Diz and the Bird, LP, 1981. Giants of Jazz (Italy) CD 0217, Charlie Parker, Masterworks 1946 - 7947, CD, 1987. Giants of Jazz CD 53051, Charlie Parker 1945-1953, CD, 1990. Giants of Jazz CD 53122, CD. Giants of Jazz LP JT 31, Birth Of Bebop, 1944-1947, LP, 1985. Hall of Fame Jazz Greats, Giants of Jazz, LP. Jazz Life SSI804, Charlie Parker, Blue Bird, equivalent to Creative Sounds SSI404, CD, 1991. Joker SM3866-3868, Charlie Parker, 3 LP set, 1980. Legacy CD 340, Charlie Parker, The Best of the Bird, CD. MCR 2699362, The Great Performances of Jazz, 3 CD set, [1989].

List of Record Issues by Label

51

Musica Jazz 2MJP 1066, Charlie Parker, Musica Jazz presenta (iBird" coin era, LP, 1988. Phoenix 10, Bird and Miles, LP, 1981. Point 2620582, Charlie Parker, The Bird, CD, 1988. Rhino R2 70717, Legends of Guitar, CD, 1990. Saga 6913AG, Charlie Parker vol. 8: Ornithology, LP, 1973. Saga 6928AG, Charlie Parker vol. 9: Bird of Paradise, LP, 1975. Saga CP Box 1, Charlie Parker: Immortal Sessions, vol. 1, 1945-1948, 5 CD set (includes Saga 3326-3330 inclusive), [1990] Spotlight 4432 (4433 on spine), Charlie Parker, Parker's Mood vol. 2, CD. Spotlite/Stateside Charlie Parker Story on Dial vol. 1: Westcoast Days, CD, 1986. Trolley Car TC-5013, Early Bird and Miles, LP.

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TRANSCRIPTION SOURCES WITH SIGLA Aebersold and Sloane Omnibook

Jamey Aebersold, ed. Charlie Parker Omnibook. Hollywood: Atlantic Music, 1979.

ARJS, vol. 4

James Kent Williams. "Archetypal Schemata in Jazz Themes of the Bebop Era." Annual Review of Jazz Studies 4 (1988): 49-74.

Charlie Parker Bebop

Charlie Parker Bebop for Alto Sax: Four Solos with Piano Accompaniment. New York: Atlantic, 1948.

Downbeat, vol. 32, no. 6

Don Heckman. "Bird in Flight." Downbeat 32, no. 6 (11 March 1965): 22-24.

Downbeat, vol. 37, no. 7

Martin Williams. Transcription notated by Jim Giuffre and Zita Carno. "A Charlie Parker Masterpiece." Downbeat, 37, no. 7 (2 April 1970): 34-35.

Downbeat, vol. 56, no. 4

Paul Smith. "Charlie Parker's Solo on 'Dewey Square.'" Downbeat, 56, no. 4 (April 1989): 56-57.

Gray

James M. Gray. An Analysis of MelodicDevices in Selected Improvisations of Charlie Parker. M.A. thesis, Ohio University, 1966.

Grigson

Lionel Grigson. A Charlie Parker Study Album. London: Novello, 1989.

Hirschmann

Thomas Hirschmann. Untersuchungen zu den Kompositionen von Charlie Parker. Wissenschaftliche Hausarbeit zum

54

The Dial Recordings of Charlie Parker Staatsexamen fur das Lehrmat an Gymnasien, Mainz, 1982. Photocopy.

Hodeir, Jazz: Its Evolution

Andre Hodeir. Jazz: Its Evolution and Essence. New York: Grove Press, 1956.

Hodeir, Larousse

Larousse de la Musique. Paris: Libraire Larousse, 1957.

Hodeir, Toward Jazz

Andre Hodeir. Toward Jazz. Translated by Noel Burch. New York: Grove Press, 1962.

Isacoff, Jazz Masters

Stuart Isacoff. Jazz Masters: Charlie Parker. Music for Millions, no. 81 New York: Consolidated Music Publishers, 1978.

Isacoff, Solos

Stuart Isacoff. Solos for Jazz Alto Sax. New York: Carl Fischer, 1985.

JAMS, vol. 27, no. 2

Frank Tirro. "Constructive Elements in Jazz Improvisation." Journal of the American Musicological Society 27, no. 2 (summer 1974): 294-304.

Jazz Hot, no. 73

Hodeir, Andre. "Un Chorus Par Disque." Jaz, Hot, no. 73 (January 1953): 14.

JJS, vol. 6, no. 1

Steven Strunk. "The Harmony of Early Bop: A Layered Approach." Journal of Jazz Studies 6, no. 1 (1979): 4-52.

Leeds

Phyllis Pinkerton, transcriber. Charlie Parker: Nine Solos Transcribed from Historic Recordings for E-flat and C instruments with Piano Accompaniments. New York: Leeds Music, 1961.

Martin

Henry Martin. Charlie Parker and Thematic Improvisation. Lanham, MD: Scarecrow, 1996.

Miedema, Jazz Styles

Harry Miedema Jr/zz Styles and Analysis: Alto Sax. Chicago: Downbeat Workshop Publications, 1975.

MQ, vol. 59, no. 4

Richard Wang. "Jazz Circa 1945: A Confluence of Styles." Musical Quarterly 59, no. 4 (October 1973): 531-546.

Owens, vol. 2

Thomas Owens. Charlie Parker:

Techniques

55

Transcription Sources with Sigla of Improvisation. Ph.D. diss., University of California, Los Angeles, 1974. Stuart

W. Dorsey Stuart. Charlie Parker: World's Greatest Exponent of Jazz. New York: Charlie Parker/Mayhew Music Co., 1961.

Tirro

Frank Tirro. Jazz: A History. New York: W.W.Norton, 1977.

Watanabe

Sadao Watanabe. Jazz Improvisation: Transcriptions of Charlie Parker's Great Alto Solos for All Instrumental Musicians. Tokyo: Nichion, 1975.

White CPC-

Andrew White. The Charlie Parker Collection. Washington, DC: Andrew's Musical Enterprises, 1978.

Woideck

Carl Woideck. Charlie Parker: His Music and Life. Ann Arbor: University of Michigan Press, 1996.

Additional transcriptions not included in the catalogue, due to unavailability, inaccessibility, or lack of details: Paul Smith, Morris Feldman, and Michael Goldsen. Charlie Parker for Piano. New York: Atlantic Music Corporation, 1977, 1988. Joe Viera. Grundlagen der Jazzrhythmik. Vienna: Universal, 1970. James Kent Williams. Themes Composed by Jazz Musicians of the Bebop Era: A Study of Harmony, Rhythm, and Melody. Ph.D. diss., Indiana University, 1982.

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CATALOGUE June 6,1945 Comet Records session, WOR Studios, New York City. Personnel: RED NORVO AND HIS SELECTED SEXTET John Birks "Dizzy" Gillespie, trumpet Charlie Parker, alto saxophone Flip Phillips (Joseph Edward Filipelli), tenor saxophone Red Norvo (Kenneth Norville), vibraphone Theodore "Teddy" Wilson, piano Leroy E. "Slam" Stewart, bass Gordon "Specs" Powell, drums James Charles "J.C." Heard, drums Spotlite reissue citations: Spotlite SPJ 127, Red Norvo's Fabulous Jam Session, LP; Spotlite SPJ-CD 127, Red Norvo on Dial - All Existing Takes, CD, 1995. 1. Hallelujah: (Vincent Youmans - Leo Robin - Clifford Grey): 32 measure AABA; key of E-flat, 4/4 meter; omit Heard. a.T8-A;J=ca. 256; 4:15 Choruses: Theme; Norvo (2); Phillips; Wilson; Gillespie; Stewart; PARKER; ensemble. Spotlite reissues: Spotlite SPJ 127, side 2, track 1; Spotlite SPJ-CD 127, track 1. Issues: Dial LP903 Transcription: White CPC-115 (II)

b. T8-B; unissued, presumed lost.

58

The Dial Recordings of Charlie Parker

c. T8-C; unissued, presumed lost. d. T8-D; unisssued, presumed lost. e. T8-E;J-ca.256;4:20 Choruses: Theme; Norvo (2); Phillips; Wilson; Gillespie; Stewart; PARKER; ensemble. Spotlite reissues: Spotlite SPJ 127, side 2, track 2; Spotlite SPJ-CD 127, track 2. Issues: Dial 1045 Spotlite LP105, EMI-Toshiba ITJ-50001 Transcription: White CPC-115 (I) Note: Issued as "Sing Hallelujah" on Dial 1045. f. T8-F; J =ca.256; 4:05 Choruses: Theme; Norvo (2); Phillips; Wilson; Gillespie; Stewart; PARKER; ensemble. Spotlite reissue: Spotlite SPJ 127, side 1, track 1; Spotlite SPJ-CD 127, track 3. Issues: Comet T6 Dial LP903 B & C Bird-1, Baronet B105, Blue Star 190, CED-Explosive 528013, Concert Hall BJ 1204, Eros ERO 8005, Guilde du Jazz-CH SMS7130, Jazztone J1204, Jazztone J707, Kings of Jazz KLJ20007, Modern Music 53, Modern Music LP1, Nap NLP 11059, Saga ERO 8005, Sagapan 6907, Sonet SXP2809 Transcription: White CPC-115 (III) Notes: Five unnumbered false starts were noted by Russell in his inventory of Dial pressings. Koster and Bakker list differing takes used for "Hallelujah" in the American and Bellaphon equivalents, take A for America, take F for Bellaphon.

2. Get Happy (Harold Arlen - Ted Koehler): 32 measure AABA; key of F; 4/4 meter; omit Heard. a. T9-A; unissued, presumed lost. b.T9-B;J=ca. 200; 4:05

June 6, 1945

59

Choruses: Theme with Wilson bridge; Norvo (4mm. break, AABA); Phillips (4mm. break, AABA); Gillespie; PARKER; ensemble. Spotlite reissue: Spotlite SPJ 127, side 2, track 3; Spotlite SPJ-CD 127, track 4. Issues: Dial 1035, Dial LP903 Transcription: White CPC-126 (I)

c. T9-C; unissued, presumed lost. d. T9-D; J =ca. 224; 3:50 Choruses: Theme with Wilson bridge; Norvo (4mm. break, AABA); Phillips (4mm. break, AABA); Gillespie; PARKER; ensemble (AABA; BA). Spotlite reissue: Spotlite SPJ 127, side 1, track 2; Spotlite SPJ-CD 127, track 5. Issues: Comet T7 Dial LP903 B & C Bird-1, Baronet B105, Blue Star 187, CED-Explosive 528013, Celson RA8003, Chant du Monde 29647, Concert Hall BJ 1204, Jazztone J1204, Jazztone J707, Kings of Jazz KLJ 20007, Modern Music 55, Modern Music LP1, Nap NLP 11059, Saga ERO 8053, Sagapan 6912, Sonet SXP2808 Transcription: White CPC-126 (II) Note: Four unnumbered breakdowns for this title were noted by Russell in his Dial pressings inventory. 3. Slam Slam Blues (Red Norvo): No theme; 12 measure blues chorus; key of B-flat, 4/4 meter; omit Powell. a. T10-A;J=ca. 72; 5:17 Choruses: Stewart; PARKER; Wilson; Gillespie; Norvo; Stewart; Phillips. Spotlite reissue: Spotlite SPJ 127, side 2, track 4; Spotlite SPJ-CD 127, track 6. Issues: Dial 1045, Dial LP903 Vogue (E) LDE006, Vogue (F) LD058 Transcriptions: Owens, vol. 2, p. 138 (I) White CPC-127 (I) Notes: Issued as "Bird's Blues" on Dial 1045, and as "Bird Blues" on Vogue LDE006 and

The Dial Recordings of Charlie Parker

60

Vogue LD058. Dial 1045 is a 10" dubbing from the original 12" Comet master. b. T10-B;J=ca. 72; 4:39 Choruses: Stewart; PARKER; Wilson; Gillespie; Norvo; Phillips. Spotlite reissue: Spotlite SPJ 127, side 1, track 3; Spotlite SPJ-CD 127, track 7. Issues: Comet T6 Dial LP903 B & C Bird-1, Baronet B105, Blue Star 190, Brocades LP74, CED-Explosive 52013, Concert Hall CHJ100, Concert Hall DJ 100-E, Concert Hall BJ1204, Eros ERO 8005, Guilde du Jazz-CH SMS 7130/9, Guilde du Jazz CHJ 1313, Guuilde du Jazz J-SPEC-100, Jazztone J1204, Jazztone J-SPEC-100, Kings of Jazz KLJ20007, Modern Music 53, Modern Music LP1, Nap NLP 11059, Saga ERO 8005, Sagapan 6907, Sonet SXP2809 Transcriptions: MQ, vol. 59, no. 4, p. 543 Owens, vol. 2, p. 138(11) White CPC-127 (II) 4. Congo Blues (Red Norvo): No theme; 40 measure ABB chorus, A being a 16 measure prelude (the last 4 measures an unaccompanied break), B sections 12 measure blues; key of B-flat, 4/4 meter. a. T11 -AA; J =ca. 220; 1:03 (uncompleted take) Choruses: Gillespie; PARKER (A). Spotlite reissue: Spotlite SPJ127, side 2, track 5; Spotlite SPJ-CD 127, track 8. Issue: Dial LP903 Transcription: White CPC-128 (I) b. Tll-BB; J =ca. 220; 1:15 (uncompleted take) Choruses: Gillespie; PARKER (AB). Spotlite reissue: Spotlite SPJ 127, side 2, track 6; Spotlite SPJ-CD 127, track 9. Issues: Dial LP903 Transcription: White CPC-128 (II)

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61

c.Tll-A;J=ca. 220; 4:05 Choruses: Gillespie; PARKER; Wilson; Phillips; Norvo; Stewart; ensemble (BB). Spotlite reissue: Spotlite SPJ 127, side 2, track 7; Spotlite SPJ-CD 127, track 10. Issues: Dial LP903 Transcription: White CPC-129 (III) d.Tll-B;J=ca. 220; 4:00 Choruses: Gillespie; PARKER; Wilson; Phillips; Norvo; Stewart; ensemble (BB). Spotlite reissue: Spotlite SPJ 127, side 2, track 8; Spotlite SPJ-CD 127, track 11. Issue: Dial 1035 Transcription: White CPC-129 (IV) Note: Dial 1035 is a 10" dubbing from the originial 12" Comet master. e. Tll-C; J=ca. 220; 4:02 Choruses: Gillespie; PARKER; Wilson; Phillips; Norvo; Stewart; ensemble (BB). Spotlite reissue: Spotlite SPJ 127, side 1, track 4; Spotlite SPJ-CD 127, track 12. Issues: Comet T7 Dial LP903 B & C Bird-1, Baronet B105, Blue Star 187, CED-Explosive 528013, Celson RA8003, Chant du Monde 29647, Concert Hall BJ1204, Jazztone J1204, Jazztone J1258, Kings of Jazz KLJ20007, Modern Music 55, Modern Music LP1, New World NW 271, Sonet SXP2808 Transcription: White CPC-129 (V) Notes: Issued as "Bird's Blues" on Baronet B105 and Jazztone J1204. Matrix information from Russell's inventory of Dial pressings. The first complete take was preceded by three false starts, two of which have been issued. The matrix numbers for the two issued breakdowns, Tl 1-AA and Tl 1-BB, have been provided by Tony Williams on his reissue of this session on Spotlite SPJ 127.

The Dial Recordings of Charlie Parker

62 Session comments:

The session was held by Comet Records, which was owned at the time by Les Schreiber and Harry Alderton. This Red Norvo date was the third Comet session, the previous two being with the Art Tatum Trio, and with Cyril Haynes leading an ensemble including Don Byas. This session combined musicians associated with swing (Norvo, Phillips and Wilson) with those associated with bop (Gillespie and Parker). For a discussion of these contrasting musical styles during this particular session, see Richard Wang, "Jazz Circa 1945: A Confluence of Styles" (Musical Quarterly vol. 59, no. 4, pp. 531-546). Comet Records was sold to Black and White Records not long after the Norvo session. Black and White owner Paul Reiner sold the masters from the Tatum, Haynes and Norvo sessions to Dial Records owner Ross Russell, closing the deal via telephone on June 21, 1949. On August 3, 1949 Russell reported to Paul Reiner the location of the Norvo session alternate takes in the WOR studio files. Documents related to this sale are kept in the folder "Comet Masters," Box 6, Ross Russell Collection. Matrix number information drawn from Ross Russell's inventory of Dial pressings, folder "Dial Parts," Box 6, Ross Russell Collection. The collected published session takes, except for matrix T8-E, issued on Charlie Parker Records PLP408 and MGM 65106. The collected published session takes issued on Spotlite SPJ 127, Spotlite SPJ-CD 127, and Spotlite (Japan) TOCJ-0001-0010, and Verve-VSP VSPS57038.

February 5,1946 Electro Broadcasting Studios, Glendale, California Personnel: DIZZY GILLESPIE JAZZMEN (TEMPO JAZZMEN) John Birks "Dizzy" Gillespie, trumpet Charlie Parker, alto saxophone George Handy, piano Arvin Garrison, guitar Raymond Brown, bass Stan Levey, drums Spotlite reissue citations: Spotlite LPlOl, Charlie Parker on Dial, Volume 1, LP, 1970; Spotlite SPJ-CD 4-101, Charlie Parker on Dial: The Complete Sessions, CD, 1993 1. Diggin' Diz (George Handy): 64 measure AABA chorus, based on the chords of "Lover" (Richard Rodgers - Lorenz Hart); key of C, 4/4 meter. a. D 1000; j=ca.218; 2:50 Choruses: Theme (AA), Handy (B), PARKER (A); Gillespie (A), Thompson (A), Garrison (B), Handy (A); theme (A). Spotlite reissue: Spotlite LP101, side 1, track 1; Spotlite SPJ-CD 4-101, disc 1, trackl. Issues: Dial 1004, Dial LP207 American DX3AM008, Bellaphon 008/9/10, Baronet B105, EMI-Toshiba ITJ50001, Eros ERO 8005, Jazz Selection 4020, Jazz Selection LP702, Spotlite LPlOl, Spotlite SPJ-CD 4-101, Spotlite SPJ-CD 109-2, Spotlite TOCJ-00010010, Stash ST-CD-23, Stash ST-CD-567-68-69-70, Stateside/Spotlite CJ255043-6, Swing 384, Vogue V2244, Vogue LDE004, Vogue LD057, Warner Brothers 6BS 3159 Transcriptions: Watanabe, pp. 12-15

64

The Dial Recordings of Charlie Parker White CPC-67 Notes: Issued as "Bongo Beep" on Dial LP207, Vogue LD057, Vogue LDE004, Swing 384, and Jazz Selection 4020. Issued as "Hot Blues" on Vogue V2244, as by the Charlie Parker Quartet, bearing the Dial matrix number for "Hot Blues" 1054-B; however, there may be copies with D 1054-B, as was the case of the review copy of Vogue V2244 in Jazz Journal 7, no. 9 (September 1954): 14-15 Mistakenly called "Dynamo A" by Parker during a radio broadcast from Birdland in New York City on May 30, 1953. Recorded as "Diggin' For Diz" by Dizzy Gillespie for Dial on February 6, 1946 (see Appendix 4).

Session comments: This test take comes from a rehearsal for the first Dial Records session. A full account of this rehearsal and the subsequent session may be found in the historical narrative. A catalogue with commentary of the Dizzy Gillespie Dial session may be found in Appendix 4.

March 28,1946 Radio Recorders Studios, Hollywood, California. Personnel: CHARLIE PARKER SEPTET Miles Davis, trumpet Charlie Parker, alto saxophone Eli "Lucky" Thompson, tenor saxophone Michael "Dodo" Marmarosa, piano Arvin Garrison, guitar Vic McMillan, bass Roy Porter, drums Spotlite reissue citations: Spotlite LPlOl, Charlie Parker on Dial, Volume 1, LP, 1970; Spotlite SPJ-CD 4-101, Charlie Parker on Dial - The Complete Sessions, CD, 1993. 1. Moose the Mooche (Charlie Parker): 32 measure AABA chorus, based on the chords of "I Got Rhythm" (George Gershwin - Ira Gershwin), key of B-flat, 4/4 meter. a. D 1010-1; J=ca.222; 2:56 Choruses: Theme; PARKER; Davis (AA), Thompson (BA); Marmarosa (BA); theme. Spotlite reissue: Spotlite LPlOl, side 1, track 2; Spotlite SPJ-CD 4-101, disc 1, track 2. Issues: Dial LP201 B & C Bird-1, Blue Star LP6811, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: ARJS, vol. 4, p. 58 (theme chorus) Hirschmann, p. 42 (theme chorus) White CPC-68 (I)

66

The Dial Recordings of Charlie Parker b. D 1010-2; j =220; 3:00 Choruses: Theme; PARKER; Davis (AA), Thompson (BA); Marmarosa (BA); theme. Spotlite reissue: Spotlite LPlOl, side 1, track 3; Spotlite SPJ-CD 4-101, disc 1, track 3. Issues: Dial 1003, Dial 1004, Dial LP905 America DX3AM010, Avenue 1017, Baronet B105, B & C Bird-1, Bellaphon 008/9/10, Blue Star 134, CED-Explosive 528013, Celson QB7075, Celson QB7083, Charlie Parker Records PLP407, Charlie Parker Records PLP824, Concert Hall BJ1204, DJM DJML-062, Egmont AJS3, Esquire 10-078, Everest FS283, Jazz Society LP67405, Jazztone J1204, Jazztone J702, Joker SM3717, Kings of Jazz KLJ20007, MGM 65104, Musidisc CV982, Nap LP AJ503, Nap NLP 11059, Pathe 2C062-95819, Pickwick MPD181, Saga ERO 8053, Sagapan 6912, Savoy/Musidisc 45-3015, Sonet SXP2815, Spotlite SPJ(CD) 109-2, Stash ST-CD-23, Summit AJS3, Verve VLP9105, Vogue VJT3002-1, Vogue VLP9015 Transcriptions: Aebersold and Sloane Omnibook, pp. 4-5 ARJS, vol. 4, p. 58 (theme chorus) Charlie Parker Bebop, pp. 4-5 Grigson, pp. 66-69 Hirschmann, p. 42 (theme chorus) White CPC-68 (II)

c. D 1010-3; j=ca.220; 2:58 Choruses: Theme; PARKER; Davis (AA), Thompson (BA); Marmarosa (BA); theme. Spotlite reissue: Spotlite LPlOl, side 1, track 4; Spotlite SPJ-CD 4-101, disc 1, track 4. Issues: Bellaphon 008/9/10, Spotlite LP105 Transcriptions: ARJS, vol. 4, p. 58 (theme chorus) Hirschmann, p. 42 (theme chorus) White CPC-68 (III) Note: Koster and Bakker list Bellaphon 008/9/10 as having D 1010-3, although it is an equivalent of America 008/9/10 which they list as having matrix D 1010-2. 2. Yardbird Suite (Charlie Parker): 32 measure AABA chorus, based on the chords of "Rosetta" (Earl Hines - Henri Woode); key of C, 4/4 meter. a. D 1011-1; J=ca.200; 2:37 Choruses: Theme with PARKER bridge; PARKER; Davis (AA), Thompson (BA); Marmarosa (AA), Garrison (B), theme (A). Spotlite reissue: Spotlite LPlOl, side 1, track 5; Spotlite SPJ-CD 4-101, disc 1, track 5.

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67

Issues: Dial LP201 B & C Bird-1, Blue Star LP6811, Sagapan 6913, Society 1026, Stash ST-CD-25 Transcriptions: ARJS, vol. 4, p. 60 (theme excerpt) Hirschmann, p. 65 (first theme chorus with bridge only) White CPC-69 (II) Note: Parker's solo chorus performed by the saxophone ensemble Supersax on the album Supersax Plays Bird, Vol.11, Salt Peanuts (Capitol ST-11271). b. D 1011-2; unissued, presumed lost. c.D 1011-3; unissued, presumed lost. d. D 1011-4; J=ca.205; 2:52 Choruses: Theme with PARKER bridge; PARKER; Davis (AA), Thompson (B), Davis (A); Thompson (AA), Garrison (BA); Marmarosa (B); theme (A). Spotlite reissue: Spotlite LPlOl, side 1, track 6; Spotlite SPJ-CD 4-101, disc 1, track 6. Issues: Dial 1003, Dial LP905 America DX3AM008, Avenue 1017, B & C Bird-1, Baronet B105, Bellaphon 008/9/10, Blue Star 134, CED-Explosive 528013, Celson QB7075, Charlie Parker Records PLP407, Charlie Parker Records PLP824, Concert Hall BJ1204, Concert Hall CHJ 1004, DJM DJML-062, Egmont AJS3, Esquire 10-078, Everest FS283, Guilde du Jazz J1004, Jazz Society LP67405, Jazztone J1004, Jazztone J1204, Joker SM3717, Kings of Jazz KLJ20007, MGM 65104, Musidisc CV982, Nap AJ503, Nap NLP 11059, Pathe 2C062-95819, Pickwick MPD181, Savoy/ Musidisc 45-3015, Sonet SXP2815, Spotlite SPJ(CD)109-2, Stash ST-CD-23, Summit AJS3, Verve VLP9105, Vogue VJT3002-1, Vogue VLP9015, Warner Brothers 2WB 3198, Warner Brothers WB66081 Transcriptions: Aebersold and Sloane Omnibook, pp. 8-9 ARJS, vol. 4, p. 60 (theme chorus) Charlie Parker Bebop, pp. 8-9 Hirschmann, p. 65 (theme chorus with bridge only) White CPC-69 (I) Note: Parker's solo chorus performed by the saxophone ensemble Supersax on the album Supersax Plays Bird, Vol. II, Salt Peanuts (Capitol ST-11271). 3. Ornithology (Charlie Parker): 32 measure ABAB' chorus, based on the chords of "How High the Moon" (Morgan Lewis - Nancy Hamilton); key of G, 4/4 meter.

68

The Dial Recordings of Charlie Parker

a. D 1012-1; J=ca.230; 2:55 Choruses: Theme; Marmarosa; Davis; Thompson; theme. Spotlite reissue: Spotlite LPlOl, side 1, track 7; Spotlite SPJ-CD 4-101, disc 1, track 7. Issue: Dial LP208 Spotlite SPJ-CD 128 Notes: Parker does not solo on this take. Dial LP208 issued as by the Dodo Marmarosa Trio.

b. D 1012-2; unissued, presumed lost. c. D 1012-3; J=ca.200; 3:13 Choruses: Theme; PARKER; Davis; Thompson; theme. Spotlite reissue: Spotlite LPlOl, side 1, track 8; Spotlite SPJ-CD 4-101, disc 1, track 8. Issues: Dial 1006, Dial D-l, Dial LP905 B & C Bird-1, Baronet B105, CED-Explosive 528013, Concert Hall BJ1204, Guilde du Jazz-CH SMS7130/9, Jazztone J702, Jazztone J1204, Kings of Jazz KLJ20007, Sonet SXP2815, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: Owens, vol. 2, p. 407 White CPC-70 (I) Note: Issued on all Dial issues as "Bird Lore." d.D 1012-4; J=ca.225; 2:57 Choruses: Theme; PARKER; Davis; Thompson; theme. Spotlite reissue: Spotlite LPlOl, side 2, track 1; Spotlite SPJ-CD 4-101, disc 1, track 9. Issues: Dial 1002, Dial LP201 America DX3AM008, Avenue 1017, Bellaphon 008/9/10, Blue Star 61, Blue Star LP6811, Celson QB7001, Charlie Parker Records PLP407, Charlie Parker Records PLP824, Cupol 4322, DGG 19353, DJM DJML-062, Egmont AJS3, Esquire 10-027, Esquire EP57, Everest FS283, Fonit 25083, Jazz Society LP67405, Joker SM3717, MGM 65014, Musidisc CV982, Nap NLP11059, Pathe 2C062-95819, Pickwick MPD181, Stash ST-CD-23, Savoy/Musidisc 45-3015, Spotlite SPJ (CD) 109-2, Summit AJS3, Tono BZ 19001, Verve VLP9105, Vogue VJT3002-1, Vogue VLP9015

March 28, 1946

69

Transcriptions; Aebersold and Sloane Omnibook^ pp. 6-7 Charlie Parker Be-Bop, pp. 6-7 Hodeir, Toward Jazz, p. 182 Jazz Hot no. 73, p. 14 Miedema, Jazz Styles, p. 79 Owens, vol. 2, p. 408 White CPC-70 (II) Notes: Parker's solo chorus performed by the saxophone ensemble Supersax on the album Supersax Plays Bird with Strings (Capitol ST-11371). Koster and Bakker list "AJ503" to this take, perhaps citing from Nap AJ503. An additional transcription of an unspecified Parker "Ornithology" solo may be found in Gray (1966). 4. A Night in Tunisia (John Birks "Dizzy" Gillespie - Frank Paparelli): 32 measure AABA chorus; key of F, 4/4 meter. a. D 1013-1; J =ca. 170; 0:47 (incomplete take) Choruses: Ensemble interlude (-8 mm.); PARKER (break, AA), Davis (B-). Spotlite reissue: Spotlite LPlOl, side 2, track 2; Spotlite SPJ-CD 4-101, disc 1, track 10. Issues: Dial LP905 America DX3AM008, Bellaphon 008/9/10, Stash ST-CD-25, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: Owens, vol. 2, p. 460 White CPC-71 (I) Woideck, p. 128 (break only) Notes: Issued as "The Famous Alto Break" on Dial LP905. Issued as fragment only; complete master unissued, presumed lost. b. D 1013-2; unissued, presumed lost. c. D 1013-3; unissued, presumed lost. d. D 1013-4; J=ca. 175; 3:03 Choruses: Theme with PARKER bridge; ensemble interlude (12 mm.); PARKER (break, AA), Davis (BA); Thompson (AA), Garrison (B), theme (A). Spotlite reissue: Spotlite LPlOl, side 2, track 3; Spotlite SPJ-CD 4-101, disc 1, track 11. Issues: Dial LP201

70

The Dial Recordings of Charlie Parker Blue Star LP6811 Transcriptions: Owens, vol. 2, pp. 460-461 White CPC-71 (III)

e. D 1013-5; J=ca.l80; 3:00 Choruses: Theme with PARKER bridge; ensemble interlude (12 mm.); PARKER (break, AA), Davis (BA); Thompson (AA), Garrison (B), theme (A). Spotlite reissue: Spotlite LPlOl, side 2, track4; Spotlite SPJ-CD 4-101, disc 1, track 12. Issues: Dial 1002, Dial LP905 America DX3AM008, Avenue 1017, B & C Bird-1, Baronet B105, Bellaphon 008/9/10, Blue Star 61, CED-Explosive 528013, Celson QB7001, Charlie Parker Records PLP407, Charlie Parker Records PLP824, Concert Hall BJ1204, Cupol 4322, DJM DJML-062, Egmont AJS3, Esquire 10-027, Esquire EP57, Everest FS 283, Fonit 25083, Guilde du Jazz-CH SMS7130/9, Jazz Society LP67405, Jazztone J1204, Jazztone J702, Joker SM 3717, MGM 65104, Musidisc C V982, Pathe 2C062 95819, Pickwick MPD 181, Saga ERO 8053, Sagapan 6912, Savoy/Musidisc 45-3015, Sonet SXP2815, Spotlite SPJ (CD) 109-2, Summit AJS3, Tono BZ 19001, Verve VLP9105, Vogue (E) VJT3002-1, Vogue (F) VLP9015, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: Leeds, no.6 Owens, vol. 2, pp. 461-462 White CPC-71 (II) Note: Koster and Bakker list "AJ 503," but they may be referring to Nap AJ503. Session comments: This is the first Dial Records session led by Charlie Parker, who had final approval of personnel, repertory and master takes. The session was preceded by a rehearsal held at the Finale Club the night before, between 3:40 and 3:55 a.m. All pieces except "A Night In Tunisia" were reviewed. For an account of the personnel changes before the recording session, see the historical narrative. The session was scheduled for 1 p.m. to 6 p.m. It was conducted in private to avoid unwanted observers. Eleven out of sixteen matrices survive. The collected surviving matrices have been issued on Spotlite LPlOl, Spotlite SPJ-CD 4101, EMI-Toshiba MJ-5001, Spotlite (Japan) TOCJ-0001-0010, Stash ST-CD-567-6869-70, Stateside/Spotlite CJ25-5043-6, and Warner Brothers 6BS 3159. The first pressing of Spotlite LPlOl omits D 1010-3.

July 29,1946 C. P. MacGregor Studios, Hollywood, California Personnel: CHARLIE PARKER QUINTET (HOWARD MCGHEE QUINTET) Howard McGhee, trumpet Charlie Parker, alto saxophone Jimmy Bunn, piano Robert Kesterton, bass Roy Porter, drums Spotlite reissue citations: Spotlite LPlOl, Charlie Parker on Dial, Volume 1, LP, 1970; Spotlite SPJ-CD 4-101, Charlie Parker on Dial - The Complete Sessions, CD, 1993. 1. Max Making Wax (Oscar Pettiford): 32 measure AABA chorus, based on the chords of "I Got Rhythm" (George Gershwin - Ira Gershwin), with a substituted bridge; key of C, 4/ 4 meter. a. D 1021-A;j=ca.322;2:28 Choruses: Theme; McGhee (2); PARKER; Bunn; theme. Spotlite reissue: Spotlite LPlOl, side 2, track 5; Spotlite SPJ-CD 4-101, disc 1, track 13. Issues: Dial LP201 Blue Star 234, Concert Hall CHJ 1004, Guilde du Jazz J1004, Jazztone J1004, Sagapan 6913, Society 1026, Spotlite SPJ (CD) 109-2, Stash ST-CD-23, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcription: White CPC-72 2. Loverman (Jimmy Davis - Roger "Ram" Ramirez - Jimmy Sherman): No theme; 32 measure AABA chorus; key of D-flat, 4/4 meter.

72

The Dial Recordings of Charlie Parker a. D 1022-A; J=ca.61;3:16 Choruses: PARKER; Bunn (B), McGhee with PARKER fills (A). Spotlite reissue: Spotlite LPlOl, side 2, track 6; Spotlite SPJ-CD 4-101, disc 1, track 14. Issues: Dial 1007, Dial D-l CED-Explosive 528004, Concert Hall CHJ 1017, Guilde du Jazz J1241, History of Jazz HOJ75, Jazz Selection 4010, Jazz Selection JEP4517, Jazz Selection 514, Jazz Selection 45X5028, Jazztone J1017, Jazztone J1241, Music EPM20007, Sagapan 6913, Society 1026, Spotlite SPJ (CD) 109-2, Stash ST-CD-23, Swing LDM30.067, Vogue (F) 500753, Vogue (F) CLD 753, Vogue (F) EPL7036, Vogue (E) EPV1011, Vogue (E) LAE12002, Vogue (F) LD059, Vogue (E) LDE016, Vogue (F) V45-24, Vogue-Mode MDINT 9369 Transcription: White CPC-73 Note: Parker's solo chorus performed by the saxophone ensemble Supersax on the album Supersax Plays Bird, Vol.11, Salt Peanuts (Capitol ST-11271).

3. The Gypsy (Billy Reid): No theme; 32 measure AABA chorus; key of D-flat, 4/4 meter. a. D 1023-A;J=ca.68;2:58 Choruses: PARKER (AABA; BA). Spotlite reissue: Spotlite LPlOl, side 2, track 7; Spotlite SPJ-CD4-101, disc 1, track 15. Issues: Dial 1021, Dial 1043 Blue Star 234, CED-Explosive 528004, Concert Hall CHJ 1017, Everest FS 315, Guilde du Jazz J1241, Hipsville/Rhino R2 70198, Jazztone J1017, Jazztone J1241, Saga ERO 8052, Sagapan 6911, Stash ST-CD-23 Transcription: White CPC-74 4. Bebop (Be-bop) (John Birks "Dizzy" Gillespie): 32 measure AABA chorus; key of F minor, 4/4 meter. a. D 1024-A;j=ca.320;2:49 Choruses: Theme with McGhee bridge; PARKER; Bunn; McGhee (2); theme. Spotlite reissue: Spotlite LPlOl, side 2, track 8; Spotlite SPJ-CD 4-101, disc 1, track 16. Issues: Dial 1007, Dial D-l CED-Explosive 528004, Concert Hall CHJ 1017, Guilde du Jazz J1241, Jazz Selection 514, Jazztone J1017, Jazztone J1241, Sagapan 6913, Society 1026,

July 29, 1946

73

Spotlite SPJ-CD 109-2, Stash ST-CD-23, Vogue (E) LDE016, Vogue (F) LD059 Transcriptions: ARJS, vol. 4, p. 69 (theme excerpt) White CPC-75 Note: Issued as "Charlie Parker ace. by the Howard McGhee Quintet" on Dial 1007.

Session comments: This session was Parker's last for six months. Shortly after this date, Parker was arrested for indecent exposure and arson. After being held briefly at the Los Angeles County Jail, Parker was treated at Camarillo State Hospital until January 1947. For a fuller account of Parker's arrest and treatment, see Russell's Bird Lives!, chapters 17 and 18. The session was supervised by Ross Russell and engineered by Ben Jordan. Also present were Dial partner and attorney Marvin Freeman and his brother, Dr. Richard Freeman, psychiatrist; Bobby Dukoff, studio musician and saxophone mouthpiece maker; Elliott Grennard, correspondent for Billboard magazine; and Slim, a custodian from the Finale Club. The session was scheduled for 7:30 to 10:30 p.m. Howard McGhee signed as session leader on the AFM union contract filed earlier that day. The above catalogue entry covers the four matrices used while Parker was in the studio. After Parker's departure, McGhee and his ensemble continued recording, cutting two takes of "Trumpet at Tempo" [Dial mx. D 1025-A, -B] and three takes of "Thermodynamics" [Dial mx. D 1026-A, -B, -C]. Elliott Grennard based his short story "Sparrow's Last Jump" on this session's events. That story was first published in the May 1947 issue of Harper's Magazine. The complete Parker takes from this session have been issued on Dial LP201, America DX3A008, B & C Bird-1, Bellaphon 008/9/010, EMI-Toshiba ITJ-50001, Spotlite LPlOl, Spotlite SPJ-CD 4-101, Spotlite (Japan) TOCJ-0001-0010, Stash ST-CD-567-68-69-70, Stateside/Spotlite CJ25-5043-6, and Warner Brothers 6BS 3159. America 008/9/10 should be included as an equivalent of Bellaphon 008/9/10, although Koster and Bakker do not cite "The Gypsy" [D 1023-A] as part of the former set.

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February 1,1947 Home of Chuck Kopely, Los Angeles, California Personnel: Shorty Rogers (Milton Rajonsky), trumpet Howard McGhee, trumpet Melvyn Broiles, trumpet Charlie Parker, alto saxophone Russell Freeman, piano Arnold Fishkind, bass Jimmy Pratt, drums Spotlite reissue citations: Spotlite LP103, Charlie Parker on Dial, Volume 3, LP, 1970; Spotlite LP107, Lullaby in Rhythm, LP; Spotlite SPJ-CD 4-101, Charlie Parker on Dial - The Complete Sessions, CD, 1993; Stash ST-CD-567/570, Charlie Parker, The Complete Dial Sessions, CD, 1993 (for those tracks arranged differently from its Spotlite CD equivalent). 1. Blues 1: no theme; 12 measure blues chorus; key of C, 4/4 meter. a. Unnumbered; j = ca.190; 0:49 Choruses: PARKER (3). Spotlite reissue: Spotlite SPJ-CD 4-101, disc 1, track 18; Stash ST-CD-567/570, disc 1, track 17. Issues: Stash ST-CD-25, Spotlite SPJ-CD 4-101, Philology W.80.2 Note: Titled "Blues on the Sofa' on Spotlite SPJ-CD 4-101. 2. Blues 2: no theme; 12 measure blues chorus; key of C, 4/4 meter.

76

The Dial Recordings of Charlie Parker a. Unnumbered; J =ca. 190; 1:10 Choruses: PARKER (4). Spotlite reissue: Spotlite SPJ-CD 4-101, disc 1, track 19; Stash ST-CD-567/570, disc 1, track 18. Issues: Stash ST-CD-25, Spotlite SPJ-CD 4-101, Philology W.80.2 Note: Titled "Kopley Plaza Blues" on Spotlite SPJ-CD 4-101.

3. Yardbird Suite (Charlie Parker): 32 measure AABA chorus, based on the chords of "Rosetta" (Earl Hines - Henri Woode); key of C, 4/4 meter. a. Unnumbered: J = ca. 190; 2:14 Choruses: Theme with PARKER bridge; PARKER (2). Spotlite reissue: Spotlite LP107, side 2, track 6; Spotlite SPJ-CD 4-101, disc 1, track 17; Stash ST-CD-567/570, disc 1, track 19. Issues: EMI-Toshiba EOR-9829G, Jazz Anthology JA 5108, Musidisc 30JA5108, Spotlite LP107, Stash ST-CD-25, ZIM ZL 1001 4. Lullaby in Rhythm (Benny Goodman - Clarence Profit - Edgar Sampson - Walter Hirsch): 32 measure AABA chorus; theme missing; key of D-flat, 4/4 meter. a. K-901;J=ca.l76; 1:33 Choruses: PARKER (2). Spotlite reissue: Spotlite LP107, side 2, track 4; Spotlite SPJ-CD 4-101, disc 1, track 20. Issues: America DX3AM010, Bellaphon 008/9/10, EMI-Toshiba EOR-9082G, Jazz Anthology JA 5108, Musidisc 30JA5108, Spotlite LP107, Stash ST-CD-25, ZIM ZL 1001 b. K-902;J = ca.l76; 1:37 Choruses: PARKER (2). Spotlite reissue: Spotlite LP107, side 2, track 5; Spotlite SPJ-CD 4-101, disc 1, track 21. Issues: America DX3AM010, Bellaphon 008/9/10, EMI-Toshiba EOR-9082G, Jazz Anthology JA 5108, Musidisc 30JA5108, Spotlite LP 107, Stash ST-CD-25, ZIM ZL 1001

February 1, 1947

77

5. Home Cooking III: 32 measure AABA chorus, based on the chords of "I Got Rhythm" (George Gershwin - Ira Gershwin); theme missing; key of E-flat, 4/4 meter. a. K-903;J=ca.213;2:24 Choruses: PARKER (4). Spotlite reissue: Spotlite LP103, side 2, track 8; Spotlite SPJ-CD 4-101, disc 1, track 24. Issues: Dial LP905 Allegro ALL798, America DX3AM008, Bellaphon 008/9/10, EMI-Toshiba ITJ50003, Spotlite LP103, Stash ST-CD-25, Stateside/Spotlite CJ25-5043-6, Warner Brothers 6BS 3159 Transcriptions: Owens, vol. 2, pp. 105-108 White CPC-92 Note: Issued without title on Dial LP905. 6. Home Cooking II: 64 measure AABA chorus, based on the chords of "Cherokee" (Ray Noble); no theme; key of B-flat, 4/4 meter. a. K-904; J =ca.266; 2:05 Choruses: PARKER (2). Spotlite reissue: Spotlite LP103, side 2, track 7; Spotlite SPJ-CD 4-101, disc 1, track 23. Issues: Dial LP905 Allegro ALL798, America DX3AM008, Bellaphon 008/9/10, EMI-Toshiba ITJ50003, Spotlite LP 103, Stash ST-CD-25, Stateside/Spotlite CJ25-5043-6, Warner Brothers 6BS 3159 Transcription: White CPC-91 7. Home Cooking I: 32 measure AABA' chorus, based on the chords of "Opus" (Hal McKusick), in turn based on the chords of "'S Wonderful" (George Gershwin - Ira Gershwin) with the bridge from "Honeysuckle Rose" (Thomas "Fats" Waller - Andy Razaf); theme missing; key of D-flat, 4/4 meter. a. K-905;J=ca. 163; 2:19 Choruses: PARKER (3). Spotlite reissue: Spotlite LP103, side 2, track 6; Spotlite SPJ-CD 4-101, disc 1, track 22. Issues: Dial LP905

The Dial Recordings of Charlie Parker

78

Allegro ALL 798, America DX3AM008, Bellaphon 008/9/10, EMI-Toshiba ITJ-50003, Spotlite LP103, Stash ST-CD-25, Stateside/Spotlite CJ25-5043-6, WarnerBrothers6BS3159 Transcription: White CPC-90 Session comments: Parker was released from Camarillo State Hospital in January 1947 after a six month stay. Chuck Kopely, a Los Angeles jazz musician, hosted a homecoming party for Parker on February 1, from which this session entry's music was recorded. A Packard-Bell recording machine was likely to have been used; its recording microphone was held by Howard McGhee and others near Parker's saxophone. Audiodisc brand recording discs were used for K-904 and K-905, inexpensive discs for the rest. The originals were dubbed, numbered and edited by Ross Russell and Bunny Robein at Universal Recorders on February 4, 1947; a tape transfer was made for Dial by Doug Hawkins in New York City on August 25, 1953. All pieces contain only Parker's solos, except for "Yardbird Suite" which also contains the theme. The collected Kopely recordings have been issued on Stash ST-CD-25, Spotlite SPJ-CD 4-101, Spotlite (Japan) TOCJ-0001-0010, and Stash ST-CD-567-68-69-70.

February 19,1947 C. P. MacGregor Studios, Hollywood, California Personnel: CHARLIE PARKER QUARTET Charlie Parker, alto saxophone Erroll Garner, piano George "Red" Callender, bass Harold "Doc" West, drums Earl Coleman, vocals Spotlite reissue citations: Spotlite LP102, Charlie Parker on Dial, Volume 2, LP, 1970; Spotlite SPJ-CD 4-101, Charlie Parker on Dial - The Complete Sessions, CD, 1993. 1. This Is Always (Josef Myrow - Mack Gordon): 24 measure AAB chorus; key of E-flat, 4/4 meter. a. D 1051-A; unissued, presumed lost. b. D 1051-B; unissued, presumed lost. c. D 1051-C;J=ca.72;3:10 Choruses: Coleman with PARKER fills (AA), Coleman (B); Callender break (4 mm.); PARKER (A), Garner (A), Coleman with PARKER fills (B). Spotlite reissue: Spotlite LP 102, side 1, track 1; Spotlite SPJ-CD 4-101, disc 2, track 1. Issues: Dial 1015, Dial 1019, Dial LP905 America DX3AM008, Metronome B582, Spotlite SPJ (CD) 109-2, Stash ST-CD-23

80

The Dial Recordings of Charlie Parker Transcription: White CPC-76 (I) Note: Some copies of Dial 1019 issued as "Earl Coleman ace. by Charlie Parker." d. D 1051-D;J=ca.72;3:07 Choruses: Coleman with PARKER fills (AA), Coleman (B); Callender break (4 mm.), PARKER (A), Garner (A), Coleman with PARKER fills (B). Spotlite reissue: Spotlite LP102, side 1, track 2; Spotlite SPJ-CD 4-101, disc 2, track 2. Issues: Dial LP202 B & C Bird-1, Bellaphon 008/9/10, Eros ERO 8005, Saga ERO 8005, Sagapan 6907 Transcription: White CPC-76 (II)

Note: Koster and Bakker list differing takes for the American and Bellaphon equivalent issues, take -C for America, take -D for Bellaphon. 2. Dark Shadows (Shifty Henry): 32 measure AABA chorus; key of E-flat, 4/4 meter a. D 1052-A;j=ca.65;4:02 Choruses: Coleman with PARKER fills (A), Coleman (AB), Coleman with PARKER fills (A); PARKER (AA), Garner (B), Coleman with PARKER fills (A). Spotlite reissue: Spotlite LP102, side 1, track 3; Spotlite SPJ-CD 4-101, disc 2, track 3. Issues: Dial LP202, Dial LP1, Dial LP901 B & C Bird-1, Bellaphon 008/9/10, Eros ERO 8005, Jazz Selection JEP4537, Saga ERO 8005, Sagapan 6907, Swing LDM30067, Vogue (F) 500753, Vogue (F) CLD753, Vogue (E) LAE12002, Vogue (F) LD059, Vogue (E) LDE016 Transcriptions: Owens vol. 2, p. 93 White CPC-77 (I)

b. D 1052-B;J=ca.90;3:10 Choruses: Coleman with PARKER fills (AA), Coleman (BA); PARKER (AA), Garner (B), Coleman with PARKER fills (A). Spotlite reissue: Spotlite LP102, side 1, track 4; Spotlite SPJ-CD 4-101, disc 2, track 4. Issues: Dial LP1, Dial LP901 B&CBird-l

February 19, 1947

81

Transcriptions: Owens, vol. 2, p. 94 White CPC-77 (II) c. D 1052-C;J=ca.90;3:06 Choruses: Coleman (AABA); PARKER (AA), Garner (B), Coleman with PARKER fills (A). Spotlite reissue: Spotlite LP102, side 1, track 5; Spotlite SPJ-CD 4-101, disc 2, track 5. Issues: Dial 1014 America DX3AM008, Spotlite SPJ (CD) 109-2, Stash ST-CD-23 Transcriptions: Owens, vol. 2, p. 95 White CPC-78 (III) Notes: Parker's solo on this fake was later orchestrated for saxophone ensemble in Woody Herman's recording of "I've Got News for You" (Columbia Records session, Hollywood, December 22, 1947). Koster and Bakker list differing takes for the American and Bellaphon equivalent reissues, take -A for Bellaphon, take - C for America. d. D 1052-D; J=ca.l00; 2:57 Choruses: Coleman with PARKER fills (A), Coleman (ABA); PARKER (AA), Garner (B), Coleman with PARKER fills (A). Spotlite reissue: Spotlite LP102, side 1, track 6; Spotlite SPJ-CD 4-101, disc 2, track 6. Issue: Spotlite LP 105 Transcriptions: Owens,vol. 2, p. 96 White CPC-78 (IV) 3. Bird's Nest (Charlie Parker): No theme; 32 measure AABA chorus; based on the chords of "I Got Rhythm" (George Gershwin - Ira Gershwin); key of B-flat, 4/4 meter, omit Coleman. a. D 1053-A;J=ca.276;2:48 Choruses: PARKER (2); Garner (2); PARKER (A), Garner (A), PARKER (B), Garner (A); PARKER (AA), Callender (B), PARKER (A). Spotlite reissue: Spotlite LP102, side 2, track 1; Spotlite SPJ-CD 4-101, disc 2, track 7. Issues: Dial 1014, Dial LP905 Transcriptions: Watanabe, pp. 16-20 White CPC-80

82

The Dial Recordings of Charlie Parker b. D 1053-B;J=ca.276;2:47 Choruses: PARKER (2); Garner (2); PARKER (A), Garner (A), PARKER (B), Garner (A); PARKER (AA), Callender (B), PARKER (A). Spotlite reissue: Spotlite LP102, side 2, track 2; Spotlite SPJ-CD 4-101, disc 2, track 8. Issue: Dial 1014, Dial LP905 Transcription: White CPC-81 c. D 1053-C;J=ca.288;2:42 Choruses: PARKER (2); Garner (2); PARKER (A), Garner (A), PARKER (B), Garner (A); PARKER (AA), Callender (B), PARKER (A). Spotlite reissue: Spotlite LP102, side 2, track 3; Spotlite SPJ-CD 4-101, disc 2, track 9. Issues: Dial 1015, Dial 1021, Dial LP202 America DX3AM008, Baronet B107, Bellaphon 008/9/10, Blue Star 62, Celson QB7073, Chant du Monde 29608, Charlie Parker Records PLP407, Cupol 4341, Cupol CEP38, Cupol FC 1052, Egmont AJS3, Esquire 10-017, Esquire EP57, Everest FS283, Fonit 25084, Jazz Society LP67405, Jazztone J1214, MGM 65104, Musidisc CV982, Pathe 2C062 95819, Savoy/Musidisc 45-3016, Spotlite SPJ (CD) 109-2, Stash ST-CD-23, Summit AJS3, Tono BZ 19003, Trip TLX5035, Verve VLP9105, Vogue (E) VJT3002-1, Vogue VLP9015, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcription: White CPC-79 Note: Issued on Dial 1021 as "Bird's Nest Soup."

4. Cool Blues (Charlie Parker): 12 measure blues chorus; key of C, 4/4 meter, omit Coleman. a. D 1054-A;J=ca.260; 1:56

Choruses: Theme; PARKER (2); Garner (3); Callender; PARKER; Garner; theme. Spotlite reissue: Spotlite LP102, side 2, track 4; Spotlite SPJ-CD 4-101, disc 2, track 10. Issues: Dial LP202, Dial LP1, Dial LP901 B & C Bird-1, Baronet B107, Everest FS315, Jazztone J1214, Saga ERO 8052, Sagapan 6911, Spotlite SPJ (CD) 109-2 Transcriptions: Hirschmann, p. 17 (theme chorus)

February 19, 1947

83

Martin, p. 102 (theme motif and mm. 1-8) Owens, vol. 2, p.342 Watanabe, pp. 21-23 White CPC-82 (II) Notes: Issued as "Blowtop Blues" on Dial LPl and Dial LP901. Issued as "Hot Blues" on Dial LP202, Baronet, Jazztone, and Spotlite SPJ (CD) 109-2. b. D 1054-B; J=ca.220; 2:20 Choruses: Theme; PARKER (2); Garner (2); Callender (2); PARKER; Garner; theme. Spotlite reissue: Spotlite LP102, side 2, track 5; Spotlite SPJ-CD 4-101, disc 2, track 11. Issues: Dial LPl, Dial LP901 B & C Bird-1, Baronet B107, Chant du Monde LPHF9, Charlie Parker Records PLP407, Egmont AJS3, Everest FS283, Guilde du Jazz CH SMS7130/9, Jazz Selection JSLP702, Jazz Society LP67405, Jazztone J1214, MGM 65104, Musidisc CV982, Pathe 2C062 95819, Savoy/Musidisc 45-3016, Swing 406, Swing LDM 30.067, Summit AJS3, Verve 9105, Vogue CLD 753, Vogue 500753, Vogue LD057, Vogue V2244, Vogue LAE 12002, Vogue LDE004, Vogue VJT3002-1, Vogue VLP9015 Transcriptions: Hirschmann, p. 17 (theme chorus) Martin, p. 102 (theme motif and mm. 1-4) Owens, vol. 2, p. 343 White CPC-83 (III) Notes: Issued as "Blowtop Blues" on Dial LPl and LP901. Issued as "Cool Blues" on Baronet B107, Charlie Parker Records PLP407, Musidisc CV982, Vogue VJT3002-1, Summit AJS3 and Jazz Society LP67405. May also occasionally be referred to as "Hot Blues," especially on Swing 406, Swing LDM 30.067, Vogue CLD 753, Vogue LAE 12002, Vogue 500753, Vogue LD057, Vogue V2244 Some copies of "Hot Blues" on Vogue V2244 will play "Diggin' Diz" [D 1000]; see comments for this release in the preceding "List of Record Issues by Label." c. D 1054-C;J=ca. 165; 3:05 Choruses: PARKER (2); Garner (2); Callender (2); PARKER; Garner; theme. Spotlite reissue: Spotlite LPl02, side 2, track 6; Spotlite SPJ-CD 4-101, disc 2, track 12. Issues: Dial 1015, Dial LP202, Dial LPl, Dial LP901 America DX3AM008, B & C Bird- 1, Bellaphon 008/9/10, Eros ERO 8005, Hipsville/Rhino R2 70198, Saga ERO 8005, Sagapan 6907, Stash ST-CD-23, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: Hirschmann, p. 17 (theme chorus)

The Dial Recordings of Charlie Parker

84

Martin, p. 102 (theme motif and mm. 1-4) Owens, vol. 2, p. 344 White CPC-82 (I) d. D 1054-D;J=ca. 180; 2:47 Choruses: Theme; PARKER (2); Garner (2); Callender (2); PARKER; Garner; theme. Spotlite reissue: Spotlite LP102, side 2, track 7; Spotlite SPJ-CD 4-101, disc 2, track 13. Issues: Dial LPl, Dial LP901 B & C Bird- 1, Blue Star 62, Celson QB7073, Chant du Monde 29608, Cupol 4341, Cupol CEP38, Cupol FC1052, Esquire 10-017, Esquire EP57, Everest FS315, Fonit 25084, Hipsville/Rhino R2 70198, Saga ERO 8052, Sagapan 6911, Spotlite SPJ (CD) 109-2, Stash ST-CD- 25, Tono BZ 19003, Trip TLX5035 Transcriptions: Hirschmann, p. 17 (theme chorus) Martin, p. 102 (theme motif) Owens, vol. 2, p. 345 White CPC-83 (IV) Hodeir Jazz: Its Evolution, p. 149 (first two choruses only) Session comments: This was Parker's first studio session since the July 29, 1946 Dial session. Ross Russell supervised the session, with Ben Jordan engineering. Los Angeles trumpet musician Shifty Henry, composer of "Dark Shadows," was also present. The session was scheduled from 2:30 to 5:30 p.m. After Parker finished "Cool Blues" and left with Coleman, the Garner Trio continued recording during the remaining studio time. The trio cut two takes of "Pastel" [D 1055-A, -B] and two of "Trio" [D 1056-A, -B]. The collected Parker takes from this session have been issued in the order they were recorded on Spotlite LPl02, Spotlite SPJ-CD 4-101, EMI-Toshiba ITJ-50002, Spotlite TOCJ-0001-0010, Stash ST-CD-567-68-69-70, Stateside/Spotlite CJ25-5043-6, and Warner Brothers 6BS 3159.

February 26,1947 C. P. MacGregor Studios, Hollywood, California Personnel: CHARLIE PARKER'S NEW STARS Howard McGhee, trumpet Charlie Parker, alto saxophone Wardell Gray, tenor saxophone Michael "Dodo" Marmarosa, piano Barney Kessel, guitar George "Red" Callender, bass Donald Lamond, drums

Spotlite reissue citations: Spotlite LPl03, Charlie Parker on Dial, Volume 3, 1970; Spotlite SPJ-CD 4-101, Charlie Parker on Dial - The Complete Sessions, CD, 1993. 1. Relaxin' at Camarillo (Charlie Parker): 12 measure blues chorus; key of C, 4/4 meter. a. D 1071-A;J=ca.l90;3:03 Choruses: Theme; PARKER (2); Gray (2); Kessel (2); McGhee; Marmarosa; theme. Spotlite reissue: Spotlite LPl03, side 1, track 1; Spotlite SPJ-CD 4-101, disc 2, track 14. Issues: Dial 1030, Dial LPl, Dial LP901 America DX3AM008, B & C Bird-1, Bellaphon 008/9/10, Everest FS315, Saga ERO 8052, Sagapan 6911, Stash ST-CD-25 Transcriptions: Hirschmann, p. 27 (theme chorus) Owens, vol. 2, p. 346 White CPC-84 (II)

86

The Dial Recordings of Charlie Parker b. D 1071-B; unissued, presumed lost.

c. D 1071-C;J=ca.l95;3:02 Choruses: Theme; PARKER (2); Gray (2); Kessel (2); McGhee; Marmarosa; Callender; theme. Spotlite reissue: Spotlite LP103, side 1, track 2; Spotlite SPJ-CD 4-101, disc 2, track 15. Issues: Dial 1012 B & C Bird-1, Blue Star 162, Concert Hall CHJ 1004, Concert Hall CHJ 100, Concert Hall DJ 100-E, Esquire 10-079, Everest FS315, Guilde du Jazz J1004, Guilde du Jazz J-SPEC-100, Guilde du Jazz-CHJ1313, Hipsville/Rhino R2 70198, Jazztone J1004, Jazztone (G) J702, Jazztone J-SPEC-100, Saga ERO 8052, Sagapan 6911, Spotlite SPJ (CD) 109-2, Stash ST-CD-23 Transcriptions: Hirschmann, p. 27 (theme chorus) Owens, vol. 2, pp. 346-347 White CPC-85 (III)

d. D 1071-D;J=ca.l90;2:58 Choruses: Theme; PARKER (2); Gray (2); Kessel (2); McGhee; Marmarosa; Callender; theme. Spotlite reissue: Spotlite LPl03, side 1, track 3; Spotlite SPJ-CD 4-101, disc 2, track 16.

Issues: Dial L P l , Dial LP901 B & C Bird-1 Transcriptions: Hirschmann, p. 27 (theme chorus) Owens, vol. 2, pp. 347-348 White CPC-85 (IV)

e. D 1071-E;J=ca.205;2:54 Choruses: Theme; PARKER (2); Gray (2); Kessel (2); McGhee; Marmarosa; Callender; theme. Spotlite reissue: Spotlite LP103, side 1, track 4; Spotlite SPJ-CD 4-101, disc 2, track 17. Issues: Dial LP202, Dial LPl, Dial LP901 B & C Bird-1, Blue Star LP6811, Eros ERO 8007, Hipsville/Rhino R2 70198, New World NW 271, Saga ERO 8007, Sagapan 6909, Warner Brothers 2WB 3198, Warner Brothers WB 66081

February 26, 1947

87

Transcriptions: Hirschmann, p. 27 (theme chorus) Owens, vol. 2, p. 348 White CPC-84 (I) 2. Cheers (Howard McGhee): 32 measure AABA chorus, based on the chords of "I Got Rhythm" (George Gershwin - Ira Gershwin), with the bridge from "Honeysuckle Rose" (Thomas "Fats" Waller - Andy Razaf); key of B-flat, 4/4 meter. a. D 1072-A;J=ca.218;3:05 Choruses: Theme with PARKER bridge; PARKER; Gray (AA), Marmarosa (BA); Kessel (AA), McGhee (BA); Lamond (4mm. break), theme with PARKER bridge. Spotlite reissue: Spotlite LP103, side 1, track 5; Spotlite SPJ-CD 4-101, disc 2, track 18. Issues: Dial LP202 B & C Bird-1, Blue Star LP6811, Eras ERO 8007, Saga ERO 8007, Sagapan 6909 Transcriptions: ARJS vol. 4, p. 56 (theme chorus) White CPC-86 (II) b. D 1072-B; J=ca.218; 3:00 Choruses: Theme with PARKER bridge; PARKER; Gray (AA), Marmarosa (BA); Kessel (AA), McGhee (BA); theme with PARKER bridge. Spotlite reisue: Spotlite LP103, side 1, track 6; Spotlite SPJ-CD 4-101, disc 2, track 19. Issue: Spotlite LP103 Transcriptions: ARJS, vol. 4, p. 56 (theme chorus) White CPC-87 (III) c. D 1072-C;J=ca.218;3:00 Choruses: Theme with PARKER bridge; PARKER; Gray (AA), Marmarosa (B A); Kessel (AA), McGhee (BA); theme with PARKER bridge. Spotlite reissue: Spotlite LP103, side 1, track 7; Spotlite SPJ-CD 4-101, disc 2, track 20. Issues: Spotlite LPl03 Transcriptions: ARJS, vol. 4, p. 56 (theme chorus) White CPC-87 (IV)

d. D 1072-D; j=ca.218; 3:00

88

The Dial Recordings of Charlie Parker Choruses: Theme with PARKER bridge; PARKER; Gray (AA), Marmarosa (BA); Kessel (AA), McGhee (BA); theme with PARKER bridge. Spotlite reissue: Spotlite LP103, side 2, track 1; Spotlite SPJ-CD 4-101, disc 2, track 21. Issues: Dial 1013 America DX3AM008/9/10, B & C Bird-1, Bellaphon 008/9/10, Blue Star 109, Celson QB7027, Concert Hall CHJ 1004, Esquire 10-031, Everest FS315, Fonit 25091, Guilde du Jazz J1004, Hipsville/Rhino R2 70198, Jazztone J1004, Jazztone J702, Pickwick PC3054, Saga ERO 8052, Sagapan 6911, Spotlite SPJ (CD) 109-2, Stash ST-CD-23, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: ARJS, vol. 4, p. 56 (theme chorus) Watanabe, pp. 24-27 White CPC-86 (I)

3. Carvin' the Bird (Howard McGhee): 12 measure blues chorus; key of E-flat, 4/4 meter. a. D 1073-A;J=ca.210;2:40 Choruses: Theme; PARKER (2); McGhee; Kessel; Marmarosa; Callender (4 mm.), Kessel (4 mm.), Marmarosa (4 mm.); Gray; McGhee; PARKER; Gray (4mm.), McGhee (4mm.), PARKER (4 mm.); theme. Spotlite reissue: Spotlite LP103, side 2, track 2; Spotlite SPJ-CD 4-101, disc 2, track 22. Issues: Dial LPl, Dial LP901 B & C Bird-1, Concert Hall CHJ 1004, Guilde du Jazz J1004, Guilde du Jazz CH SMS7130/9, Jazztone J1004, Jazztone J702, Pickwick PC3054, Sagapan 6913, Society 1026 Transcriptions: Owens, vol. 2, pp. 97-98 White CPC-89 Note: Russell's inventory of Dial pressings lists a copy of take A on Dial 1013. b. D 1073-B;J=ca.210;2:42 Choruses: Theme; PARKER (2); McGhee; Kessel; Marmarosa; Callender (4 mm.), Kessel (4 mm.), Marmarosa (4 mm.); Gray; McGhee; PARKER; Gray (4 mm.), McGhee (4 mm.), PARKER (4 mm.); theme. Spotlite reissue: Spotlite LP103, side 2, track 3; Spotlite SPJ-CD 4-101, disc 2, track 23. Issues: Dial 1013, Dial LPl, Dial LP202, Dial LP901 America DX3AM008/9/10, B & C Bird-1, Bellaphon 008/9/10, Blue Star 109,

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Blue Star LP6811, Celson QB7027, Esquire 10-031, Everest FS315, Fonit 25091, Hipsville/Rhino 70198, Metronome B582, Saga ERO 8052, Sagapan 6911, Spotlite SPJ (CD) 109-2, Stash ST-CD-23, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: Owens, vol. 2, pp. 99-100 White CPC-88

4. Stupendous (Howard McGhee): 32 measure AABA', based on the chords of "'S Wonderful" (George Gershwin - Ira Gershwin); key of E-flat, 4/4 meter. a. D 1074-A;j=ca.230;2:50 Choruses: Theme with PARKER bridge; PARKER; McGhee (AA), Marmarosa (BA); Gray (AA), Kessel (BA); theme with PARKER bridge. Spotlite reissue: Spotlite LP103, side 2, track 4; Spotlite SPJ-CD 4-101, disc 2, track 24. Issues: Dial 1022, Dial D-2, Dial 1030 America DX3AM008, B & C Bird-1, Bellaphon 008/9/10, Concert Hall CHJ 1004, Guilde du Jazz J1004, Guilde du Jazz J1245, Jazztone J1004, Jazztone J1245, Odeon 286302, Parlophone R3142, Parlophone Do 6, Pathe 45EA-30, B71088, Parlophone 45EAQ-19, Parlophone PHDQ8011, Parlophone PZ11222, Pickwick PC3054, Sagapan 6913, Society 1026, Stash ST-CD-23, Swing 305, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcription: White CPC-95 b. D 1074-B; j =ca.230; 2:50 Choruses: Theme with PARKER bridge; PARKER; McGhee (AA), Marmarosa (BA); Gray (AA), Kessel (BA); theme with Kessel bridge. Spotlite reissue: Spotlite LP103, side 2, track 5; Spotlite SPJ-CD 4-101, disc 2, track 25. Issues: Dial LP202 Blue Star LP6811 Transcription: White CPC-96 Note: Issued as "Surprising" on Blue Star LP 6811.

Session comments: A rehearsal for this session was held on February 25, 1947. At that time, Parker had written only the blues later titled "Relaxin' at Camarillo." Howard McGhee provided the

The Dial Recordings of Charlie Parker

90 other three pieces for the session.

The recording session was scheduled from 3:30 to 6:30 p.m. Ross Russell was the supervisor, and Ben Jordan was the engineer. No additional visitors are known to have been present. The collected surviving takes from this session have been issued on Spotlite LPl03, Spotlite SPJ-CD 4-101, EMI-Toshiba ITJ-50003, Spotlite TOC-J-0001-0010, Stash ST-CD-56768-69-70, Stateside/Spotlite CJ25-5043-6, and Warner 6BS 3159.

October 28,1947 WOR Studios, New York City, New York Personnel: CHARLIE PARKER QUINTET Miles Davis, trumpet Charlie Parker, alto saxophone Irving "Duke" Jordan, piano Charles Thomas "Tommy" Potter, bass Maxwell Roach, drums

Spotlite reissue citations: Spotlite LPl04, Charlie Parker on Dial, Volume 4, LP, 1970; Spotlite SPJ-CD 4-101, Charlie Parker on Dial - The Complete Sessions, CD, 1993. 1. Dexterity (Charlie Parker): 32 measure AABA, based on the chords of "I Got Rhythm" (George Gershwin - Ira Gershwin); key of B-flat, 4/4 meter. a. D 1101-A;J=ca.220;2:56 Choruses: Theme; PARKER; Davis; Jordan (AAB), Roach (A); theme. Spotlite reissue: Spotlite LP104, side 1, track 1; Spotlite SPJ-CD 4-101, disc 3, track 1. Issues: Dial LP203 Transcriptions: Hirschmann, p. 38 (theme chorus) Owens, vol. 2, p. 179 White CPC-93 (II)

b. D 1101-B;J=ca.230;2:56 Choruses: Theme; PARKER; Davis; Jordan (AAB), Roach (A); theme.

92

The Dial Recordings of Charlie Parker Spotlite reissue: Spotlite LP104, side 1, track 2; Spotlite SPJ-CD 4-101, disc 3, track 2. Issues: Dial 1032, Dial LP905 Allegro ALL798, America DX3AM008/9/10, American Recording Society G449, B & C Bird-1, Baronet B107, Bellaphon 008/9/10, Blue Star 183, Bravo BR367, Celson QB7067, Chant du Monde 29636, Concert Hall CHJ 1004, Esquire 10-109, Guilde du Jazz J1004, Jazztone J1004, Jazztone J1214, Jazztone J1240, Pickwick PC3054, Spotlite SPJ (CD) 109-2, Stash ST-CD-23, Warner Brothers 2WB 3198, Warner Brothers WB66081 Transcriptions: Hirschmann, p. 38 (theme chorus) Owens, vol. 2, p. 180 Watanabe, pp. 28-29 White CPC-93 (I) c. D 1101-C; unissued, presumed lost.

2. Bongo Bop (Charlie Parker): 12 measure blues chorus; key of C, 4/4 meter. a. D 1102-A;J=ca. 160; 2:42 Choruses: Theme (2); PARKER (2); Davis (2); Jordan; Potter; theme. Spotlite reissue: Spotlite LP104, side 1, track 3; Spotlite SPJ-CD 4-101, disc 3, track 3. Issues: Dial 1024, Dial LPl, Dial LP901 America DX3AM009, B & C Bird-1, Baronet B107, Bellaphon 008/9/10, Blue Star 145, Chant du Monde 29627, Cupol 4435, Cupol CEP38, Esquire 10-071, Everest FS315, Fonit 25094, Hipsville/Rhino R2 70197, Jazz Selection JEP4537, Jazztone J1214, Saga ERO 8052, Sagapan 6911, Spotlite SPJ (CD) 109-2, Stash ST-CD-23, Tono BZ-19012, Vogue-Mode MDR9161 Transcriptions: ARJS, vol. 4, p. 71 (theme excerpt) Hirschmann, p. 20 (theme chorus) Isacoff, pp. 44-45 Watanabe, pp. 30-31 White CPC-94 (II) Note: Issued as "Blues" on Jazz Selection JEP4537.

b. D 1102-B;J=ca.l63;2:42 Choruses: Theme; PARKER (2); Davis (2); Jordan; Potter; theme. Spotlite reissue: Spotlite LP104, side 1, track 4; Spotlite SPJ-CD 4-101, disc 3, track 4. Issues: Dial LPl, Dial LP901

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B & C Bird-1, Bellaphon BLST6550, CED-Explosive LP528002, CED-Explosive 528004, Concert Hall CHJ 1017, Everest FS315, Guilde du Jazz J1241, Hipsville/Rhino R2 70197, Jazztone J1017, Jazztone J1241, Roost SK-106, Roulette RE-105, Saga ERO 8052, Sagapan 6911, Swing 396, Vogue (E) LDE016, Vogue (F) LD059, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: ARJS, vol. 4, p. 71 (theme excerpt) Hirschmann, p. 20 (theme chorus) Isacoff, Jazz Masters, p. 45 Martin, p. 106 (motivic forms) White CPC-94 (I) Notes: Issued as "Blues" on Vogue LDE016 and Vogue LD059. Issued as "Parker's Blues" on Swing 396. According to Koster and Bakker, issued as "Be-bop" on Roost SK-106 and Roulette RE-105. Koster and Bakker list Vogue-Mode MDR9161, Forum SF9056, and Forum Circle FS9082 under the D 1102 "Bongo Bop" matrices instead of D 1153-D ("Charlie's Wig"). Koster and Bakker list Bellaphon for both takes, yet place its equivalent America under take -A only.

3. Dewey Square (Charlie Parker): 32 measure AABA chorus; key of E-flat, 4/4 meter. a. D 1103-A;J=ca.l85;3:25 Choruses: Theme with PARKER bridge; PARKER (2); Davis; Jordan (AA), Roach (B), theme (A). Spotlite reissue: Spotlite LP104, side 1, track 5; Spotlite SPJ-CD 4-101, disc 3, track 5. Issues: Dial 1056, Dial LP210 Swing 396, Swing LDM 30.067, Vogue (E) V2244, Vogue (E) LAE 12002, Vogue (E) LDE004, Vogue (F) LD057, Vogue (F) CLD 753, Vogue 500753 Transcriptions: Downbeat, vol. 56, no. 4, pp. 56-57 (theme chorus) Hirschmann, p. 68 (theme chorus) Owens, vol. 2, pp. 123-125 White CPC-98 (II) Notes: Issued as "Air Conditioning" on Dial 1056. Issued as "Prezology" on Dial LP210, Swing 396, and Vogue LD057. Issued as "Bird Feathers" on Vogue V2244, Vogue LAE 12002, Vogue CLD753, Vogue 500753, and Swing LDM 30.067. Vogue V2244 bears the incorrect matrix number D 1154-C, which pertains to "Bongo Beep" recorded on December 17, 1947. Edited on all issues except for Dial 1056.

94

The Dial Recordings of Charlie Parker b.D1103-B;J=ca.l85;3:00 Choruses: Theme with PARKER bridge; PARKER; Davis; Jordan (AA), Roach (B), theme. Spotlite reissue: Spotlite LP104, side 1, track 6; Spotlite SPJ-CD 4-101, disc 3, track 6. Issues: Dial LP203 American Recording Society G449, B & C Bird-1, Bellaphon BLST6550, CID 22001, CID 42.000, Columbia (E) 33SX1555, Columbia YY-7001 RO, Ember CJS817, Emus ES 12017, Joker SM3288, London RE7118, Roost RLP2210, Roost RLP2257, Roost SK-106, Roost LP2234, Roost SK-106, Roulette RE105, Sonet SLP24, Sonet SXP2826, Vogue (F) DP-08, Vogue (F) LD624-30. Transcriptions: Downbeat, vol. 56, no. 4, pp. 56-57 (theme chorus) Hirschmann, p. 68 (theme chorus) Owens, vol. 2, pp. 126-127 White CPC-98 (III) c. D 1103-C;J=ca.l80;3:04 Choruses: Theme with PARKER bridge; PARKER; Davis; Jordan (AA), Roach (B), theme (A). Spotlite reissue: Spotlite LP104, side 1, track 7; Spotlite SPJ-CD 4-101, disc 3, track 7. Issues: Dial 1019, Dial LP905 Allegro ALL798, America DX3AM009, B&C Bird-1, Baronet B107, Bellaphon 008/9/10, Blue Star 153, Bravo BR367, CED-Explosive 528004, Celson QB7076, Chant du Monde 29641, Esquire 10-108, Guilde du Jazz J1241, Jazztone J1214, Jazztone J1240, Jazztone J1241, Pickwick PC3054, Spotlite SPJ (CD) 109-2, Stash ST-CD-23, Tono BZ-19011, Vogue (F) EPL8202, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: Aebersold and Sloane Omnibook, pp. 14-15 Downbeat, vol. 56, no.4, pp. 56-57 (theme chorus) Hirschmann, p. 68 (theme chorus) Owens, vol. 2, pp. 128-129 White CPC-97 Notes: According to Koster and Bakker, mislabeled as "Charlie's Wig" on Jazztone J1240. Koster and Bakker list Bellaphon for takes -A and -B, yet place its equivalent America under take -C only.

4. The Hymn (Charlie Parker): 12 measure blues chorus, based on "Wichita Blues"; key of B-flat, 4/4 meter.

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a. D 1104-A;J=ca.310;2:29 Choruses: PARKER (4); theme (2); Davis (4); Jordan (2); Potter (2); theme (2). Spotlite reissue: Spotlite LP104, side 2, track 1; Spotlite SP1-CD 4-101, disc 3, track 8. Issues: Dial 1056, Dial LP904 Baronet B107, CED-Explosive 528004, Guilde du Jazz 1241, Jazztone J1214, Jazztone J1241, Spotlite SPJ (CD) 109-2, Stash ST-CD-23, Warner 2WB 3198, Warner Brothers WB 66081 Transcriptions: Hirschmann, p. 36 (theme chorus) Owens, vol. 2, pp. 139-140 White CPC-99 b. D 1104-B;J=ca.320;2:26 Choruses: PARKER (4); theme (2); Davis (4); Jordan (2); Potter (2); theme (2). Spotlite reissue: Spotlite LP104, side 2, track 2; Spotlite SPJ-CD 4-101, disc 3, track 9. Issues: Dial 1056, Dial LP212 America DX3AM009, Bellaphon 008/9/10, Jazz Selection JEP4017, Jazz Selection JEP4576, Swing 381, Swing LDM30.067, Vogue (F) CLD753, Vogue (F) 500753, Vogue (E) LAE 12002, Vogue (F) LD058, Vogue (E) LDE006 Transcriptions: Hirschmann, p. 36 (theme chorus) Owens, vol. 2, pp. 140-141 Watanabe, pp. 44-46 White CPC-100 Notes: Issued often and referred to as "Superman," including its first issue on Dial LP212, Swing LDM 30.067, Vogue LD058, Vogue LAE12002, and Vogue CLD753. Issued as by the Miles Davis Quintet on Dial LP212, Vogue LDE006, Vogue LD058, and Swing 381. Koster and Bakker list America under take -B, yet place its Bellaphon equivalent under take -A. 5. Bird of Paradise (Charlie Parker): 36 measure AA'BA" chorus, based on the chords of "All the Things You Are" (Jerome Kern - Oscar Hammerstein II), preceded and concluded with an 8 measure introduction previously used by Billy Eckstine ("Good Jelly," Deluxe Records session, April 13, 1944) and by John Birks "Dizzy" Gillespie ("All The Things You Are," Guild Records session, February 28, 1945, with Charlie Parker); key of A-tlat, 4/4 meter. a. D 1105-A;J=ca.ll6;3:05 Choruses: Introduction; PARKER; Davis (AA'), Jordan (B), Davis with PARKER fills

96

The Dial Recordings of Charlie Parker (A"); introduction. Spotlite reissue: Spotlite LP104, side 2, track 3; Spotlite SPJ-CD 4-101, disc 3, track 10. Issues: Dial 1032, Dial LP904 Jazz Selection JEP4576, Stash ST-CD-25, Swing LDM30.067, Vogue (F) CLD753, Vogue (F) 500753, Vogue (F) LD058, Vogue (E) LAE 12002, Vogue (E) LDE006 Transcriptions: Hirschmann, p. 52 (introduction only) Isacoff, Jazz Masters, pp. 33-35 Watanabe, pp. 32-35 White CPC-102 Note: Issued as "All the Things You Are" on Jazz Selection JEP4576, Vogue LAE 12002, Vogue LD058, Vogue LDE006, Vogue CLD 753, and Vogue 500753. b. D 1105-B;J=ca. 116; 3:06 Choruses: Introduction; PARKER; Davis (AA'), Jordan (B), Davis with PARKER fills (A"); introduction. Spotlite reissue: Spotlite LP104, side 2, track 4; Spotlite SPJ-CD 4-101, disc 3, track 11. Issues: Dial 1032, Dial LP203 Avenue 1017, Baronet B107, CED-Explosive 528004, Concert Hall CHJ 1017, DJM DJML-062, Guilde du Jazz J1241, Jazztone J1017, Jazztone J1214, Jazztone J1241, Joker SM3717, Pickwick MPD181, Stash ST-CD-23 Transcriptions: Hirschmann, p. 52 (introduction only) Isacoff, Jazz Masters, pp. 35-37 Watanabe, pp. 36-39 White CPC-103 Note: Koster and Bakker list -B on Dial 1032, although the Russell pressings inventory and Weir do not. c. D 1105-C; j=ca.H6; 3:09 Choruses: Introduction; PARKER; Davis (AA'), Jordan (B), Davis with PARKER fills (A"); introduction. Spotlite reissue: Spotlite LP104, side 2, track 5; Spotlite SPJ-CD 4-101, disc 3, track 12. Issues: Dial 1032, Dial LP904 Allegro ALL798, America DX3 AM009, American Recording Society G449, B & C Bird-1, Bellaphon 008/9/10, Blue Star 183, Bravo BR367, Celson QB7067, Chant du Monde 2063, Charlie Parker Records PLP407, Charlie Parker Records PLP824, Egmont AJS3, Esquire 10-109, Everest FS283, Jazz Society LP67405,

October 28, 1947

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Jazztone J1240, MGM 65104, Musidisc CV982, Pathe (F) 2C062 95819, Pickwick PC3054, Savoy/Musidisc 45-3007, Spotlite SPJ (CD) 109-2, Summit AJS3, Verve (E) VLP9105, Vogue (E) VJT3002-1, Vogue (F) VLP9015, Warner Brothers 2WB 3198, Warner Brothers WB 66081. Transcriptions: Hirschmann, p. 52 (introduction only) Isacoff, Jazz Masters, p. 37 Watanabe, pp. 40-43 White CPC-101 Koster and Bakker list Bellaphon under takes -B and -C, yet place its America equivalent under take -C only. 6. Embraceable You (George Gershwin - Ira Gershwin): No theme; 32 measure ABAC chorus; key of F, 4/4 meter a. D 1106-A;J=ca.67;3:41 Choruses: PARKER; Davis (A), Davis with PARKER fills (C). Spotlite reissue: Spotlite LPl04, side 2, track 6; Spotlite SPJ-CD 4-101, disc 3, track 13. Issues: Dial 1024, Dial LP203 Avenue 1017, B & C Bird-1, Bellaphon BLST6537, Charlie Parker Records PLP407, Charlie Parker Records PLP824, CID 42.000, Columbia 33SX1403, DJM DJML-062, Egmont AJS3, Everest FS283, Jazz Selection JEP4517, Jazz Society LP67405, Joker SM3288, Joker SM3717, London FLX3047, MGM 65104, Music EPM20007, Musidisc CV982, Pathe (F) 2C062 95819, Pickwick MPD181, Roost RB-2, Roost RLP2210, Roulette RE-120, Vogue (F) CLVLXR400, Savoy/Musidisc 45-3007, Smithsonian P6 11891, Smithsonian R033P7-19477, Smithsonian RD033-3, Sonet SLP24, Sonet SXP2826, Summit AJS3, Swing 397, Swing LDM30067, Verve VLP9105, Vogue (F) CLD753, Vogue (F) 500753, Vogue (F) EPL7036, Vogue (E) EPV1011, Vogue (E) LAE 12002, Vogue (F) LD-059, Vogue (F) LD624-30, Vogue (E) LDE016, Vogue (E) V2349, Vogue (E) VJT3002-1, Vogue (F) VLP9015, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: Downbeat, vol. 37, no.7, p. 35-37 JJS vol. 6, no.l, pp. 32-35 (harmonic transcription) Martin, pp. 73-76 Owens, vol. 2, pp. 330-331 Tirro, pp. 375-376 White CPC-104 Woideck, p. 152 (mm. 1-8 only) b. D 1106-B;J=ca.75;3:17 Choruses: PARKER; Davis (AC).

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The Dial Recordings of Charlie Parker Spotlite reissue: Spotlite LP104, side 2, track 7; Spotlite SPJ-CD 4-101, disc 3, track 14. Issues: Dial 1024, Dial LP904 America DX3AM009, Bellaphon 008/9/10, Blue Star 145, CED-Explosive 528004, Chant du Monde 29627, Concert Hall CHJ 1017, Cupol 4435, Cupol CEP38, Esquire 10-071, Fonit 25094, Guilde du Jazz J1241, Jazztone J1017, Jazztone J1241, New World NW 271, Smithsonian P6 11891, Smithsonian R033P7-19477, Smithsonian RD033-3, Spotlite SPJ (CD) 109-2, Stash ST-CD23, Tono BZ-19012 Transcriptions: Martin, pp. 79-81 Owens, vol. 2, pp. 331-332 White CPC-105 Note: Parker's solo chorus performed by the saxophone ensemble Supersax on the album Supersax Plays Bird, Vol. II, Salt Peanuts (Capitol ST-11271).

Session comments: This was the first New York City session for Dial Records after it moved its offices there in the summer of 1947. The session was held in anticipation of the upcoming 1948 AFM union recording ban. According to the AFM union contract, this session was scheduled from 8:30 p.m. on, with no finishing time specified. Ross Russell was the supervisor, and Doug Hawkins was the engineer. The collected session takes have been issued on Spotlite LPl04, Spotlite SPJ-CD 4-101, EMI-Toshiba ITJ-50004, Spotlite TOCJ-0001-0010, Stash ST-CD-567-68-69-70, Stateside/Spotlite CJ25-5043-6, and Warner Brothers 6BS 3159.

November 4,1947 WOR Studios, New York City, New York Personnel: CHARLIE PARKER QUINTET Miles Davis, trumpet Charlie Parker, alto saxophone Irving "Duke" Jordan, piano Charles Thomas "Tommy" Potter, bass Maxwell Roach, drums Spotlite reissue citations: Spotlite LPl05, Charlie Parker on Dial, Volume 5, LP, 1970; Spotlite SPJ-CD 4-101, Charlie Parker on Dial - The Complete Sessions, CD, 1993.

1. Bird Feathers (Charlie Parker): 12 measure blues chorus; key of B-flat, 4/4 meter. a. D 1111-A; unissued, presumed lost. b. D 1111-B; unissued, presumed lost. c. D llll-C;J=ca.220;2:47 Choruses: Theme (2); PARKER (3); Davis (2); Jordan (2); Potter; Roach; theme (2). Spotlite reissue: Spotlite LP105, side 1, track 1; Spotlite SPJ-CD 4-101, disc 3, track 15. Issues: Dial 1058, Dial LP207 America DX3AM009, Baronet B107, Bellaphon BLST6550, Bellaphon 008/9/ 10, CED-Explosive 528004, Guilde du Jazz J1241, Jazz Selection JEP4576, Jazz Selection JSLP702, Jazztone J1214, Jazztone J1241, Roulette RE-105, Spotlite SPJ (CD) 109-2, Stash ST-CD-23, Swing LDM30.067, Vogue (F) CLD753, Vogue (F) 500753, Vogue (E) LAE12002, Vogue (F) LD057, Vogue (E) LDE004, Vogue (E) V2132, Warner Brothers 2WB 3198, Warner Brothers WB 66081

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Transcriptions: Hirschmann, p. 7 (theme chorus) Watanabe, pp. 52-58 White CPC-106 Note: Issued as "Schnourphology" on Jazz Selection JEP4576, Swing 382, Swing LDM30.067, Vogue LAE 12002, Vogue CLD753, Vogue 500753, Vogue LD057, Vogue LDE004, and Vogue V2132.

2. Klact-oveeseds-tene (Charlie Parker): 32 measure AABA chorus, introduction same as that of "The Chase" (Dexter Gordon - Wardell Gray), chorus adapted from the chords of "Perdido" (Juan Tizol); key of B-flat, 4/4 meter. a. D 1112-A;J=ca.240;3:02 Choruses: Introduction (16 mm.); theme with PARKER bridge; PARKER; Davis; Jordan (AA), Potter (B), Roach (A); theme with PARKER bridge; introduction. Spotlite reissue: Spotlite LP105, side 1, track 2; Spotlite SPJ-CD 4-101, disc 3, track 16. Issues: Dial 1040, Dial LP207 B & C Bird-1, Bellaphon BLST6550, Blue Star 216, Chant du Monde 29659, CID 22003, CID 42.000, Columbia 33SX1555, Concert Hall CHJ 1004, Esquire 10-139, Guilde du Jazz J1004, Jazztone J1004, Joker SM3288, London FLX3054, Roost RLP2210, Roost SK-106, Roulette RE-105, Vogue (F) CLVLXR397, Sagapan 6913, Smithsonian P6 11891, Smithsonian R033-P719477, Smithsonian RD033-3, Society 1026, Sonet SLP24, Sonet SXP2826, Spotlite SPJ (CD) 109-2, Tell 29659, Tono 19015, Vogue EPL8202, Vogue EPV1264, Vogue LD624-30, Vogue-Mode MDINT9200 Transcriptions: Hirschmann, p. 56 (introduction and theme only) White CPC-108 Woideck, p. 144 (mm. 1-16 of Parker's solo only) Note: Spelled as "Klactoveesedstene" on Dial 1040 and Dial LP207. b. D 1112-B;J=ca.240;2:58 Choruses: Introduction (16 mm.); theme with PARKER bridge; PARKER; Davis; Jordan (AA), Potter (B), Roach (A); theme with PARKER bridge; introduction. Spotlite reissue: Spotlite LP105, side 1, track 3; Spotlite SPJ-CD 4-101, disc 3, track 17. Issues: Dial LP904 America DX3AM009, Baronet B107, Bellaphon 008/9/10, Jazztone J1214, Stash ST-CD-23, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: Downbeat, vol. 32, no. 6, p. 23 Hirschmann, p. 56 (introduction and theme only)

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November 4, 1947 Isacoff, Solos, pp. 12-13 Watanabe, pp. 48-51 White CPC-107 Note: Spelled as "Klactoveedsedsteen" on Dial LP904.

3. Scrapple from the Apple (Charlie Parker): 32 measure AABA chorus, based on the chords of "Honeysuckle Rose" (Thomas "Fats" Waller - Andy Razaf), with the bridge from "I Got Rhythm" (George Gershwin - Ira Gershwin); key of F, 4/4 meter. a. D 1113-A; unissued, presumed lost. b. D 1113-B; J=ca.205; 2:36 Choruses: Theme with PARKER bridge; PARKER; Davis; Jordan (AA), Potter (B), theme (A). Spotlite: reissue: Spotlite LPl05, side 1, track 4; Spotlite SPJ-CD 4-101, disc 3, track 18. Issues: Dial LP203 B & C Bird-1, Bellaphon BLST6537, CID 22001, CID 42.000, Columbia YY7001 RO, Ember CJS817, Emus ES-12027, Forum Circle FS9082, Forum FS9056, Jazz Selection 515, Jazz Selection JEP4537, Jazz Selection JEP4015, Joker SM3288, London FLX3047, Vogue-Mode MDR9161, Roost RLP2210, Roost RLP2257, Roulette RE-120, Vogue CLVLXR342, Sonet SLP24, Stash ST-CD-25, Swing LDM30.067, Vogue (F) CLD753, Vogue (F) 500753, Vogue (F) EPL8202, Vogue (E) LAE 12002, Vogue (F) LD059, Vogue (F) LD624-30, Vogue (E) LDE016, Vogue (E) V2349, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: Grigson, pp. 59-62 Hirschmann, p. 49 (theme chorus) White CPC-109 (I) Note: Issued as "Scrapple from Apple" on Dial LP203. c. D 1113-C;J=ca.l95;2:52 Choruses: Theme with PARKER bridge; PARKER; Davis; Jordan (AA), Potter (B), theme (A). Spotlite reissue: Spotlite LP105, side 1, track 5; Spotlite SPJ-CD 4-101, disc 3, track 19. Issues: Dial 1021, Dial D-2, Dial LP904 America DX3AM009, Avenue 1017, Baronet B 107, Bellaphon 008/9/10, CEDExplosive 528004, Charlie Parker Records PLP407, Charlie Parker Records PLP824, Concert Hall CHJ1017, DJM DMJL-062, Egmont AJS3, Everest FS283, Guilde du Jazz J1241, Guilde du Jazz-CH SMS 7130/9, Harlem Hit Parade

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LP5011, Jazz Selection JEP4015, Jazz Society LP67405, Jazztone J1017, Jazztone J1214, Jazztone 1241, Joker SM3717, MGM 65104, Musidisc CV982, Pathe 2C062 95819, Pickwick MPD181, Savoy/Musidisc 45-3007, Spotlite SPJCD 109-2, Stash ST-CD-25, Summit AJS3, Verve VLP9105, Vogue VLP9015, Vogue VJT3002-1 Transcriptions: Aebersold and Sloane Omnibook, pp. 16-17. Hirschmann, p. 49 (theme chorus) White CPC-109 (II) Note: Parker's solo chorus performed by the saxophone ensemble Supersax on the album Supersax Plays Bird, Vol. II, Salt Peanuts (Capitol ST-11271). Koster and Bakker list Vogue-Mode MDINT9400 under both surviving takes, while ads for this album list this title only once. Koster and Bakker list a take of this piece in Bellaphon BLST6550, but Bielefelder 1975/1976 does not.

4. My Old Flame (Arthur Johnston - Sam Coslow): No theme; 32 measure AABA chorus; key of F, 4/4 meter. a. D 1114-A;J=ca.66;3:05 Choruses: PARKER; Davis (B), Davis with PARKER fills (A). Spotlite reissue: Spotlite LP105, side 1, track 6; Spotlite SPJ-CD 4-101, disc 4, track 1. Issues: Dial 1058, Dial LP207 America DX3AM009, Avenue 1017, B & C Bird-1, Bellaphon 008/9/10, Bellaphon BLST6537, CED-Explosive 528004, CID 22003, CID 42.000, Charlie Parker Records PLP407, Charlie Parker Records PLP823, Charlie Parker Records PLP824, Columbia YY-7001RO, Concert Hall CHJ 1017, DJM DJML-062, Egmont AJS3, Ember CJS817, Everest FS283, Guilde du Jazz J1241, Guilde du Jazz SMS7130/9, Jazz Selection JEP4517, Jazz Selection 4017, Jazz Selection JSLP702, Jazz Society LP67405, Jazztone J1017, Jazztone J1241, Joker SM3288, Joker SM3717, London RE7118, MGM 65104, Music EPM20007, Musidisc CV982, Olympic 7135, Pathe 2 C 0 6 2 95819, Pickwick M P D 1 8 1 , Roost RLP2210, Roost RLP2257, Roulette RE-120, Saga ERO8053, Sagapan 6912, Savoy 45-3007, Sonet SPL24, Spotlite SPJ (CD) 109-2, Stash ST-CD-25, Summit AJS3, Swing 384, Swing LDM30.067, Verve VLP9105, Vogue CLD753, Vogue (F) 500753, Vogue EPL7036, Vogue EPV1011, Vogue LAE 12002, Vogue LD057, Vogue LD624-30, Vogue LDE004, Vogue VJT3002-1, Vogue VLP9015, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcription: White CPC-110 Notes: Issued as by Miles Davis on Jazz Selection JEP4017. Parker's solo chorus performed by the saxophone ensemble Supersax on the album Supersax Plays Bird with Strings (Capitol ST-11371).

November 4, 1947

103

5. Out of Nowhere (Johnny Green - Ed Heyman): No theme; 32 measure ABAB' chorus; key of G, 4/4 meter. a. D 1115-A;j=ca.70;3:57 Choruses: PARKER; Jordan (AB), Davis (AB'). Spotlite reissue: Spotlite LP105, side 2, track 1; Spotlite SPJ-CD 4-101, disc 4, track 2. Issues: Dial LP207 America DX3AM009, Avenue 1017, B & C Bird-1, Bellaphon BLST6537, Bellaphon 008/9/10, CID22003, CID42.000, Charlie Parker Records PLP407, Charlie Parker Records PLP824, Columba YY 7001RO, DJM DJML-062, Egmont AJS3, Ember CJS817, Everest FS283, Jazz Selection JEP4576, Jazz Selection JSLP702, Jazz Society LP67405, Joker SM3288, Joker SM3717, London RE7118, MGM 65104, Musidisc CV982, Pathe 2C062 95819, Pickwick MPD181, Roost RLP2210, Roost RLP2257, Roulette RE-120, Savoy/Musidisc 45-3016, Sonet SLP24, Stash ST-CD-25, Summit AJS3, Swing 384, Swing LDM30.067, Verve VLP9105, Vogue CLD753, Vogue (F) 500753, Vogue EPL8202, Vogue LAE 12002, Vogue LD057, Vogue LD624-30, Vogue LDE004, Vogue VJT3002-1, Vogue VLP9015 Transcriptions: Isacoff, Jazz Masters, pp. 29-32 Owens, vol. 2, pp. 422-423 Watanabe, pp. 56-58 White CPC-112 Woideck, p. 150 (mm. 1-5 only) b. D 1115-B;J=ca.62;3:46 Choruses: PARKER; Davis (BA), Davis with PARKER fills (B'). Spotlite reissue: Spotlite LP105, side 2, track 2; Spotlite SPJ-CD 4-101, disc 4, track 3. Issues: Dial LP904 Baronet B107, CED-Explosive 528004, Concert Hall CHJ 1017, Guilde du Jazz J1241, Jazztone J1017, Jazztone 1214, Jazztone 1241, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: Owens, vol. 2, pp. 424-425 White CPC-111 c. D 1115-C; J=ca.70; 3:01 Choruses: PARKER; Davis (A), Davis with PARKER fills (B'). Spotlite reissue: Spotlite LP105, side 2, track 3; Spotlite SPJ-CD 4-101, disc 4, track 4. Issues: EMI-Toshiba ITJ-50005, Spotlite LPl05, Spotlite SPJ (CD) 109-2, Stash ST-CD-25

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Transcriptions: Owens, vol. 2, 426-427 White CPC-113 6. Don't Blame Me (Jimmy McHugh - Dorothy Fields): No theme; 32 measure AABA chorus; key of C, 4/4 meter. a. D 1116-A;J=ca.65;2:43 Choruses: PARKER; Davis (A). Spotlite reissue: Spotlite LP105, side 2, track 4; Spotlite SPJ-CD 4-101, disc 4, track 5. Issues: Dial 1021, Dial D-2, Dial LP203, Dial LP904 Allegro ALL798, America DX3AM009, American Recording Society G449, Avenue 1017, B & C Bird-1, Baronet B107, Bellaphon BLST6537, Bellaphon 008/9/10, Bravo BR367, CED-Explosive 528004, CID 22002, CID 42.000, Charlie Parker Records PLP407, Charlie Parker Records PLP824, Columbia YY 7001RO, Concert Hall CHJ 1017, DJM DJML-062, Egmont AJS3, Ember CJS817, Everest FS283, Guilde du Jazz J1241, Guilde du Jazz CH SMS 7130/ 9, Jazz Selection 515, Jazz Selection 4010, Jazz Selection 45X5028, Jazz Selection JEP4517, Jazz Society LP67405, Jazztone J1017; Jazztone J1214, Jazztone J1240, Jazztone 1241, Joker SM3288, Joker SM3717, London FLX3048, MGM 65104, Music 45X5028, Music EPM20007, Musidisc CV982, Pathe 2C062 95819, Pickwick MPD181, Pickwick PC3054, Roost RLP2210, Roost RLP2257, Roulette RE-120, Vogue CLVLXR400, Savoy/Musidisc (F) 45-3016, Sonet SLP24, Spotlite SPJ (CD) 109-2, Stash ST-CD-25, Summit AJS3, Swing LDM30.067, Verve VLP9105, Vogue V45-24, Vogue CLD753, Vogue 500753, Vogue EPL7036, Vogue EPV1011, Vogue LAE 12002, Vogue LD059, Vogue LD624-30, Vogue LDE016, Vogue VJT3002-1, Vogue 9015, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: Hodeir, Larousse, vol. 1, pp. 623-624 Owens, vol. 2, pp. 403-404 White CPC-114 Note: Issued as "Nowhere-C" on Dial LP904. Session comments: This session was held in anticipation of the upcoming 1948 AFM union recording ban. Studio time was scheduled from 9 p.m. to 1 a.m. Ross Russell was the supervisor and Doug Hawkins was the engineer. The collected session takes have been issued on Spotlite LPl05, EMI-Toshiba ITJ-50005, Spotlite SPJ-CD 4-101, Spotlite TOCJ-0001-0010, Stash ST-CD-567-68-69-70, Stateside/Spotlite CJ25-5043-6, and Warner Brothers 6BS 3159.

December 17,1947 WOR Studios, New York City, New York Personnel: CHARLIE PARKER SEXTET Miles Davis, trumpet James "J.J." Johnson, trombone Charlie Parker, alto saxophone Irving "Duke" Jordan, piano Charles Thomas "Tommy" Potter, bass Maxwell Roach, drums Spotlite reissue citations: Spotlite LP106, Charlie Parker on Dial, Volume 6, LP, 1970; Spotlite SPJ-CD 4-101, Charlie Parker on Dial - The Complete Sessions, CD, 1993. 1. Drifting on a Reed (Charlie Parker): 12 measure blues chorus; key of B-flat, 4/4 meter. a. D 1151-A; unissued, presumed lost. b. D 1151-B;J=ca.212;2:57 Choruses: Theme (2); PARKER (3); Johnson (2); Davis (2); Jordan (2); Potter; theme. Spotlite reissue: Spotlite LP106, side 1, track 1; Spotlite SPJ-CD 4-101, disc 4, track 6. Issues: Dial 1056, Dial LP905 America DX3AM010, Bellaphon 008/9/10, Spotlite SPJ (CD) 109-2, Stash ST-CD-25 Transcriptions: Hirschmann, p. 5 (theme chorus) White CPC-117 (II) Note: Issued as "Giant Swing" on Dial 1056.

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The Dial Recordings of Charlie Parker

c. D 1151-C; unissued, presumed lost. d. D 1151-D;J=ca.216;2:52 Choruses: Theme (2); PARKER (3); Johnson (2); Davis (2); Jordan (2); Potter; theme. Spotlite reissue: Spotlite LP106, side 1, track 2; Spotlite SPJ-CD 4-101, disc 4, track 7. Issues: Dial LP904 Stash ST-CD-25 Transcriptions: Hirschmann, p. 5 (theme chorus) White CPC-117 (III) e. D 1151-E; J=ca.216;2:55 Choruses: Theme (2); PARKER (3); Johnson (2); Davis (2); Jordan (2); Potter; theme. Spotlite reissue: Spotlite LP106, side 1, track 3; Spotlite SPJ-CD 4-101, disc 4, track 8. Issues: Dial 1043, Dial LP207 Allegro ALL798, American Recording Society G449, B & C Bird -1, CID 22002, Bellaphon BLST6550, CID 42.000, Columbia 33SX1555, Emus ES12017, Everest FS315, Hipsville/Rhino R2 70197, Jazz Selection JSLP702, Jazztone J1240, Joker SM3288, London FLX3048, Roost RLP2210, Roost SK106, Roulette RE-105, Saga ERO 8052, Sagapan 6911, Sonet SLP24, Sonet SXP2821, Swing 397, Swing LDM30.067, Vogue CLD753, Vogue (F) 500753, Vogue LAE 12002, Vogue LD057, Vogue LD624-30, Vogue LDE004, Warner Brothers 2WB3198, Warner Brothers WB66081 Transcriptions: Hirschmann, p. 5 (theme chorus) JAMS, vol. 27, no. 2, p.295 White CPC-116 Note: Issued as "Air Conditioning" on all above issues EXCEPT Dial 1043, Jazztone J1240 and Allegro ALL798. Weir lists a pressing of - E on Dial 1056. An additional transcription of an unspecified Parker solo as "Big Foot" may be found in Stuart (1961). 2. Quasimado (Charlie Parker): 32 measure ABAC chorus, based on the chords of "Embraceable You" (George Gershwin - Ira Gershwin); key of B-flat, 4/4 meter. a. D 1152-A;J=ca. 144; 2:54 Choruses: Theme; PARKER (AB), Jordan (AC); Johnson (A), Davis (B), theme (AC). Spotlite reissue: Spotlite LP106, side 1, track 4; Spotlite SPJ-CD 4-101, disc 4, track 9.

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Issues: Dial LP203 B & C Bird-1, Bellaphon BLST6550, CID 22001, CID 42.000, Columbia YY7001 RO, Columbia 33SX1555, Ember CJS817, Emus ES-12017, Joker SM3288, London FLX3045, Roost RLP2210, Roost RLP2257, Roost SK-106, Roulette RE-105, Sonet SLP 24, Sonet SXP2821, Vogue EPV1264, Vogue LD624-30 Transcriptions: ARJS, vol. 4, pp. 62-63 (theme chorus) Hirschmann, p. 60 Owens, vol. 2, p. 121 White CPC-118 (I) b. D 1152-B;J=ca. 144; 2:52 Choaises: Theme; PARKER (AB), Jordan (AC); Johnson (A), Davis (B), theme (AC). Spotlite reissue: Spotlite LP106, side 1, track 5; Spotlite SPJ-CD 4-101, disc 4, track 10. Issues: Dial 1015, Dial LP904 America DX3AM010, B&C Bird-1, Bellaphon 008/9/10, Blue Star 153, Celson QB7076, Chant du Monde 29641, Concert Hall CHJ 1004, Esquire 10-108, Guilde du Jazz J1004, Jazztone J1004, Sagapan 6913, Society 1026, Spotlite SPJ (CD) 109-2, Stash ST-CD-25, Tono BZ 19011 Transcriptions: ARJS, vol. 4, pp. 62-63 (theme chorus) Hirschmann, p. 60 (theme chorus) Owens, vol. 2, p. 122 White CPC-118 (II) Notes: Issued as "Trade Winds" on Jazztone J1004, Concert Hall CHJ 1004, and Guilde du Jazz J1004. Spelling of "Quasimado" from Parker (see Appendix 3). An additional transcription of an unspecified Parker solo may be found in Stuart (1961). 3. Charlie's Wig (Charlie Parker): 32 measure ABCB chorus, based on the chords of "When I Grow Too Old To Dream" (Sigmund Romberg - Oscar Hammerstein II); key of B-flat, 4/4 meter. a. D 1153-A; unissued, presumed lost. b. D 1153-B; J=ca.l95; 2:46 Choruses: Theme with PARKER bridge; PARKER; Johnson; Davis (ABC), theme (B). Spotlite reissue: Spotlite LP106, side 1, track 6; Spotlite SPJ-CD 4-101, disc 4, track 11. Issues: Dial LP905 American Recording Society G449, Bravo BR367, Concert Hall CHJ 1004, Guilde du Jazz J1004, Jazztone J1004, Pickwick PC3054, Sagapan 6913, Society 1026

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The Dial Recordings of Charlie Parker Transcriptions: Hirschmann, p. 53 (theme chorus) Watanabe, pp. 59-61 White CPC-120 (II) Note: Issued as "Crazeology" on Jazztone J1004, Concert Hall CHJ 1004, and Guilde du Jazz J1004.

c. D 1153-C; unissued, presumed lost. d. D 1153-D; J=ca.l95; 2:50 Choruses: Theme with PARKER bridge; PARKER; Johnson; Davis (ABC), theme (B). Spotlite reissue: Spotlite LP106, side 1, track 7; Spotlite SPJ-CD 4-101, disc 4, track 12. Issues: Dial LP203 CID 22003, CID 42.000, Columbia 33SX1555, Forum SF-9056, Forum Circle FS9082, Joker SM3288, London RE7118, Roost RLP2210, Sonet SLP24, Sonet SXP2826, Vogue EPV 1264, Vogue LD624-30, Vogue-Mode MDR 9161 Transcriptions: Hirschmann, p. 53 (theme chorus) White CPC-120 (III) Note: Issued as "Bongo Bop" on Dial LP203, CID 42.000, Columbia 33SX1555, Forum SF-9056, Forum Circle FS9082, Joker SM3288, Vogue LD624-30, Roost LP2210, and Vogue Mode MDR 9161. e. D 1153-E;J=ca.200;2:40 Choruses: Theme with PARKER bridge; PARKER; Johnson; Davis (ABC), theme (B). Spotlite reissue: Spotlite LP106, side 1, track 8; Spotlite SPJ-CD 4-101, disc 4, track 13. Issues: Dial 1040, Dial LP904 Allegro ALL798, B & C Bird-1, Blue Star 216, Chant du Monde 29659, Esquire 10-139, Hipsville/Rhino R2 70197, Jazztone J1240, Spotlite SPJ (CD) 109-2, Stash ST-CD-25, Tono 19015, Warner Brothers 2WB 3198, Warner Brothers WB 66081 Transcriptions: Hirschmann, p. 53 (theme chorus) White CPC-119 Notes: According to Koster and Bakker, issued as "Drifting on a Road" on Jazztone J1240. Issued as by Charlie Parker Quintet on Dial 1040. Bislefelder 1972/1973 lists an unspecified take of "Charlie's Wig" [D 1153] in Bellaphon 008/9/10, but Koster and Bakker list no such take for Bellaphon 008/9/10 or its equivalent issue on America.

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4. Bongo Beep (Charlie Parker): 12 measure blues chorus; key of C, 4/4 meter. a. D 1154-A; unissued, presumed lost. b. D 1154-B; J =ca.210; 2:52 Choruses: Theme (2); PARKER (2); Johnson (2); Davis (2); Jordan (2); Roach; theme. Spotlite reissue: Spotlite LPl06, side 2, track 1; Spotlite SPJ-CD 4-101, disc 4, track 14. Issues: Dial LP904 America DX3AM010, Bellaphon 008/9/10, Spotlite SPS(CD) 109-2, Stash STCD-25 Transcriptions: Hirschmann, p. 12 White CPC-121 (I) Notes: Issued as "Dexterity" on Dial LP904. Often referred to as "Bird Feathers," especially in Koster and Bakker. c. D 1154-C; J=ca.200; 3:01 Choruses: Theme (2); PARKER (2); Johnson (2); Davis (2); Jordan (2); Roach; theme. Spotlite reissue: Spotlite LP106, side 2, track 2; Spotlite SPJ-CD 4-101, disc 4, track 15. Issues: Dial LP207 B & C Bird-1, Baronet B107, Bellaphon BLST6550, CED-Explosive 528004, CID 22002, CID 42.000, Columbia 33SX1555, Emus ES-12017, Everest FS315, Guilde du Jazz CH SMS7130/9, Guilde du Jazz J1241, Jazz Selection JSLP702, Jazztone J1214, Jazztone J1241, Joker SM3288, London FLX3054, Roost RLP2210, Roost SK-106, Roost WGM2, Roulette RE-105, Saga ERO 8052, Sagapan 6911, Stash ST-CD-25, Sonet SLP24, Sonet SXP2821, Swing 406, Vogue LD624-30, Vogue LD057, Vogue LDE004. Transcriptions: Hirschmann, p. 12 (theme chorus) Watanabe, pp. 62-65 White CPC-121 (II) Notes: Issued as "Charlies's Wig" on Saga ERO 8052, Sagapan 6911 and Everest FS315. Often issued as "Bird Feathers," including Dial LP207, CID 42.000, Columbia 335X1555, Joker SM3288, Emus 12017, Roulette RE-105, Roost RIP2210, Roost K-106, Roost WGM2, Swing 406, Vogue LD624-30, Vogue LD057. Koster and Bakker list Vogue-Mode MDR9161 under this title and take. According to Koster and Bakker, the matrix number Dl 154-C is etched in the run-out area on the side titled "Bird Feathers" on Vogue V2244, yet playback reveals the side to be of "Dewey Square" [D 1103-A]. Issued as "Bongo Bop" on Bellaphon BLST6550.

110

The Dial Recordings of Charlie Parker A transcription of an unspecified Parker solo as "Bongo Beep" may possibly be found in Stuart (1961).

5. Crazeology (Benny Harris): 32 measure AABA chorus, based on the chords of "I Got Rhythm" (George Gershwin - Ira Gershwin); key of B-flat, 4/4 meter. a. D 1155-A; J =ca.288; 1:00 (incomplete fragment) Choruses: Theme; PARKER. Spotlite reissue: Spotlite LP106, side 2, track 3; Spotlite SPJ-CD 4-101, disc 4, track 16. Issues: Dial 1034 Blue Star 162, Esquire 10-079, Smithsonian R033P7-19477, Smithsonian RD033-3 Transcription: White CPC-122 (I) Notes: All issues contain only the theme and Parker chorus; see notes for matrix D 1155-C. Original master presumed lost. b. D 1155-B; j =ca.270; 0:32 (incomplete fragment) Choruses: PARKER. Spotlite reissue: Spotlite LPl06, side 2, track 4; Spotlite SPJ-CD 4-101, disc 4, track 17. Issues: Dial 1034 Blue Star 162, Esquire 10-079 Transcription: White CPC-122 (II) Notes: All issues contain only the Parker chorus; see notes for matrix D 1155-C. c. D 1155-C; j=ca.220; 2:57 Choruses: Theme; PARKER; Johnson; Davis; Jordan (AA), Potter (B), Roach (A); theme with PARKER bridge. Spotlite reissue: Spotlite LP106, side 2, track 5; Spotlite SPJ-CD 4-101, disc 4, track 18. Issues: Dial 1034, Dial LP905 Allegro ALL798, America DX3AM010, Bellaphon 008/9/10, Blue Star 162, Bravo BR367, Esquire 10-079, Spotlite SPJ (CD) 109-2, Stash ST-CD-25 Transcription: White CPC-123 (III) Notes: Issued without theme on Dial 1034, Blue Star 162, and Esquire 10-079. D 1155-A, D 1155-B and Dl 155-C appear on one side of Dial 1034, Blue Star

December 17, 1947

111

162 and Esquire 10-079, bearing the matrix number D 1155-ABX and issued as "Crazeology II." d. D 1155-D;J=ca.270;3:00 Choruses: Theme; PARKER; Johnson; Davis; Jordan (AA), Potter (B), Roach (A); theme with PARKER bridge. Spotlite reissue: Spotlite LP106, side 2, track 6; Spotlite SPJ-CD 4-101, disc 4, track 19. Issues: Dial 1034, Dial 1055, Dial LP207 B & C Bird-1, Baronet B105, Bellaphon BLST6550, CED-Explosive 528013, CID 22001, CID 42.000, Columbia 33SX1555, Concert Hall BJ 1204, Emus ES-12017, Everest FS315, Hipsville/Rhino R2 70197, Jazztone J1204, Joker SM3288, Kings of Jazz KLJ20007, London FLX3045, Nap NLP11059, Roost RLP2210, Roost SK-106, Roost WGM2, Roulette RE-105, Saga ERO 8052, Sagapan 6911, Smithsonian P6 11891, Smithsonian R033P7-19477, Smithsonian RD033-33, Sonet SLP24, Sonet SXP2821, Vogue EPV1264, Vogue LD624-30 Transcriptions: Martin, pp. 65, 67 Tirro, pp. 377-378 White CPC-123 (IV) Notes: Issued as "Move" on Jazztone J1204 and Baronet B105. Issued as "Bird Feathers" on Saga ERO 8052, Sagapan 6911, and Everest FS315. Issued as a superimposed pressing, resulting from the "D" take being fed into the master twice, on Dial 1034, bearing the matrix number D 1155-DDD. The superimposition occurs during the theme, Parker, Johnson, Davis, and Jordan choruses. An additional transcription of an unspecified Parker solo may be found in Stuart (1961). 6. How Deep Is the Ocean (Irving Berlin): No theme; 32 measure ABAB' chorus; key of E-flat, 4/4 meter. a. D 1156-A;J=ca.70;3:24 Choruses: PARKER; Johnson (BA), Davis (B'). Spotlite reissue: Spotlite LP106, side 2, track 7; Spotlite SPJ-CD 4-101, disc 4, track 20. Issues: Dial 1055, Dial LP904 America DX3 AM010, Bellaphon 008/9/10, Jazz Selection 4050, Jazz Selection JEP4537, Spotlite SPJ-CD 109-2, Stash ST-CD-25, Swing 382, Swing LDM30.067, Vogue (F) CLD753, Vogue (F) 500753, Vogue (E) LAE12002, Vogue (E) LDE016, Vogue (E) LDE059, Vogue (E) V2132, Warner Brothers 2WB 3198, Warner Brothers WB 66081

112

The Dial Recordings of Charlie Parker Transcription: White CPC-124

b. D 1156-B;J=ca.70;3:04 Choruses: PARKER; Johnson (A), Davis (B'). Spotlite reissue: Spotlite LP106, side 2, track 8; Spotlite SPJ-CD 4-101, disc 4, track 21. Issues: DialLP211 Transcription: White CPC-125

Session comments: A rehearsal was held on December 15, 1947, and it was supervised by Ross Russell. On the day of the recording session, Russell was ill; his wife Dorothy supervised the session in his place. The scheduled session time was from 4:00 to 7:00 p.m. Doug Hawkins was the engineer. The collected session takes have been issued on Spotlite LPl06, EMI-Toshiba ITJ-50006, Spotlite SPJ-CD 4-101, Spotlite TOCJ-001 -0010, Stash ST-CD-567-68-69-70, Stateside CJ255043-6, and Warner Brothers 6BS 3159.

COMMENTARY This commentary is a supplement to the thematic catalogue where additional notes on composers and performers may be found. Also, Parker's surviving performances of his Dial repertory, captured in a wide variety of settings, are sorted and listed according to each individual piece. Due to the rarity and/or unavailability of some items, some recorded performances could not be examined; such items will be cited as having been unissued or unavailable to the author. The resulting collations may enable identifications of similarities and discrepancies among Parker's improvisations on a given melodic theme or on a harmonic source. The commentary entries are rounded out by the discussion of titles, their origins, and variants. Performance collations for each piece use sigla from the list of performance sources following this commentary. Composing credits of harmonic sources were confirmed with reference to Roger D. Kinkle, The Complete Encyclopedia of Popular Music and Jazz 19001950 (New Rochelle: Arlington House, 1974), and Steven Suskin, Show Tunes 1905-1985 (New York: Dodd, Mead and Company, 1986).

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June 6,1945 1. Hallelujah (Vincent Youmans - Leo Robin - Clifford Grey) [Comet matrices T8-A, -E, -F] Session takes: The composing team of Youmans, Robin and Grey wrote "Hallelujah" for the stage musical HIT THE DECK (1927). The order of soloists remains the same in the three surviving takes. Session leader Red Norvo takes two solo choruses, with the remaining soloists each taking one chorus. The sextet plays in ensemble during the final chorus in each take, substituting a repeating riff for Youman's theme; however, matrix T-E has a different final chorus riff than the other two surviving takes. Collation: None. Titles: The only title deviation from the original is "Sing Hallelujah!" appearing on the first issue of matrix T8-E on Dial 1045. 2. Get Happy (Harold Arlen - Ted Koehler) [Comet matrices T9-B, -D] Session takes: Arlen and Koehler's "Get Happy" received its premiere in 1930 in the Broadway musical NINE-FIFTEEN REVUE.

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The Dial Recordings of Charlie Parker

Like "Hallelujah," "Get Happy" is in the 32 measure AABA song form. However, "Get Happy" is performed on these takes at a slower tempo than for the Youmans tune, thus fewer solo choruses are possible. As a result, Norvo, Phillips, Gillespie, and Parker improvise for one complete chorus each, but Teddy Wilson solos only during the bridge of the first theme chorus of both takes, and bassist Slam Stewart has no featured spot. Again, as with the case of "Hallelujah," the sextet replaces the usual theme restatement during the final chorus with a swing-style riff that is used in both surviving takes. Collation: (1) Oct. 23, 1950

Chicago

This sole recorded Parker performance of this piece in concert follows the Comet format, including the use of the ensemble riff instead of the theme in the final chorus. 3. Slam Slam Blues (Red Norvo) [Comet matrices T-10-A, -B] Session takes: A themeless B-flat blues named after the session's bassist, Slam Stewart. He takes two non-consecutive solo choruses in the first take, which lasts too long to fit on a 12-inch 78 rpm side; to save time on the second take, Stewart plays one chorus. Red Norvo is given composition credit. Both takes end with a two measure ensemble tag. Unfolding at 60 beats per minute, "Slam Slam Blues" is slower than any of the blues Parker recorded for the Dial label. Titles: As noted above, the blues is named after the bassist Slam Stewart. Dial issued take A on Dial 1045 as "Bird's Blues," and Vogue similarly as "Bird Blues."

Collation: none. 4. Congo Blues (Red Norvo) [Comet matrices Tll-A, -B, -C, with Tll-AA, -BB]

Session takes: "Congo Blues" is a themeless blues in B-flat credited to session leader Red Norvo. Each chorus begins with a 16 measure prelude that begins on sustained chords and ends with an unaccompanied four measure break, from which each soloist jumps into two brisk 12 measure blues choruses. This resulting 40 measure ABB form is used behind all soloists. When the ensemble plays together to end the takes, the A passage is dropped.

Commentary - June 6, 1945

117

The outtakes show the rehearsal of the piece. Take 11-AA is cut short after Parker's break, as Heard had drummed through Gillespie's break but not through Parker's. Take 11BB stops when Parker appeared to forget that he was allowed two choruses to improvise instead of one. Takes A, B and C are full takes, featuring every soloist and the final ensemble chorus. During his December 3, 1947 Dial session, Howard McGhee uses a similar structure in his "Stop Time Blues" [Dial mx D 1128-A], but with an 8 measure prelude and break instead.

Titles: Titled "Congo Blues," most likely after J.C. Heard's introductory drum patterns, on Comet and thus on Dial and other labels. However, Baronet and Jazztone use "Bird Blues," a title similar to the "Bird's Blues" applied also to "Slam Slam Blues" [Comet mx.TlO-A, -B]. Collation: none.

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February 5,1946

1. Diggin' Diz (George Handy) [Dial matrix D 1000]

Session takes: This piece is based on the chords of "Lover," composed by Richard Rodgers and Lorenz Hart for the 1932 film LOVE ME TONIGHT. The chorus is 64 measures long in AABA form, the only such chorus in Parker's Dial studio legacy. To accommodate six soloists, the chorus is played twice, allowing sixteen measures per soloist. Titles: The Gillespie band minus Parker recorded on the day following the rehearsal; for a catalogue of this session see Appendix 4. Among the pieces recorded was "Diggin' for Diz" [Dial mx. D 1002-E] which uses the same theme and harmonic model as Dial matrix D 1000. When D 1000 was reissued in the collected Spotlite reissue, it was given the shortened title "Diggin' Diz." The matrix was issued on Dial LP207 under the title "Bongobeep," a mistitle followed by the Jazz Selection, Swing and Vogue labels. Regarding the 78 rpm issue on Dial 1004, Tony Williams was kind to verify for me its issue as "Diggin' Diz." A matrix mixup between D 1000 and D 1054-B may have caused Vogue to issue this 64 measure AABA piece as "Hot Blues." Parker himself adds to this list of mistitles, introducing this piece as "Dynamo A" during a radio broadcast from the Bandbox in New York City on March 30, 1953. Collation: (1) Oct.-Nov. 1948 (2) Mar. 30, 1953

Waukegan NYC

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The Dial Recordings of Charlie Parker

(1) is a private recording of a live Parker appearance containing the theme statement and Parker's two solo choruses. (2) is the Bandbox broadcast referred above, featuring a lengthy piano solo from Walter Bishop, Jr.

March 28,1946

1. Moose the Mooche (Charlie Parker) [Dial matrices D 1010-1,-2,-3]

Session takes: The harmonic model is "I Got Rhythm" by George and Ira Gershwin from the stage musical GIRL CRAZY (1930). Parker composed both the A and B sections of the theme, instead of improvising alone during the B section as was usually the case with his other Dial compositions. The final take, D 1010-3, was not issued until the Spotlite reissue. Until then, it existed only on a noisy acetate dub in Ross Russell's possession. Collation: (l)Mar. 6, 1947 LA (2) Mar. 9, 1947 LA (3) Mar. 12, 1947 LA (4) Mar. 13, 1947 LA (5) 1948 West Coast (6) May 8-9, 14-15, 1949 Paris (7)Spr.-Sum. 1950 NYC (8) Sept. 26, 1952 NYC (9) Feb. 7, 1953 Montreal (10) Mar. 10, 1953 Boston (11) May 9, 1953 NYC NYC (12) May 30, 1953 (13) Summer 1953 NYC (3), (5) and (8) were unissued, and (7) and (10) were unavailable for examination. (1), (2), (3) and (4) are from the Benedetti collection. (1) is in two parts, the first featuring Parker alone, the second having Parker and Howard McGhee trading four-measure phrases

The Dial Recordings of Charlie Parker

122

before playing the final theme chorus with the composed B section. (2) and (4) have truncated or no themes surviving. (6) and (11) has the composed bridge during the first theme chorus, and a Parker improvised bridge in the final theme chorus. (12) shows Parker using the composed bridge in both opening and closing theme choruses. Titles: According to Ross Russell, Charlie Parker had come up with the title "Moose the Mooche" at the time of the session (letter to the author, 15 February 1995). 2. Yardbird Suite (Charlie Parker) [Dial matrices D 1011-1,-4] Session takes: The piece dates back to Parker's tenure with Jay McShann in 1940-1942, when it was known as "What Price Love" as well as "Yardbird Suite." The harmonic model is "Rosetta," composed by Earl Hines and Henri Woode. Of the four takes waxed by Parker for Dial, only the first and last ones survive.

Collation: (l)Feb. 1, 1947 (2) Mar. 2, 1947 (3) July 10, 1948

LA LA NYC, perf.

(1) and (2) are instrumental performances, and (3) is a vocal rendition as "What Price Love" with Carmen McRae. (1), from the Kopely recordings, has the theme followed by two Parker solo choruses. (2) contains only Parker's solo. (3) is in the key of G rather than C, as James Patrick points out in his notes for the Benedetti recordings.

Titles: Parker was referring to this tune as "Yardbird Suite" during the Dial studio session (Ross Russell, letter to the author, 15 February 1995). Earl Coleman, under Ross Russell's supervision, recorded a vocal rendering of "Yardbird Suite" for Dial [mx D 1163-C] on November 29, 1948.

3. Ornithology (Charlie Parker) [Dial matrices D 1012-1, -3, -4]

Commentary - March 28, 1946

123

Session takes: "Ornithology" is based on the chords of "How High the Moon," which was composed by Morgan Lewis and Nancy Hamilton for the Broadway musical TWO FOR THE SHOW(1940). Parker's "Ornithology" theme is a development of the motif that begins his solo on "Jumpin' Blues," recorded on July 2, 1942 with Jay McShann for the Decca label [mx. 70995A]. On the initial Dial releases and for the unsuccessful attempts to register Parker's compositions to Dial Publishing, Parker was given sole composing credit for "Ornithology"; by the end of 1948, Benny Harris was recognized by Dial as a co-composer for this piece (see the historical narrative). During the Dial session, four takes were recorded, three of which survive. In these matrices, an ascending triplet figure is used to close the B sections of the theme choruses. Matrix D 1012-1 has no solo choruses from Parker.

Collation:

(1)Feb.-Mar. 1946 (2) Mar.-Apr. 1946 (3) Mar. 2, 1947 (4)Mar. 1 or 2 (or 4 or 5), 1947 (5) Mar. 6, 1947 (6) Mar. 7, 1947 (7) Mar. 8, 1947 (8) Mar. 9, 1947 (9) Mar. 11, 1947 (10) Mar. 12, 1947 (11) Mar. 13, 1947 (13) Autumn 1948 (14) Dec. 11, 1948 (15) Jan. 1, 1949 (16) May 12, 1949 (17) Autumn 1949 (18) Dec. 24, 1949 (19) 1949-50 (20) Feb. 18, 1950 (21) May 17, 1950 (22) Nov. 24, 1950 (23) Spring 1951 (24) Apr. 21, 1951 (25) June 23, 1951 (26) Mar. 25, 1952 (27) July 14, 1952 (28) Sept. 20, 1952 (29) Dec. 14, 1952 (30) Feb. 7, 1953 (31) Mar. 1953 (32) Mar. 10, 1953 (33) Mar. 30, 1953

LA LA LA LA LA LA LA LA LA LA NYC NYC NYC NYC Roubaix, France NYC NYC NYC, Diplomat NYC NYC Halsingborg, Sweden NYC Framingham, MA Brooklyn Jamaica, NY Altadena, CA NYC Boston Montreal Washington Boston NYC

The Dial Recordings of Charlie Parker

124

(34) June 8-14, 1953 (35) July 26, 1953 (36) Summer 1953 (37) Nov. 5, 1953 (38) Jan. 1954 (39)Jan. 18, 1954 (40)Jan. 24, 1954

Boston (2 perfs.) NYC NYC Eugene, OR Boston Boston Boston

(6), (13), (26), (27), and (36) were unissued, and (16), (25), (28), (32) and (35) were unavailable for examination. (12) and (33) have the "Ornithology" theme in the opening theme chorus, and the theme of "How High the Moon" in the closing theme chorus. (23) and (27) begin with the "How High the Moon" theme and close with "Ornithology." The distinguishing characteristic of the Dial performances of "Ornithology" is the ascending triplet figure filling the closing bars of the B sections of the theme. (3), (4), (5), (8), (9), (10) and (11), all fragments from the Dean Benedetti recordings, exhibit the triplet figure in the theme. In most of the remaining performances, Parker does not use the triplet figure in the theme, although in (15) with Kenny Dorham and (37) with Chet Baker the trumpet player can be heard using that figure underneath Parker.

4. A Night in Tunisia (John Birks "Dizzy" Gillespie - Frank Paparelli) [Dial matrices D 1013-1, -4, -5]

Session takes: The first recording of "A Night in Tunisia" was a vocal rendition titled "Interlude," recorded for the Continental label in New York on December 31, 1944, featuring vocalist Sarah Vaughan and Dizzy Gillespie on trumpet. Its next recording was for Guild in New York on January 26 or 27, 1945 by the Boyd Raeburn Orchestra with Gillespie on trumpet. Session producer Ross Russell suggested "A Night in Tunisia" to Parker during the March 28, 1946 Dial session itself. Because of the ensuing arrangement and rehearsal by Parker with his session ensemble, "A Night in Tunisia" took longer to record than the other three titles on this date.

Collation: (l)Mar. 2, 1947 (2) Mar. 6, 1947 (3) Mar. 7, 1947 (4) Mar. 8, 1947 (5) Mar. 9, 1947 (6) Mar. 13, 1947 (7) Sept. 29, 1947 (8) Nov. 1947 (9) July 11, 1948 (10) Feb. 26, 1949

LA LA LA LA LA LA NYC Chicago NYC NYC

Commentary - March 28, 1946

125

1) May 8-9, 14-15, 1949 Paris NYC (12) Feb. 14, 1950 NYC (13) Mar. 31, 1951 Brooklyn (14) June 23, 1951 (15) July 14, 1952 Altadena, CA (16) Nov. 15, 1952 NYC (17) May 15, 1953 Toronto (14) and (15) were unissued. Thomas Owens, in his dissertation Charlie Parker: Techniques of Improvisation, vol. 1, pp. 202-203, suggests that Parker's famous break before each of his Dial solos was planned rather than spontaneous. He shows this by dissecting the phrase into its component motives, and he notes the regular recurrence of those motives in the breaks from (7), (9), (10), (13), (16), and (17). (1), (2), (3), (4), (5), and (6), the recently restored Dean Benedetti performances, have a relaxed pace of 140 beats per minute, rather than the Dial studio pace of 175 beats per minute. (8) is an incomplete recording having only the theme and Parker's choruses. (12) does not have the theme restatement after the solo choruses but instead a quick run through the set closer "52nd St. Theme." (7), (13), and (17) are capped by a solo trumpet coda from Dizzy Gillespie.

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July 29,1946

1. Max Making Wax (Oscar Pettiford) [Dial matrix D 1021-A]

Session takes: Oscar Pettiford based this piece on "I Got Rhythm," composed by George and Ira Gershwin for the Broadway musical GIRL CRAZY {1930). Pettiford led an 18 piece band that included Dizzy Gillespie, Don Byas and Shelly Manne in the original recording made on January 9, 1945 for the Manor label; bearing the matrix number W1218, it was released under the title "Something for You." This piece was also known as "Chance It." Howard McGhee re-recorded this theme with a slight alteration as "Dialated Pupils" [Dial mx. D 1041-4, -5] on October 18, 1946. Collation: none. 2. Loverman (Jimmy Davis - Roger "Ram" Ramirez - Jimmy Sherman) [Dial matrix D 1022-A]

Session takes: Parker first recorded "Loverman" in a vocal rendering by Sarah Vaughan in a Guild session on May 11, 1945. As Koch points out in his "compendium" Yardbird Suite, Vaughan sings the tune in the key of D-flat. For the Dial version, Parker also plays it in D-flat. Collation: (1) May 11, 1945

NYC, Guild

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The Dial Recordings of Charlie Parker (2) May 12, 1949 (3) Nov. 22, 1950 (4) Aug. 8, 1951

Roubaix, France Malmo, Sweden NYC, Granz

(1) is the Sarah Vaughan recording for Guild, on which Parker can be dimly heard in the A sections following each bridge. (2) is incomplete, preserving the solo choruses improvised by Parker and Kenny Dorham but only part of Al Haig's solo turn. Both (3) and (4) feature a coda quoting Percy Grainger's "Country Gardens."

3. The Gypsy (Billy Reid) [Dial matrix D 1023-A] Session takes: Parker's recorded tone is steadier on this take than the previous ones from this session. It is most likely at this point that Ross Russell began to hold Parker steady at the recording microphone. No other Parker performances of this tune have yet come to light. Collation: none. 4. Bebop (John Birks "Dizzy" Gillespie) [Dial matrix D 1024-A] Session takes: "Bebop" (sometimes spelled "Be-bop") was first recorded by Dizzy Gillespie on a Manor label session on January 9, 1945, bearing the matrix number W1225. Parker and McGhee use Gillespie's introduction, theme and coda from the Manor recording. As on the previous matrix, "The Gypsy" [Dial mx. D 1023-A], Parker's tone is steady as a result of being held still by Russell. Collation: (1) Nov. 1947 (2) Jan. 1, 1949 (3) Jan. 15, 1949 (4) Feb. 12, 1949

Chicago NYC NYC NYC

(1) was unissued. All other Parker performances of "Bebop" come from radio broadcasts from the Royal Roost in early 1949. Like the Dial version, the Royal Roost performances use the introduction, theme and coda from the Gillespie/Guild recording.

February 1,1947 1-2. Blues 1 and 2 (uncredited) [Kopely, unnumbered] Session takes: It is very likely that these two blues solos may be excerpts from one piece, as both of them are in the same key and tempo. It is not known, nor noted by Ross Russell, whether a theme preceded these blues improvisations. Collation: none. Titles: The two solos were named "Blues no. 1" and "Blues no. 2" on their initial release on Stash ST-CD-25. For their reissue on Spotlite SPJ 4-101, the shorter solo was called "Blues on the Sofa," and the longer one "Kopley Plaza Blues"; these two titles may be found in a list of "possible titles" from an audition sheet dated April 1947 for the Kopely recordings, folder "Dial Mechanical Rights," box 6, Ross Russell Collection. 3. Yardbird Suite (Charlie Parker) [Kopely, unnumbered]

Collation: see commentary for March 28, 1946. 4. Lullaby in Rhythm (Edgar Sampson - Clarence Profit - Benny Goodman - Walter Hirsch) [Kopely nos. 901,902]

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The Dial Recordings of Charlie Parker

Session takes: "Lullaby in Rhythm" was first recorded by Benny Goodman on April 8, 1938. The present performance contains only Parker's four solo choruses: two on K-901, and two on K-902. Because of the like keys and tempi, it is very likely that these choruses are non-consecutive excerpts of one continuous performance.

Collation: (1) Spr.-Sum. 1950 (2) Apr. 12, 1951

NYC Framingham, MA

Parker never recorded this piece under formal studio conditions, but he was recorded improvising on it on two occasions. (1) remained unissued.

5. Home Cooking III (uncredited) [Kopely no. 903] Session takes: The harmonic model is "I Got Rhythm" by George and Ira Gershwin for the Broadway musical GIRL CRAZY (1930). This excerpt contains only Parker's solo chorus, so it is not known whether a theme was played beforehand. Titles: "Home Cooking" may be found in a list of "possible titles" from an audition sheet dated April 1947 for the Kopely recordings, folder "Dial Mechanical Rights," box 6, Ross Russell Collection. Collation: none. 6. Home Cooking II (uncredited) [Kopely no. 904] Session takes: "Home Cooking II" is a themeless improvisation on "Cherokee" by Ray Noble. Collation: (1)1941/1942 (2) 1942

Kansas City NYC, Monroe's

Commentary - February 1, 1947 (3) Nov. 26, 1945 (4) Mar.-Apr. 1946 (5) Sept. 29, 1947 (6) Nov. 8, 1947 (7) 1947 (8) Sept. 4, 1948 (9) Dec. 24, 1949 (10) June 1950 (11) Feb. 25, 1954

131 NYC, Savoy (3 perf.) LA NYC NYC Washington, DC NYC NYC NYC Portland, OR

For a discussion of (2), see James Patrick, "Al Tinney, Monroe's Uptown House, and the Emergence of Modern Jazz in Harlem," Annual Review of Jazz Studies, vol. 2 (1983). For a discussion of (3), see Patrick's booklet notes to Charlie Parker, The Complete Savoy Studio Sessions; the remaining perfonnances contain many of the motives transcribed by Patrick in those notes for the Savoy set. What sets "Home Cooking II" apart from the other perfonnances collated here is its comparative lack of "Cherokee/Koko" motives. (7) was unissued. 7. Home Cooking I (uncredited) [Kopely no. 905] Session takes: "Home Cooking I" is an edited performance of "Opus" by Hal McKusick, as noted by Ross Russell. McKusick derived his AABA composition from two harmonic sources: "'S Wonderful" by George and Ira Gershwin for the Broadway musical FUNNY FACE for the A sections, and the song "Honeysuckle Rose" by Thomas "Fats" Waller and Andy Razaf for the B section. Only Parker's three solo choruses remain from this performance. No other Parker rendering of this specific piece survives from other dates. Collation: none.

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February 19,1947 1. This Is Always (Josef Myrow. - Mack Gordon) [Dial matrices D 1051-C, -D] Session takes: This tune was composed for the 1946 movie musical THREE LITTLE GIRLS IN BLUE. It is the only piece in Parker's Dial repertory to have a 24 measure AAB form. It is not known whether the lost takes A and B are complete takes or false starts. Collation: (1) June 1951

Philadelphia

(1) features vocalist Sarah Vaughan; the performance proceeds much in the same way the Dial version with Coleman: after a brief piano introduction,Vaughan sings the complete first chorus and the concluding B section of the second chorus, with Parker providing a solo during the two A sections in between. 2. Dark Shadows (Shifty Henry) [Dial matrices D 1052-A, -B, -C, -D] Session takes: Composing credit is to Shifty Henry, about whom little is known. A trumpet player in the Los Angeles area, Shifty Henry evidently composed "Dark Shadows" for Earl Coleman, and he was present at Coleman's Dial session with Parker and Erroll Garner. This piece is in AABA form. As Thomas Owens points out (Charlie Parker: Techniques of Improvisation, vol. 1, p.70), the A sections follow the 8-measure blues form. Four takes were cut. Take A was too long for a ten-inch 78 rpm release due to the slow

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tempo. Takes B, C and D quickens the pace enough to fit within the time limit. Take C was chosen for the initial release. Take D, surviving on an acetate dub in Ross Russell's possession, was unissued until the Spotlite reissue. Collation: none. 3. Bird's Nest (Charlie Parker) [Dial matrices D 1053-A, -B, -C]

Session takes: The harmonic model is "I Got Rhythm" by George and Ira Gershwin from the Broadway musical GIRL CRAZY (1930). Parker uses a two measure motto in place of a theme for this piece. Collation: none. Titles: All issues were titled "Bird's Nest," with the exception of Dial 1021 which issued Matrix D 1053-C as "Bird's Nest Soup." 4. Cool Blues (Charlie Parker) [Dial matrices D 1054-A, -B, -C, -D] Session takes: The theme was borrowed from the John Kirby Sextet's closing number "Blues Up and Down." According to Patrick and Schaap's notes for the Benedetti recordings, Parker learned the theme from the sextet's alto saxophonist Russell Procope, and from attending performances of the Kirby group. The D 1054 matrices were recorded in quick succession. Each successive take adopts a slower tempo than the previous one, in order to accomodate Garner's piano technique. Collation: (1) Mar. 1 or 2 (or 4 or 5), 1947 LA (2) 1949-50 NYC, Diplomat (3) May 15, 1950 NYC (4) Oct. 23, 1950 Chicago (5) Nov. 22, 1950 Malmo (6) Nov. 24, 1950 Halsingborg, Folkets

Commentary - February 19, 1947 (7) June 23, 1951 (8) June 1951 (9) Mar. or Apr. 1952 (10) July 8, 1952 (11) Sept. 26, 1952 (12) Oct. 17, 1952 (13) Dec. 14, 1952 (14) Feb. 5, 1953 (15) Feb. 7, 1953 (16) Mar. 30, 1953 (17) May 9, 1953 (18) May 22, 1953 (19) June 8-14,1953 (20) July 26, 1953 (21) Sept. 22, 1953 (22) Nov. 5, 1953 (23)Jan. 18, 1954 (24)Jan. 24, 1954 (25) Sept. 25, 1954

Brooklyn Philadelphia Brooklyn Altadena, CA NYC Washington Boston Montreal Montreal NYC NYC NYC Boston (2 perfs.) NYC Boston Eugene, OR Boston Boston NYC

(9), (10), (16), (18) and (21) were unissued, and (14), (17) and (22) were unavailable for examination. (1) may be "Cool Blues," although the theme is omitted. The remainder of the surviving performances are from 1950 to 1954, Parker's later years.

Titles: Parker referred to the piece as "Blues Up and Down" to Dean Benedetti. The titles "Hot Blues," "Blowtop Blues," and "Cool Blues" were thought up by Ross Russell.

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February 26,1947 1. Relaxin' at Camarillo (Charlie Parker) [Dial matrices D 1071-A, -C, -D, -E] Session takes: "Relaxin' at Camarillo" is the only Parker composition recorded at this all-star recording session. Although the ensemble learned this piece during the rehearsal on February 25, 1947, it needed five takes during the recording session to achieve a satisfactory master. Collation: (l)Mar. 2, 1947 LA (2) Mar. l o r 2 (or 4 or 5), 1947 LA (3) Mar. 6, 1947 LA (4) Mar. 7, 1947 LA (5) Mar. 9, 1947 LA (6) Mar. 12, 1947 LA The six performances listed above are from the Dean Benedetti recordings at the Hi-DeHo Club in Los Angeles, where Parker and Howard McGhee appeared for two weeks. (1), (3), (4), and (5) preserve Parker's solos and all or part of the theme. (2) has only Parker's solo. (6) has remained unissued.

Titles: Parker himself called this piece "Past Due." However, Ross Russell adapted "Relaxin' at Camarillo" from Muggsy Spanier's "Relaxin' at the Touro," which was recorded after Spanier's stay at Touro Infirmary at New Orleans in 1938-1939.

138

The Dial Recordings of Charlie Parker

2. Cheers (Howard McGhee) [Dial matrices D 1072-A, -B, -C, -D]

Session takes: The A sections are borrowed from George and Ira Gershwin's "I Got Rhythm" from the Broadway musical GIRL CRAZY (1930), and the B section from the song "Honeysuckle Rose" by Thomas "Fats" Waller and Andy Razaf. Collation: (1) Mar. 2, 1947 (2) Mar. 1 or 2 (or 4 or 5), 1947 (3) Mar. 6, 1947 (4) Mar. 7, 1947 (5) Mar. 11, 1947 (6) Mar. 12, 1947 (7) Nov. 22, 1950

LA (2 perfs.) LA LA LA LA LA (2 perfs.) Malmo, Sweden

Since "Cheers" comes from Howard McGhee's repertory, it is not surprising to find the majority of Parker's performances of this piece with Howard McGhee present. (1), (2), (3), (4), (5), and (6) come from Parker and McGhee's stand at the Hi-De-Ho Club in March 1947; all these performances feature a Parker bridge during the theme choruses, as on the Dial takes. (7), from Parker's 1950 Swedish tour, also sports a Parker bridge during the theme.

3. Carvin' the Bird (Howard McGhee) [Dial matrices D 1073-A, -B] Session takes: This piece is a 12 measure blues in E-flat from Howard McGhee's repertory. Collation: (l)Mar. 2, 1947

LA

(1), from the Dean Benedetti recordings of Parker and McGhee at the Hi-De-Ho Club, has only Parker's solo. Benedetti notes this performance as "Howard's E-flat Blues." 4. Stupendous (Howard McGhee) [Dial matrices D 1074-A, -B]

Session takes: Patrick, in his notes for the Mosaic issue of the Benedetti recordings, credits the composition of "Stupendous" to Melvyn Broiles, a student of Howard McGhee. Broiles based his

Commentary - February 26, 1947

139

k

piece on the chords of " S Wonderful," which was composed by George and Ira Gershwin for the Broadway musical FUNNY FACE (1927). Collation: (1) Mar. 7, 1947 (2) Mar. 11, 1947

LA, "Casa Dubs" LA

(1) and (2) are from the Benedetti recordings of Parker and McGhee in 1947. Both preserve Parker's solos without the themes, so they could be performances of "'S Wonderful" rather than of "Stupendous."

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October 28,1947

1. Dexterity (Charlie Parker) [Dial matrices D 1101-A,-B] Session takes: "Dexterity" is based on the chords of "I Got Rhythm" composed by George and Ira Gershwin for the Broadway musical GIRL CRAZY (1930). Parker's theme features a B section for the whole ensemble, rather than for himself alone. A third Dial take, D 1101-C, is presumed lost.

Collation: (1) Nov. 1947

Chicago

(1) was not available for examination.

2. Bongo Bop (Charlie Parker) [Dial matrices D 1102-A, -B] Session takes: The harmonic base is a 12 measure blues in C major. The rhythm during the theme choruses is regular except for the first, fifth and ninth measures when Jordan and Roach employ cross rhythms; this contrast does not occur during the solo choruses. Similar to "Bongo Bop" is "Bongo Beep," another Parker piece recorded for Dial on December 17, 1947, which is also a 12 measure blues in C major employing cross rhythms during the theme choruses. It is best to consult the catalogue entries or Koch's Yardbird Suite in order to distinguish the pieces from one another.

142

The Dial Recordings of Charlie Parker

Collation: none. Titles: The title "Bongo Bop" was suggested by Billy Shaw, Parker's manager at the time of the session (Ross Russell's letter to the author, 13 March 1995). Both D 1102 matrices were issued by Dial as "Bongo Bop." However, Jazz Selection issued take A as "Blues," as did Vogue for its issue of take B. Take B was issued by Swing as "Parker's Blues," and it was released by Roost and Roulette as "Bebop." Dial did use the title "Bongo Bop" for the issue of matrix D 1153-D (catalogued here as "Charlie's Wig") on Dial LP203. 3. Dewey Square (Charlie Parker) [Dial matrices D 1103-A, -B, -C] Session takes: The harmonic base has not been identified, if it was borrowed from a previously existing song. Parker improvises for two choruses on the first take, making the performance too long to fit on a ten-inch 78 rpm record. To cut the second and third takes to a length suitable for a teninch release, Parker limits himself to one chorus. Collation: none. Titles: "Dewey Square" refers to the location of Parker's residence at the time of the session, namely the Dewey Square Hotel on 117th Street in New York City. This title was used on the Dial issues on takes B and C. However, take A was issued on Dial LP210 as "Prezology," perhaps referring to tenor saxophonist Lester "Prez" Young. The same take was titled "Bird Feathers" by the European labels Vogue and Swing.

4. The Hymn (Charlie Parker) [Dial matrices D 1104-A, -B] Session takes: "The Hymn" was Parker's response to Ross Russell's request for an up-tempo number

Commentary - October 28, 1947

143

along the lines of the saxophonist's recording of "Koko" for Savoy (see Russell, liner notes for Charlie Parker: The Very Best of Bird). The theme itself is from "Wichita Blues," a number that Parker remembered from his tenure with Jay McShann. In fact, the McShann band with Parker recorded "Wichita Blues" on December 2, 1940 at the radio station KFBI in Wichita, Kansas; Parker did not solo on that particular piece during that radio transcription session. Collation: (1) July 11, 1948

NYC

(1), from the Dean Benedetti collection, is the sole surviving example of Parker performing this piece in public; the recording preserves fragments of Parker's solo and theme.

Titles: "The Hymn" was selected by Russell from a list of record titles given by Parker himself (see appendix 3). Take B was titled "Superman" and issued under Miles Davis' name on Dial LP212, a jazz trumpet anthology. 5. Bird of Paradise (Charlie Parker) [Dial matrices D 1105-A, -B, -C]

Session takes: Solos are done over the chords of "All the Things You Are," composed by Jerome Kern and Oscar Hammerstein II for the Broadway musical VERY WARM FOR MAY (1939). An eight measure introduction for trumpet and alto saxophone precedes and follows the solo choruses. Although the introduction first appeared on Billy Eckstine's 1944 recording "Good Jelly," it was also used by Parker and Dizzy Gillespie on their 1945 studio recording of "All the Things You Are" (see (1) in the following collation). The format and solo order of this piece remains the same through all three takes. The probable reason for retakes could be Parker's attempting to improvise with as little dependence on the melody as possible. The progression from melody embellishment to original improvisation can be followed when listening to the takes in sequential order.

ation: (1) Feb. 28, 1945 (2)Feb.-Mar. 1946 (3) Mar. 1, 1947 (4) Mar. 7, 1947 (5) Mar. 8, 1947 (6) Nov. 1947

NYC, Guild LA LA LA LA Chicago

144

The Dial Recordings of Charlie Parker (7) Mar. 31, 1948 (8) July 11, 1948 (9) June 1950 (10) Oct. 23, 1950 (11) Nov. 24, 1950 (12) Apr. 21, 1951 (13) June 23, 1951 (14) May 15, 1953 (15) May 22, 1953 (16) July 26, 1953

NYC NYC NYC Chicago Halsingborg, Folkets Boston Brooklyn Toronto NYC NYC

The above collation gathers performances known either as "Bird of Paradise" or "All the Things You Are." (12), (15), and (16) were unissued. (1) is the Guild label recording by Parker and Dizzy Gillespie that uses the eight measure introduction. (2), from the Finale Club broadcast with Miles Davis, also uses the introduction. (3), (4), and (5), fragments of performances recorded by Dean Benedetti, end without the introduction, which may not have been used at those times. (4) and (5) are performed with a vocalist. (6) and (7), also from the Benedetti collection, feature both the framing introduction and a vocalist. (8) comes from an apartment jam session, during which Parker appends the passage at the end of his choruses. (9), (10) and (13) also have the eight measure figure.

6. Embraceable You (George Gershwin - Ira Gershwin) [Dial matrices D 1106-A, -B] Session takes: "Embraceable You" was composed for the Broadway musical GIRL CRAZY (1930). On each take, Parker begins his solo without an ensemble theme, and he improvises without the use of George Gershwin's melody. The melodic motif of the first take solo is from "A Table in the Corner" composed by Sam Coslow; for a discussion of "Embraceable You" and "A Table in the Corner," see Gary Giddins, "Charlie Parker: An Overview" (in Dave Oliphant, ed., The Bebop Revolution in Words and Music [Austin: Harry Ransom Humanities Research Center, University of Texas, 1994] 73). Collation: (1) Feb. 1943 (2) Nov. 26, 1945 (3) Nov. 1947 (4) Oct.-Nov. 1948 (5) Sept. 18, 1949 (6) Feb. 18,1950 (7) May 15, 1950 (8) Oct. 23, 1950 (9) Nov. 24, 1950

Chicago NYC, Savoy Chicago Waukegan, IL NYC NYC NYC Chicago Halsingborg, Folkets

Commentary - October 28, 1947 (10) Dec. 1950 (11) Apr. 21, 1951 (12) Spring 1951 (13) June 23, 1951 (14) July 14, 1952 (15) Summer 1952 (16) Nov. 1, 1952 (17) Feb. 7, 1953 (18) Mar. 30, 1953

145

NYC Boston NYC Brooklyn Altadena, CA LA NYC Montreal NYC

Of these numerous performances, (4), (11), (13), (14), and (15) were unissued, and (10) and (12) were unavailable for examination. (1) is an unusual recording of Parker playing along with Hazel Scott's 1942 Decca label recording of "Embraceable You." (2) is a themeless rendering that was recorded by Savoy Records and later issued under the title "Meandering." (5) has Parker as the fourth of five soloists, thereby allowing him to pursue his own melody without having to refer to the original theme. On (6), Parker begins with the "Table in the Corner" phrase of Dial mx. D 1106-A. (8) is an incomplete recording of a rendition with a vocalist. (7), (9), (16), (17), and (18) begin with Parker's solo without an ensemble statement of Gershwin's theme.

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November 4,1947

1. Bird Feathers (Charlie Parker) [Dial matrix D 111 1-C]

Session takes: "Bird Feathers" is the only blues recorded at this session. The theme is played twice through before and after the solo choruses. Takes A and B have not survived as additional examples of Parker's improvising on this theme. No other performances of this piece by Parker outside the studio have been found.

Collation: none. Titles: "Bird Feathers" was most likely thought up by Ross Russell. This title was also used for issues of "Bongo Beep" [Dial mx. D 1154-C], and "Crazeology" [D 1155-D]. Dial mx. D 1111-C was issued on the Jazz Selection and Vogue labels as "Schnourphology." Therefore, discographers sometimes refer to D 111 1-C as "Bird Feathers/Schnourphology" to distinguish that matrix from D 1154-C and D 1155-D. 2. Klact-oveeseds-tene (Charlie Parker) [Dial matrices D 1112-A, -B]

Session takes: The introduction is the same as that of "The Chase," the tenor saxophone duet recorded by Dexter Gordon and Wardell Gray for Dial. The chorus was adapted from "Perdido," composed by Juan Tizol.

The Dial Recordings of Charlie Parker

148

Ross Russell recalls Gordon and Gray developing the introduction from one of Parker's solos during a 1947 Los Angeles jam session (see the historical narrative).

Collation: none. Titles: Parker wrote out the definitive form of the title on the back of a Three Deuces minimum charge card for Ross Russell in the spring of 1948. Minor title variations (including one from Parker on his title list to Russell reproduced in appendix 3) occur from minor misspellings or from dropping Parker's hyphens. The said charge card is now kept in the folder "Dial Mechanical Rights," box 6, Ross Russell Collection. The meaning, precise or approximate, of Parker's title "Klact-oveeseds-tene" has eluded all efforts to deduce it. Tony Williams (notes, Charlie Parker on Dial - The Complete Sessions [Spotlite SPJ-CD 4-101]) learned from two former Parker sidemen, Red Rodney and Al Haig, that Parker used to toy with his own kind of pidgin German. In light of this, Williams figures the title to be corrupted from "Klatschen" and "Auf Wiedersehen" to mean "Goodbye Malicious Gossip." Richard Cook and Brian Morton, in the Parker entry of their Penguin Guide to Jazz (London: Penguin, 1994), phonetically transcribe the title as "Klage, Auf Wiedersehen," and suggest it could be broadly interpreted as "Farewell to the Blues." Oddly, the following nonsensical explanation may be the most plausible one: "Klactoveesedstene? (sic) Why, man, it's just a sound," as a musician told Ross Russell (Bird Lives!, p. 252). Anyone claiming to make meaningful sense of the term "Klact-oveeseds-tene" is welcome to figure out the other titles Parker supplied to Russell (see Appendix 3), especially "Herrbleerdeskowden" and "Attwaterdevone." 3. Scrapple from the Apple (Charlie Parker) [Dial matrices D 1113-B,-C] Session takes: The A sections were based on "Honeysuckle Rose" by Thomas "Fats" Waller and Andy Razaf, and the B section was taken from "I Got Rhythm" by George and Ira Gershwin from the Broadway musical GIRL CRAZY (1930). The solo order is the same in the two surviving takes. Of note is the theme reappearing only in the last A section only, instead of taking up the whole final chorus. Collation: (1)1947 (2) Jan. 15, 1949 (3) Jan. 22, 1949

Washington, DC NYC NYC

Commentary - November 4, 1947 (4) Feb. 5, 1949 (5) Feb. 12, 1949 (6) Feb. 26, 1949 (7) May 8-9, 14-15, 1949 (8) June 1950 (9) Feb. 18,1950 (10) Nov. 24, 1950 (11) Apr. 21, 1951 (12) June 1951 (13) July 8, 1952 (14) July 28, 1952 (15) Sept. 26, 1952 (16) Oct. 17, 1952 (17) Dec. 14, 1952 (18) June 8-14, 1953 (19) July 26, 1953 (20) Jan. 18, 1954

NYC NYC NYC Paris NYC, William Henry Apartments NYC Halsingborg, Folkets Boston Philadelphia Altadena, CA Altadena, CA NYC Washington Boston Boston NYC Boston

(1), (13), (14), and (19) were unissued, and (6), (15), and (16) were unavailable for examination. The remaining peformances have full theme choruses both at the start and at the end. (2), (3), (4), (5), (9), and perhaps (8) open with the theme with a Parker-improvised bridge and end with the theme with a drum bridge. (10), (11), (17), and (18) begin and end with the theme with Parker-improvised B sections. Titles: "Scrapple from the Apple" was suggested by Bruce Mitchell, an artist whose jazz scenes were appearing in Esquire publications at the time (Tony Williams, notes, Charlie Parker on Dial - The Complete Sessions [Spotlite SPJ-CD 4-101]). 4. My Old Flame (Arthur Johnston - Sam Coslow) [Dial matrix D 1114-A] Session takes: "My Old Flame" was composed for the movie musical BELLE OF THE NINETIES (1934) starring Mae West. The sole Dial take is a themeless rendering without a formal theme statement by the ensemble. Collation: (1) Mar.-Apr. 1947 (2) Nov. 1947 (3) Mar. 31, 1948 (4) July 6-11, 1948 (5) July 11, 1948

NYC Chicago NYC NYC NYC

150

The Dial Recordings of Charlie Parker (6) July 26, 1953

NYC

(2) and (6) were unissued, and (1) was unavailable for examination. (3), (4), and (5) are fragments from the Dean Benedetti recordings of Parker. (5) is a rendition with a guest vocalist.

5. Out of Nowhere (Johnny Green - Ed Heyman) [Dial matrices D 1115-A, -B, -C]

Session takes: According to Kinkle, the earliest appearance of this song on records was on a Columbia Records release by Smith Ballew in 1931. Three takes were required for a satisfactory master. The reason for retakes was perhaps not so much dissatisfaction of the performances, but rather the durations of the first two takes were too long to fit on one side of a ten-inch 78 rpm record. Parker's Dial performances are themeless without an introductory ensemble theme statement.

Collation:

1) Mar.-Apr. 1947 2) July 6-11, 1948 3 ) J u l y 7 , 1948 4) July 10, 1948 5) Autumn 1948 6) Dec. 18, 1948 7) May 8-9, 14-15, 1949 ;8)May 12, 1949 9) Feb. 14, 1950 10) Feb. 18, 1950 11) May 17, 1950 12) June 1950 13) July 5, 1950 14) Oct. 23, 1950 15) Apr. 21, 1951 16) June 1951 17) Summer 1952 18) Sept. 26, 1952 19) Oct. 17, 1952 20) Mar. 1953 21) Mar. 10, 1953 22)June 8-14, 1953 7 3 ) J u l y 2 6 , 1953 7 4 ) J a n . 18, 1954 25)Jan. 23,1954 76) Jan. 24, 1954

NYC NYC NYC, NYC, rehearsal NYC NYC Paris (2 perf.) Roubaix, France NYC NYC NYC NYC NYC, Granz Chicago Framingham MA Philadelphia LA NYC Washington Washington Boston Boston NYC Boston Boston Boston

(5), (17), and (22) were unissued, and (1), (16),( 18), (19), (20), and (21) were unavailable

Commentary - November 4, 1947

151

for this examination. (4) is a rehearsal recording from the Dean Benedetti collection, during which Potter and Roach experiment with rhythms during the chord changes. (13) is a studio recording with oboe and string section. The remaining performances examined were in a bop ensemble context, In these non-Dial performances, Parker performs at twice the rate of speed of the Dial matrices. Instead of the Dial pace of 70 beats per minute, Parker plays between 120 and 150 beats per minute. Since the number of unissued and unavailable performances constitute almost one-third of this large collation, examination of them would be crucial before making any conclusions of Parker's preferred manner of improvising a solo on these chords.

6. Don't Blame Me (Jimmy McHugh - Dorothy Fields) [Dial matrix D 1116-A] Session takes: Kinkle lists the earliest recording of this song in 1933, in a rendition by Leo Reisman. Parker treats this tune in the same manner as he does "My Old Flame" and "Out of Nowhere," without a thematic statement by the ensemble. One take sufficed for a satisfactory master.

Collation: (l)Feb. 12, 1945 (2) Nov. 8, 1947 (3) July 10, 1948 (4) Apr. 21, 1951 (5) June 23, 1951 (6) Sept. 26, 1952 (7) Dec. 14, 1952 (8) Feb. 5, 1953 (9) Feb. 22, 1953 (10) Sept. 22, 1953

NYC NYC NYC, rehearsal Boston Brooklyn NYC Boston Montreal Washington Boston

(4) and (5) were unissued, and (6) and (10) were unavailable for examination. In (1) and (2), Parker is in the ensemble but he does not solo. (3) is a rehearsal preserved in the Dean Benedetti recordings. The beginning of (7) is clearly based on the Dial performance, with Joe Gordon closely imitating Miles Davis' muted trumpet introduction. (8) is with a small ensemble, and (9) is with a large jazz orchestra.

Titles:

152

The Dial Recordings of Charlie Parker

This matrix was released on Dial LP904 as "Nowhere-C," a result of a matrix mixup with the third take of "Out of Nowhere" [D 111-5-C] recorded earlier in the session.

December 17,1947 1. Drifting on a Reed (Charlie Parker) [Dial matrices D 1151-B, -D, -E] Session takes: Five takes were required towards a satisfactory master, despite a rehearsal two days before. The format and solo order are the same on all surviving takes.

Collation: (l)Nov. 1947 (2)Jan. 1948 (3) Mar. 31, 1948 (4) July 6-11, 1948 (5) July 11, 1948 (6) Dec. 11, 1948 (7) Mar. 4, 1949 (8) Autumn 1949 (9) Nov. 1949 (10) 1949-50

Chicago Chicago NYC NYC NYC NYC NYC, CBS-TV NYC Chicago NYC, Diplomat

(1), (2) and (8) were unissued, and (8) was unavailable for examination. (4) may be this piece, but the theme choruses were not recorded. (3), (4) and (5) are incomplete fragments from the Benedetti recordings. (6) is the Royal Roost broadcast that uses Parker's preferred title, "Big Foot." (10) is an uncut version from the Diplomat Hotel.

Titles: Parker's preferred title for this piece was "Big Foot," as evidenced by the introduction

154

The Dial Recordings of Charlie Parker

for (5). As Schaap states about this piece in his notes for the Benedetti collection, "Drifting on a Reed" was used on "the original take sheets," "Air Conditioning" for copyrighting, and "Giant Swing" for the release of take B on Dial 1056. "Drifting on a Reed" was chosen as the title for all takes of D 1151 on the Spotlite reissue. 2. Quasimado (Charlie Parker) [Dial matrices D 1152-A,-B]

Session takes: The harmonic model is George and Ira Gershwin's "Embraceable You," composed for the Broadway musical GIRL CRAZY (1930). Unlike Parker's themeless performances of "Embraceable You" at the October 28, 1947 Dial session, "Quasimado" is paced at 144 beats per measure and is fitted with an ensemble theme. The whole theme is stated during the first chorus, and its second half only is used to end each take.

Collation: none. Titles: The spelling of "Quasimado" is taken from Parker's list of possible titles for Dial releases (see appendix 3). Many releases often spell the title as "Quasimodo," after Victor Hugo's hunchback bellringer of Notre Dame Cathedral. Whether Parker had that character in mind when spelling "Quasimado" remains in doubt, but nevertheless that particular spelling is used on the Spotlite reissue. 3. Charlie's Wig (Charlie Parker) [Dial matrices D 1153-B, -D, -E]

Session takes: "Charlie's Wig" is based on the chords of "When I Grow Too Old to Dream," composed by Sigmund Romberg and Oscar Hammerstein II for the movie musical THE NIGHT IS YOUNG (1935). The structure is a 32 measure ABCB chorus, an unusual form in Parker's, or in anyone else's, jazz repertory. The theme is played by the ensemble, except for the C section where Parker plays without Davis and Johnson. Preceding the theme is a short motto played by Parker, Davis and Johnson without the rhythm section. Five takes were required for a satisfactory master, most likely due to the difficulty of the piece. The chorus format and solo order remain constant throughout the surviving takes.

Commentary - December 17, 1947

155

Collation: none. Titles: Dial issued take D on Dial LP203 as "Bongo Bop," a title also used for Dial matrices D 1102 from the October 28, 1947 session. Otherwise "Charlie's Wig" was used on all other Dial issues of this piece. 4. Bongo Beep (Charlie Parker) [Dial matrices D 1154-B, -C]

Session takes: Like "Bongo Bop" [Dial D 1102], "Bongo Beep" is a 12 measure blues in C major. The presence of Johnson on trombone and the theme help to distinguish "Bongo Beep" from "Bongo Bop." Collation: none.

Titles: The title "Bongo Beep" was suggested by Billy Shaw, Parker's manager at the time of the session (Ross Russell, letter to the author, 13 March 1995). "Bongo Beep" is more often referred to as "Bird Feathers," and it was indeed issued under the latter title on Dial LP207. Take B was issued on Dial LP904 as "Dexterity." Thus, Dial never issued the D 1154 takes as "Bongo Beep" during its active years. Ross Russell spotted this error while compiling his inventory of Dial pressings in his possession (folder "Dial parts," box 6, Ross Russell Collection). Since "Bird Feathers" was already used for the B-flat blues theme on Dial matrix D 111 1-C, and "Dexterity" for the Dial matrices D 1101, "Bongo Beep" was adopted for the D 1154 takes despite its alliterative similarity to "Bongo Bop." As a result, the D 1154 takes were released as "Bongo Beep" for the first time on the Spotlite reissue.

5. Crazeology (Benny Harris) [Dial matrices D 1155-A, -B, -C, -D]

Session takes:

156

The Dial Recordings of Charlie Parker

"Crazelogy" is based on the chords of "I Got Rhythm" composed by George and Ira Gershwin for the Broadway musical GIRL CRAZY (1930). Harris' composition was first recorded by Clyde Hart and Harris himself during a Savoy Records session on December 19, 1944, and it was released as "Little Benny." Tony Williams, in his remarks for the reissue of this session on Spotlite 106, notes that this piece is also known as "Bud's Bubble" and "Ideology." Four takes were required for an acceptable master. Parker's solos from D 1155-A, -B and -C were later excerpted and released on a single side on Dial 1034, a ten-inch 78 rpm release. The C take was later issued complete on LP905, an album of alternate masters. The complete versions of takes A and B are lost and presumably destroyed. When the engineer was preparing the master take D 1155-D for issue, he accidentally fed the take into the pressing master twice, resulting in a time lag that produced a superimposed musical sound. An amused Ross Russell decided to release the defective result as a collector's item on Dial 1034. A properly processed issue of this take was later issued on Dial 1055 and Dial LP207. Theme formats and solo order appear unchanged among the takes in their present state. During the opening theme chorus, the ensemble plays the whole theme, while during the closing theme chorus Parker handles the B section without Davis and Johnson. Collation: (1) Apr. 21, 1951

Boston

(1) has remained unissued, if indeed it exists as stated by Koster and Bakker (no. 127). 6. How Deep Is the Ocean (Irving Berlin) [Dial matrices D 1156-A, -B] The earliest listing of this song in Kinkle is in 1932, on a Columbia label recording by Bing Crosby. The song's structure is ABAB', which is found also in "Ornithology" among Parker's Dial repertory. Parker treats this piece in the same manner as he does for the three ballads in the November 4, 1947 Dial session. He begins both takes himself, without an ensemble statement of the theme, adopting a tempo of seventy beats a minute. Considering the length of the first take (twenty-four seconds longer than the customary three minute duration for ten-inch 78 rpm issues), it is likely that a second, shorter take was recorded in case the first take could not be issued. Collation: (1) Sept. 20, 1947 NYC The sole surviving non-studio performance by Parker of this piece comes from an all-star radio broadcast hosted by Barry Ulanov. Parker and Dizzy Gillespie state the theme during the first chorus, yielding solo space to pianist Lennie Tristano and clarinetist John LaPorta.

LIST OF PERFORMANCE SOURCES WITH SIGLA This list collects the extant performances of Charlie Parker that use his Dial repertory. In turn, the performances come from a variety of sources: non-Dial studio sessions, radio broadcasts, private recordings made on location, and informal jam sessions. Entries on this list are cited in the preceding commentary. These entries are arranged in chronological order, then further distinguished from each other by location; a shortened form of the date and location of a given performance serves as its siglum in the commentary's citations. Individual personnel are listed only for ensembles of less than ten musicians. Recordings that Saks or Koster and Bakker list as unissued in their respective discographies are noted as such at the end of a given performance siglum entry. Annotations using the entry numbers of Saks's Charlie Parker Discography (Redwood, NY: Cadence Jazz Books, 1993) and Koster and Bakker's Charlie Parker 1940-1955 (Alphen aan den Rijn: Micrography, 1976) have been included for readers desiring additional discographical data. However, for the issued Dean Benedetti recordings of Parker's performances on March 113,1947, March 31 and July 6-11, 1948, Phil Schaap's numbered inventory of the Benedetti collection (booklet; Mosaic Records MD7-129) is used in place of the Saks and the Koster and Bakker discographies. As for Parker's Boston and Framingham performances, David Sunenblick's numerical list in his "Charlie Parker in Boston: Appearances/Discography" (booklet, Charlie Parker in Boston, 1952, Uptown UPCD 27.42, pp. 19-34) is referred to with Koster and Bakker.

1941/1942 Kansas City September 1941/1942. Kansas City, Missouri, Vic Damon Studios. Charlie Parker (alto saxophone), Efferge Ware (guitar), Little Phil Phillips (drums). [Saks:7] 1942 NYC 1942. New York City, Monroe's Uptown House. Charlie Parker (alto saxophone), Al Tinney (piano), Ebenezer Paul (bass), rest unknown. [Saks:8; KB:5] Feb. 1943 Chicago February 1943. Chicago, Savoy Hotel, Room 305, Robert Redcross recordings. Benny Harris

158

The Dial Recordings of Charlie Parker

(trumpet), Charlie Parker (tenor saxophone). [Saks: 15] Feb. 12,1945 NYC February 12,1945. New Yirk City, Savoy Ballroom, radio broadcast. Cootie Williams (trumpet), Charlie Parker (alto saxophone), Sam Taylor (tenor saxophone), Arnold Jarvis (piano), Carl Pruitt (bass), Sonny Payne (drums). [Saks; 19; KB: 11 ] Feb. 28,1945 NYC, Guild February 28,1945. New York City, Guild label recording session. John "Dizzy" Gillespie (trumpet), Charlie Parker (alto saxophone), Clyde Hart (piano), Remo Palmieri (guitar), "Slam" Stewart (bass), Cozy Cole (drums). [Saks:20; KB: 12] May 11,1945 NYC, Guild May 11,1945. New York City, Guild label recording session. John "Dizzy" Gillespie (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Curley Russell (bass), Sidney Catlett (drums), Sarah Vaughan (vocal). [Saks:21; KB: 13] Nov. 26,1945 NYC, Savoy November 26, 1945. New York City, WOR Studios, Savoy label recording session. Miles Davis (trumpet), John "Dizzy" Gillespie (trumpet, piano), Charlie Parker (alto saxophone), Argonne Thornton aka Sadik Hakim (piano), Curley Russell (bass), Max Roach (drums). [Saks:27; KB: 17] Dec. 29,1945 LA, AFRS December 29,1945. Los Angeles, AFRS Jubilee 163 (also AFRS 209). John "Dizzy" Gillespie (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Milt Jackson (vibraphone), Ray Brown (bass), Stan Levey (drums). [Saks:29; KB: 19] Feb.-Mar. 1946 LA February-March 1946. Los Angeles, Finale Club, radio broadcast. Miles Davis (trumpet), Charlie Parker (alto saxophone), Joe Albany (piano), Addison Farmer (bass), Chuck Thompson (drums). [Saks:37;KB:24] Mar.-Apr. 1946 LA, AFRS March-April 1946. Los Angeles, AFRS Jubilee 186. Charlie Parker (alto saxophone), Benny Carter (alto saxophone), Willie Smith (alto saxophone), Nat "King" Cole (piano), Oscar Moore (guitar), Johnny Miller (bass), Buddy Rich (drums). [Saks:39; KB:29] Feb. 1,1947 LA February 1, 1947. Los Angeles, residence of Chuck Kopely. Melvin Broiles (trumpet), Howard McGhee (trumpet), Shorty Rogers (trumpet), Charlie Parker (alto saxophone), Russ Freeman (piano), Arnold Fishkind (bass), Jimmy Pratt (drums). [Saks:41,42; KB:31; see "February 1, 1947" in the catalogue section of this book] Mar. 1,1947 LA March 1,1947. Los Angeles, Hi-De-Ho Club, Dean Benedetti recordings. Howard McGhee (trumpet), Charlie Parker (alto saxophone), Hampton Hawes (piano), Addison Farmer (bass), Roy Porter (drums), Earl Coleman or Danny Knight (vocal). [Schaap:2-40]

List of Performance Sources with Sigla

159

Mar. l o r 2 (or 4 or 5), 1947 LA March 1 or 2 (maybe 4 or 5), 1947. Los Angeles, Hi-De-Ho Club, Dean Benedetti recordings. Howard McGhee (trumpet), Charlie Parker (alto saxophone), Hampton Hawes (piano), Addison Farmer (bass), Roy Porter (drums), Earl Coleman or Danny Knight (vocal). [Schaap:41-62] Mar. 6,1947 LA March 6,1947. Los Angeles, Hi-De-Ho Club, Dean Benedetti recordings. Howard McGhee (trumpet), Charlie Parker (alto saxophone), Hampton Hawes (piano), Addison Farmer (bass), Roy Porter (drums), Earl Coleman or Danny Knight (vocal). [Schaap:63-81 ] Pre-Mar. 7,1947 LA March 7,1947 or earlier. Los Angeles, Hi-De-Ho Club, Dean Benedetti recordings. Howard McGhee (trumpet), Charlie Parker (alto saxophone), Hampton Hawes (piano), Addison Farmer (bass), Roy Porter (drums), unknown (guitar). [Schaap: 1,82-86] Mar. 7,1947 LA March 7,1947. Los Angeles, Hi-De-Ho Club, Dean Benedetti recordings. Howard McGhee (trumpet), Charlie Parker (alto saxophone), Hampton Hawes (piano), Addison Farmer (bass), Roy Porter (drums), Earl Coleman or Danny Knight (vocal). [Schaap: 87-112] Mar. 8,1947 LA March 8, 1947. Los Angeles, Hi-De-Ho Club, Dean Benedetti recordings. Howard McGhee (trumpet), Charlie Parker (alto saxophone), Hampton Hawes (piano), Addison Farmer (bass), Roy Porter (drums), Earl Coleman or Danny Knight (vocal). [Schaap: 113-136] Mar. 9,1947 LA March 9,1947. Los Angeles, Hi-De-Ho Club, Dean Benedetti recordings. Howard McGhee (trumpet), Charlie Parker (alto saxophone), Hampton Hawes (piano), Addison Farmer (bass), Roy Porter (drums), Earl Coleman or Danny Knight (vocal). [Schaap: 137-155] Mar. 11,1947 LA March 11,1947. Los Angeles, Hi-De-Ho Club, Dean Benedetti recordings. Howard McGhee (trumpet), Charlie Parker (alto saxophone), Hampton Hawes (piano), Addison Farmer (bass), Roy Porter (drums), Earl Coleman or Danny Knight (vocal). [Schaap: 156-170] Mar. 12,1947 LA March 12,1947. Los Angeles, Hi-De-Ho Club, Dean Benedetti recordings. Howard McGhee (trumpet), Charlie Parker (alto saxophone), Hampton Hawes (piano), Addison Farmer (bass), Roy Porter (drums), Earl Coleman or Danny Knight (vocal). [Schaap: 171 -196] Mar. 13,1947 LA March 13,1947. Los Angeles, Hi-De-Ho Club, Dean Benedetti recordings. Howard McGhee (trumpet), Charlie Parker (alto saxophone), Hampton Hawes (piano), Addison Farmer (bass), Roy Porter (drums), Earl Coleman or Danny Knight (vocal). [Schaap: 197-213] Mar.-Apr. 1947 NYC March-April 1947. New York City, Onyx Club. Charlie Parker (alto saxophone), others unknown. Listed in the 1989 edition of Saks (entry no. 60), but not included in the 1993 edition.

160

The Dial Recordings of Charlie Parker

Sept. 20,1947 NYC September 20, 1947. New York City, Mutual Studios, WOR radio broadcast. John "Dizzy" Gillespie (trumpet), John LaPorta (clarinet), Charlie Parker (alto saxophone), Lennie Tristano (piano), Billy Bauer (guitar), Ray Brown (bass), Max Roach (drums). [Saks:59; KB:39] Sept. 29,1947 NYC September 29,1947. New York City, Carnegie Hall, radio broadcast. John "Dizzy" Gillespie (trumpet), Charlie Parker (alto saxophone), John Lewis vpiano), Al McKibbon (bass), Joe Harris (drums). [Saks:60; KB:40] Nov. 8,1947 NYC November 8, 1947. New York City, Mutual Studios, WOR radio broadcast. Fats Navarro (trumpet), John LaPorta (clarinet), Charlie Parker (alto saxophone), Allen Eager (tenor saxophone), Lennie Tristano (piano), Billy Bauer (guitar), Tommy Potter (bass), Buddy Rich (drums), Sarah Vaughan (vocal). [Saks:63; KB:43] Nov. 1947 Chicago November 1947. Chicago, Argyle Lounge, private recording. Miles Davis (trumpet), Charlie Parker (alto saxophone), Duke Jordan (piano), Tommy Potter (bass), Max Roach (drums). [Saks:64,65,71,72,73; KB:45] Unissued. Note: Not all performances are accounted for in the commentary. 1947 Washington 1947. Washington, DC, Washington Music Hall, private recording. Unknown (trumpet), Earl Swope (trombone), Charlie Parker (alto saxophone), Nat Cole (piano), Al Haig (piano), unknown (bass), Buddy Rich (drums). [Saks:68] Unissued. Jan. 1948 Chicago January 1948. Chicago, New Savoy Ballroom, Don Lanphere recordings. Miles Davis (trumpet), Charlie Parker (alto saxophone), Duke Jordan (piano), Tommy Potter (bass), Max Roach (drums). [Saks:74; KB:45] Mar. 31,1948 NYC March 31, 1948. New York City, Three Deuces, Dean Benedetti recordings. Miles Davis (trumpet), Charlie Parker (alto saxophone), Duke Jordan (piano), Tommy Potter (bass), Max Roach (drums), Kenny Hagood (vocal). [Schaap:214-221] July 6-11,1948 NYC July 6-11,1948. New York City, Onyx Club, Dean Benedetti recordings. Miles Davis (trumpet), Charlie Parker (alto saxophone), Duke Jordan (piano), Tommy Potter (bass), Max Roach (drums). [Schaap:222-242] July 7,1948 NYC July 7,1948. New York City, Onyx Club, Dean Benedetti recordings. Miles Davis (trumpet), Charlie Parker (alto saxophone), Duke Jordan (piano), Tommy Potter (bass), Max Roach (drums). [Schaap:243-245] July 10,1948 NYC, rehearsal July 10, 1948. New York City, Onyx Club, afternoon rehearsal, Dean Benedetti recordings.

List of Performance Sources with Sigla

161

Miles Davis (trumpet), Charlie Parker (alto saxophone), Duke Jordan (piano), Tommy Potter (bass), Max Roach (drums). [Schaap:246-250] July 10,1948 NYC,perf. July 10,1948. New York City, Onyx Club, night performance, Dean Benedetti recordings. Miles Davis (trumpet), Charlie Parker (alto saxophone), unknown (tenor saxophone), Duke Jordan (piano), Tommy Potter (bass), Max Roach (drums), Carmen McRae (vocal). [Schaap: 251 -263] July 11,1948 NYC July 11,1948. New York City, Onyx Club, Dean Benedetti recordings. Miles Davis (trumpet), Charlie Parker (alto saxophone), Duke Jordan (piano), Thelonious Monk (piano), Tommy Potter (bass), Max Roach (drums), Kenny Hagood (vocal). [Schaap:264-278] Aug. 1948 Chicago August 1948. Chicago, Pershing Ballroom, private recording. Charlie Parker (alto saxophone), with the Dizzy Gillespie Big Band. [Saks:82; KB: 48A] Unissued. Sept. 4,1948 NYC September 4,1948. New York City, Royal Roost, radio broadcast. Miles Davis (trumpet), Charlie Parker (alto saxophone), Tadd Dameron (piano), Curley Russell (bass), Max Roach (drums). [Saks:83;KB:50] Autumn 1948 NYC Autumn 1948. New York City, Three Deuces. Miles Davis (trumpet), Charlie Parker (alto saxophone), Duke Jordan (piano), Tommy Potter (bass), Max Roach (drums). [KB:54,54A] Unissued. Oct.-Nov. 1948 Waukegan October-November 1948. Waukegan, Illinois, private recording on Wilcox-Gay 78 rpm discs. Charlie Parker (alto saxophone), rest unknown. [Saks:87; KB:v.3, p.23] Dec. 11,1948 NYC December 11,1948. New York City, Royal Roost, radio broadcast. Miles Davis (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Max Roach (drums). [Saks:88; KB:55] Dec. 18,1948 NYC December 18,1948. New York City, Royal Roost, radio broadcast. Miles Davis (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Max Roach (drums). [Saks:90;KB:57] 1948 West Coast 1948. West Coast. Personnel details unknown. [Saks:219, item 3] Jan. 1,1949 NYC January 1,1949. New York City, Royal Roost, radio broadcast. Kenny Dorham (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Joe Harris (drums). [Saks:94;KB:64]

162

The Dial Recordings of Charlie Parker

Jan. 15,1949 NYC January 15,1949. New York City, Royal Roost, radio broadcast. Kenny Dorham (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Joe Harris (drums). [Saks:96;KB:67] Jan. 22,1949 NYC January 22,1949. New York City, Royal Roost, radio broadcast. Kenny Dorham (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Max Roach (drums). [Saks:97;KB:68] Feb. 5,1949 NYC February 5,1949. New York City, Royal Roost, radio broadcast. Kenny Dorham (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Max Roach (drums). [Saks:99,KB:71] Feb. 12,1949 NYC February 12,1949. New York City, Royal Roost, radio broadcast. Kenny Dorham (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Max Roach (drums). [Saks: 100; KB :72] Feb. 19,1949 NYC February 19,1949. New York City, Royal Roost, radio broadcast. Kenny Dorham (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Max Roach (drums), [Saks: 101, KB: 73] Feb. 26,1949 NYC February 26,1949. New York City, Royal Roost, radio broadcast. Kenny Dorham (trumpet), Charlie Parker (alto saxophone), Eli "Lucky" Thompson (tenor saxophone), Milt Jackson (vibraphone), Al Haig (piano), Tommy Potter (bass), Max Roach (drums), Dave Lambert (vocal), Buddy Stewart (vocal). [Saks: 103; KB:74] Mar. 4,1949 NYC March 4,1949. New York City, CBS Television, "Adventures in Jazz" program. Miles Davis (tmmpet), Max Kaminsky (tmmpet), Kai Winding (trombone), Bill Bradley (trombone), Joe Marsala (clarinet), Charlie Parker (alto saxophone), Joe Sullivan (piano), Mike Caluccio (piano), Specs Powell (drums), Max Roach (drums), Ann Hathaway (vocals). [Saks: 105] May 8-15,1949 NYC May 8, 9, 14 and 15, 1949. Paris, Salle Pleyel, radio broadcasts and private recordings. Kenny Dorham (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Max Roach (drums). [Saks:110;KB:81] May 12,1949 Roubaix May 12,1949. Roubaix, France, Colisee Movie Theater. Kenny Dorham (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Max Roach (drums). [Saks: 111] Autumn 1949 NYC Autumn 1949. New York City, Three Deuces, radio broadcast. Roy Eldridge (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Max Roach (drums). [KB:85]

List of Performance Sources with Sigla

163

Unissued. Sept. 18,1949 NYC September 18,1949. New York City, Carnegie Hall, Jazz at the Philharmonic (JATP) concert. Roy Eldridge (trumpet), Tommy Turk (trombone), Charlie Parker (alto saxophone), Flip Phillips (tenor saxophone), Lester Young (tenor saxophone), Hank Jones (piano), Ray Brown (bass), Buddy Rich (dmms), Ella Fitzgerald (vocal). [Saks: 114; KB :84] Nov. 1949 Chicago November 1949. Chicago, Pershing Ballroom. Red Rodney (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Roy Haynes (drums). [Saks: 116; KB:86] Dec. 24,1949 NYC December 24,1949. New York City, Carnegie Hall, radio broadcast. Red Rodney (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Roy Haynes (drums). [Saks: 120; KB:88] 1949-50 NYC, Diplomat 1949-50. New York City, Diplomat Hotel. Miles Davis (trumpet), Charlie Parker (alto saxophone), unknown (piano), unknown (bass), Roy Haynes (drums). [Saks: 121; KB:90,91] Feb. 14,1950 NYC February 14,1950. New York City, Birdland. Red Rodney (trumpet), J. J. Johnson (trombone), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Roy Haynes (drums). [Saks: 122; KB:98] Feb. 18,1950 NYC February 18,1950. New York City, Saint Nicholas Arena, Joe Maini recordings. Red Rodney (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Tommy Potter (bass), Roy Haynes (drums). [Saks: 123; KB:99] Spring-Summer 1950 NYC Spring-Summer 1950. New York City, Cafe Society. Kenny Dorham (trumpet), Tony Scott (clarinet), Charlie Parker (alto saxophone), Brew Moore (tenor saxophone), Al Haig (piano), Tommy Potter (bass), Roy Haynes (drums). [Saks: 131; KB: 102] May 15,1950 NYC May 15,1950. New York City, Birdland. Fats Navarro (trumpet), Charlie Parker (alto saxophone), Walter Bishop (piano), Tommy Potter (bass), Roy Haynes (drums), Chubby Newsome or "Little" Jimmy Scott (vocal). [Saks: 128; KB: 106] May 17,1950 NYC May 17,1950. New York City, Birdland. Fats Navarro (trumpet), Charlie Parker (alto saxophone), Bud Powell (piano), Curley Russell (bass), Art Blakey (drums). [Saks: 127; KB: 106] June 1950 NYC June 1950. New York City, William Henry Apartments, residence of Don Lanphere and Joe Maini. Charlie Parker (alto saxophone), others. Incomplete performances. [Saks.T33; KB:92]

164

The Dial Recordings of Charlie Parker

July 5,1950 NYC, Granz July 5, 1950. New York City, Clef/Verve label recording session. Charlie Parker (alto saxophone), with strings. [Saks: 135; KB: 108] Oct. 23,1950 Chicago October 23,1950. Chicago, Pershing Ballroom. Charlie Parker (alto saxophone), Earl Lavon Freeman (tenor saxophone), Chris Anderson (piano), George Freeman (guitar), Leroy Jackson (bass), Bruz Freeman (drums), unknown (vocal). [Saks: 141,142; KB: 113] Nov. 22,1950 Malmo November 22, 1950. Malmo, Sweden, Amielon Dance Hall. Rolf Ericson (trumpet), Charlie Parker (alto saxophone), Gosta Theselius (piano), Thore Jederby (bass), Jack Noren (drums). [Saks: 145; KB: 116] Nov. 24,1950 Halsingborg, Folkets November 24, 1950. Folkets Park, Halsingborg, Sweden. Rolf Ericson (trumpet), Charlie Parker (alto saxophone), Gostan Theselius (piano), Thore Jederby (bass), Jack Noren (drums). [Saks:146;KB:116] Nov. 24,1950 Halsingborg November 24,1950. Restaurant, Halsingborg, Sweden. Rowland Greenberg (trumpet), Rolf Ericson (trumpet), Charlie Parker (alto saxophone), Gosta Theselius (tenor saxophone), Lennart Nilsson (piano, Folke Hoist (bass), Jack Noren (drums). [Saks: 147; KB: 117] Dec. 1950 NYC December 1950. New York City, Birdland, radio broadcast. Red Rodney (trumpet), Charlie Parker (alto saxophone), Kenny Drew (piano), Curley Russell (bass), Art Blakey (drums). [Saks:149;KB:119] Spring 1951 NYC Spring 1951. New York City, Birdland, radio broadcast. John "Dizzy" Gillespie (trumpet), Charlie Parker (alto saxophone), Billy Taylor (piano), Tommy Potter (bass), Roy Haynes (drums). [Saks:159;KB:129] Mar. 31,1951 NYC March 31,1951. New York City, Birdland, radio broadcast. John "Dizzy" Gillespie (trumpet), Charlie Parker (alto saxophone), Bud Powell (piano), Tommy Potter (bass), Roy Haynes (drums). [Saks: 155; KB: 124] Apr. 12,1951 Framingham April 12,1951. Framingham, Mass., Christy's Restaurant. Howard McGhee (trumpet), Charlie Parker (alto saxophone), Bill Wellington (alto saxophone), Wardell Gray (tenor saxophone), Nat Pierce (piano), Jack Lawler (bass), Joe McDonald (drums). [Saks: 157; KB: 126; Sunenblick:8] Apr. 21,1951 Framingham April 21,1951. Framingham, Mass., Christy's Restaurant. Charlie Parker (alto saxophone); remainder unknown but possibly Don Stratton (trumpet), Nat Pierce (piano), Ray Shane (bass), Bob Shurtleff (drums). [Saks: 158; KB: 127,137; Sunenblick:"Comment" following no. 17] Unissued.

List of Performance Sources with Sigla

165

June 1951 Philadelphia June 1951. Philadelphia, Veterans Adminstration Hospital. Benny Harris (trumpet), Charlie Parker (alto saxophone), unknown (tenor saxophone), Walter Bishop (piano), Tommy Potter (bass), Roy Haynes (drums), Sarah Vaughan (vocal). [Saks: 161 ] Unissued. June 23,1951 Brooklyn June 23,1951. Brooklyn, Eastern Parkway. Unknown (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Teddy Kotick (bass), Roy Haynes (drums). [Saks: 160; KB: 130] Unissued. Aug. 8,1951 NYC,Granz/Clef August 8,1951. New York City, Clef label recording session. Red Rodney (trumpet), Charlie Parker (alto saxophone), John Lewis (piano), Ray Brown (bass), Kenny Clarke (drums). [Saks: 164; KB:132] Mar. 25,1952 Jamaica, NY March 25,1952. Jamaica, N.Y, Loew's Valencia Theatre. Bill Harris (trombone), Buddy DeFranco (clarinet), Charlie Parker (alto saxophone), Dick Cary (piano), Eddie Safranski (bass), Don Lamond (drums). [Saks: 169] Mar. or Apr. 18,1952 Brooklyn March or April 18,1952. Brooklyn, Loew's King Theater. Charlie Parker (alto saxophone), Teddy Wilson (piano), Eddie Safranski (bass), Don Lamond (drums). [Saks: 170; KB:89] July 1952 Altadena July 8,14 and 28,1952. Zorathian's ranch, Altadena, California. Charlie Parker (alto saxophone), Frank Morgan (alto saxophone), Don Wilkerson (tenor saxophone), Amos Trice (piano), Dave Bryant (bass), Lawrence Marable (drums). [Saks: 173] Summer 1952 LA Summer 1952. Los Angeles, private apartment. Charlie Parker (alto saxophone), other personnel unknown. [Saks: 171] Unissued. Sept. 20,1952 NYC September 20,1952. New York City, Birdland, radio broadcast. Charlie Parker (alto saxophone), Duke Jordan (piano), Charles Mingus (bass), Phil Brown (drums). [Saks: 174; KB: 140] Sept. 26,1952 NYC September 26, 1952. New York City, Rockland Palace. Charlie Parker (alto saxophone), unknown oboe and string section, Mundell Lowe (guitar), Walter Bishop (piano), Teddy Kotick (bass), Max Roach (drums). [Saks: 175; KB: 141 ] Oct. 17,1952 Washington October 17,1952. Washington, D.C., Howard Theater. Charlie Parker (alto saxophone), Zoot Sims (tenor saxophone), Earl Swope (trombone), George Swope (trombone), Charlie Byrd (guitar), Morton Oliver (bass), Don Lamond (drums), other personnel unknown (trumpet, piano, bongoes). [Saks: 176]

166

The Dial Recordings of Charlie Parker

Nov. 1,1952 NYC November 1, 1952. New York City, Birdland, radio broadcast. Charlie Parker (alto saxophone), Milt Jackson (vibraphone), John Lewis (piano), Percy Heath (bass), Kenny Clarke (drums). [Saks: 177; KB: 142] Nov. 15,1952 NYC November 15,1952. New York City, Carnegie Hall, radio broadcast. John "Dizzy" Gillespie (trumpet), Charlie Parker (alto saxophone), Teddy Blume (violin), Walter Bishop (piano), Walter Yost (bass), Roy Haynes (drums), unknown oboe and string section. [Saks: 179; KB: 144] Dec. 14,1952 Boston December 14,1952. Boston, Hi-Hat Club, radio broadcast. Joe Gordon (trumpet), Charlie Parker (alto saxophone), DickTwardzik (piano), Charles Mingus (bass), Roy Haynes (drums). Not listed in Saks or KB. Issued on Charlie Parker, Boston, 1952, Uptown UPCD 27.42. [Sunenblick:ll] Jan. 30,1953 NYC, Prestige January 30,1953. New York City, Prestige label recording session, Miles Davis (trumpet), Charlie Parker (tenor saxophone), Sonny Rollins (tenor saxophone), Walter Bishop (piano), Percy Heath (bass), Philly Joe Jones (drums). [Saks: 182; KB: 146] Feb. 5,1953 Montreal February 5,1953. Montreal, Canada, CBC-TV broadcast, "Jazz Workshop" program. Charlie Parker (alto saxophone), Brew Moore (tenor saxophone), Paul Bley (piano), Dick Garcia (guitar), Neil Michaud (bass), Ted Paskert (drums). [Saks: 183; KB: 146A] Feb. 7,1953 Montreal February 7, 1953. Montreal, Canada, Chez Paree. Charlie Parker (alto saxophone), Valdo Williams (piano), Steep Wade (piano), Dick Garcia (guitar), Hal Gay lor (bass), Bob Rudd (bass), Billy Graham (drums), Bobby Mallot (drums). [Saks: 184; KB: 146B] Feb. 22,1953 Washington February 22,1953. Washington, D.C., Club Kavakos. Charlie Parker (alto saxophone), with "The Orchestra" (Joe Timer, director). [Saks: 186] Mar. 1953 Washington March 1953. Washington, D.C., Howard Theater. Charlie Parker (alto saxophone), other personnel unknown. [Saks: 191] Mar. 10,1953 Boston March 10,1953. Boston, Storyville Club. Charlie Parker (alto saxophone), Red Garland (piano), Bernie Griggs (bass), Roy Haynes (drums). [Saks: 188] Mar. 30,1953 NYC March 30,1953. New York City, Bandbox, radio broadcast. Charlie Parker (alto saxophone), Walter Bishop (piano), Kenny O'Brien (bass), Roy Haynes (dmms). [Saks: 190; KB: 149] May 9,1953 NYC May 9, 1953. New York City, Birdland, radio broadcast. Charlie Parker (alto saxophone),

List of Performance Sources with Sigla

167

John Lewis (piano), Curley Russell (bass), Kenny Clarke (drums), Candido (conga). [Saks: 192; KB:150] May 15,1953 Toronto May 15,1953. Toronto, Canada, Massey Hall. John "Dizzy" Gillespie (trumpet), Charlie Parker (alto saxophone), Bud Powell (piano), Charles Mingus (bass), Max Roach (dmms). [Saks: 193; KB: 151 ] May 22,1953 NYC May 22,1953. New York City, Birdland. Charlie Parker (alto saxophone), Bud Powell (piano), Charles Mingus (bass), Art Taylor (drums). [Saks: 194] Unissued. May 30,1953 NYC May 30,1953. New York City, Birdland, radio broadcast. Charlie Parker (alto saxophone), Bud Powell (piano), Charles Mingus (bass), Art Taylor (dmms), Candido (conga). [Saks: 196; KB: 153] June 8-14,1953 Boston June 8-14,1953. Boston, Hi-Hat Club, two radio broadcasts (one on June 14,1953, the other with no specific date). Herb Pomeroy (trumpet), Charlie Parker (alto saxophone), Dean Earl (piano), Bernie Griggs (bass), Bill Grant (drums). [Saks: 199,200; KB: 156; Sunenblick: 13A, 13B] As Sunenblick points out, two tracks on Phoenix LP 12 that Saks (no.200) dates from this time come from Parker's January 24,1954 radio broadcast (cited below). July 26,1953 NYC July 26, 1953. New York City, Open Door. Benny Harris (trumpet), Charlie Parker (alto saxophone), Al Haig (piano), Bud Powell (piano), Charles Mingus (bass), Art Taylor (drums). [Saks:206] Unissued. July 30,1953 NYC, Granz July 30,1953. New York City, Clef/Verve label recording session. Charlie Parker (alto saxophone), Al Haig (piano), Percy Heath (bass), Max Roach (drums). [Saks:207: KB: 155] Summer 1953 NYC Summer 1953. New York City. Charlie Parker (alto saxophone), Sonny Stitt (alto saxophone), Hank Mobley (tenor saxophone), unknown (piano), George Duvivier (bass), Max Roach (drums). [Saks:205] Unissued. Sept. 22,1953 Boston September 22,1953. Boston, Storyville Club. Herb Pomeroy (trumpet), Charlie Parker (alto saxophone), Sir Charles Thompson (piano), Jimmy Woode (bass), Kenny Clarke (drums). [Saks:208] Nov. 5,1953 Eugene November 5,1953. Eugene, Oregon, University of Oregon. Chet Baker (trumpet), Charlie Parker (alto saxophone), Jimmy Rowles (piano), Carson Smith (bass), Shelly Manne (dmms). [Saks:209] Jan. 1954 Boston January 1954. Boston, Hi-Hat Club, radio broadcast. Herbie Williams (tmmpet), Charlie Parker (alto saxophone), Roland Griffith (piano), Jimmy Woode (bass), Marquis Foster (drums). [Saks:210; Sunenblick: 15B]

168

The Dial Recordings of Charlie Parker

Jan. 18,1954 Boston January 18,1954. Boston, Hi-Hat Club. Herbie Williams (trumpet), Charlie Parker (alto saxophone), Rollins Griffith (piano), Jimmy Woode (bass), Marquis Foster (dmms). [Saks:211; KB: 161; Sunenblick: 15 A] Jan. 23,1954 Boston January 23,1954. Boston, Hi-Hat Club, radio broadcast. Herbie Williams (trumpet), Charlie Parker (alto saxophone), Jay Migliori (tenor saxophone), Rollins Griffith (piano), Jimmy Woode (bass), George Solano (drums). [Saks:212; KB: 162; Sunenblick: 15C] Jan. 24,1954 Boston January 24,1954. Boston, Hi-Hat Club, radio broadcast. Herbie Williams (trumpet), Charlie Parker (alto saxophone), Rollins Griffith (piano), Jimmy Woode (bass), Marquis Foster (dmms). [Sunenblick: 15 D] Feb. 25,1954 Portland February 25,1954. Portland, Oregon, Civic Auditorium. Charlie Parker (alto saxophone), with the Stan Kenton Orchestra. [Saks:213; KB:163] Sept. 25,1954 NYC September 25,1954. New York City, Carnegie Hall. Charlie Parker (alto saxophone), John Lewis (piano), Percy Heath (bass), Kenny Clarke (drums). [Saks:216; KB: 167]

APPENDIX 1: DIAL ISSUES OF CHARLIE PARKER The Dial releases of its Charlie Parker recordings are listed below according to the formats in which they were issued. Titles are spelled as printed on the Dial labels. A and B side designations, when known, are presented accordingly. Multiple couplings on the same 78 rpm label number are noted, but there is not enough information at this time to associate a specific coupling with an early or late pressing. The matrix numbers of the performances issued with these titles and mistitles appear in square brackets. Performances without Parker present are marked with an asterisk (*). Details and evaluation of Parker's issues on Dial may be found in the section "Titles and Couplings" in the historical narrative. The author thanks Tony Williams of Spotlite Records for sharing his discographical notes in Spring 1995 towards this appendix. 1000 series, 78 rpm 1002 A B

A Night in Tunisia Ornithology

[D 1013-5] [D 1012-4]

1003 A B

'Round About Midnight Yardbird Suite or Moose the Mooche Yardbird Suite

[D 1005-A] * [D 1011-4]

Moose the Mooche Diggin' Diz or Moose the Mooche When I Grow Too Old To or Confirmation Diggin' Diz

[D 1010-2] [D 1000]

Curbstone Scuffle Bird Lore

[D1031-G]* [D 1012-3]

A B 1004 A B A B A B 1006 A B

[D 1010-2] [D 1011-4]

[D 1010-2] [D 1004-B]* [D 1001-E] * [D 1000]

170

Appendix 1: Dial Issues of Charlie Parker

1006 A B

or Curbstone Scuffle Bird Lore

[D 1031-G]* [D 1033-C]*

1007 A B

Be-bop Lover Man

[D 1024-A] [D 1022-A]

1008 A B

Confirmation Dial-ogue or Confirmation When I Grow Too Old to Dream

[D 1001-E] * [D 1035-C] *

1012 A B

Relaxin' at Camarillo Blue Serge

[D 1071-C] [D 1035-A or C]*

1013 A B

Cheers Carving the Bird or Cheers Carving the Bird

[D 1072-D] [D 1073-A]

1014 A B

Bird's Nest Dark Shadows

[D 1053-A] [D 1052-C]

A B

or Bird's Nest Dark Shadows

[D 1053-B] [D 1052-C]

A B

A B

[D 1001-E] * [D 1004-B or E] *

[D 1072-D] [D 1073-B]

[D 1051-C] [D 1054-A]

A B

This Is Always Blowtop Blues or Quasimado Cool Blues or Quasimado Bird's Nest

1019 A B

Dewey Square This Is Always

[D1103-C] [D 1051-C]

1021 A B

The Gypsy Bird's Nest Soup or Scrapple from the Apple Don't Blame Me

[D 1023-A] [D 1053-C]

Stupendous Bikini or Stupendous

[D 1074-A] [D 1087-A] *

1015 A B A B

A B 1022 A B A

[D1152-B] [D 1054-C] [D1152-B] [D 1053-C]

[D1113-C] [D 1116-A]

[D 1074-A]

171

Appendix 1: Dial Issues of Charlie Parker B

Blue Serge

[D 1035-A]*

Embraceable You Bongo Bop or Embraceable You Bongo Bop

[D 1106-A] [D 1102-A] [D1106-B] [D 1102-A]

1030 A B

Relaxin' at Camarillo Stupendous

[D 1071-A] [D 1074-A]

1032 A B

Bird of Paradise Dexterity or Bird of Paradise Dexterity or Bird of Paradise Dexterity

[D 1105-A] [D 1101-B]

Crazeology Crazeology II or Crazeology II The Chase

[D1155-DDD] [D1155-ABX]

1035 A B

Congo Blues Get Happy

[Comet Tll-B] [Comet T9-B]

1040 A B

Klactoveesedsteen Charlie's Wig

[D 1112-A] [D 1153-E]

1043 A B

Drifting on a Reed The Gypsy

[D 1043-E] [D 1023-A]

1045 A B

Bird's Blues Sing Hallelujah!

[Comet T10- A] [Comet T8-E]

1055 A B

Crazeology How Deep Is the Ocean

[D 1155-D] [D1156-A]

1056 A B

The Hymn Giant Swing or Superman Prezology or The Hymn Air Conditioning

[D 1104-A] [D1151-B]

1024 A B A B

A B A B 1034 A B A B

A B A B

[D1105-B] [D 1101-B] [D 1105-C] [D 1101-B]

[D 1155-ABX] [6758]*

[D1104-B] [D 1103-A] [D 1104-B] [D1151-A]

172

Appendix 1: Dial Issues of Charlie Parker

1058 A B

Bird Feathers My Old Flame

[D 1111-C] [D 1114-A]

1059 A B

Out of Nowhere Bongo Beep

[D 1115-1 [D1154-]

Paper labels for 1059 in folder "Labels-10" 78 rpm jazz: 1000 series, 750 series, box 6, Ross Russell Collection. According to Tony Williams (notes, Charlie Parker, Charlie Parker on Dial), Dial 1059 was left unissued when Ross Russell decided to cease 78 rpm Dial releases in order to prepare 33 1/3 rpm microgroove albums.

78 rpm albums [unnumbered] CHARLIE PARKER SEPTET WITH GABRIEL ON TRUMPET. 4 discs, 1946. Collects four Dial releases into one package, in these couplings: 1002 A B

A Night in Tunisia Ornithology

[D 1013-5] [D 1012-4]

1003 A B

'Round About Midnight Yardbird Suite

[D 1005-A]* [D 1011-4]

1004 A B

Moose The Mooche When I Grow Too Old To

[D 1010-2] [D 1004-B]*

1005 A B

Diggin' For Diz Trumpet at Tempo

[D 1002-E]* [D 1025-B]*

D-l

BEBOP JAZZ 1947. 3 discs, 1946.

1006 A B

Curbstone Scuffle Bird Lore

[D 1031-G]* [D 1012-3]

1007 A B

Be-bop Lover Man

[D 1024-A] [D 1022-A]

1008 A B

Confirmation When I Grow Too Old to Dream

[D 1001-E]* [D 1004-B]*

D-2

BEBOP JAZZ 1948. 3 discs, 1948.

1020 A B

Nocturne Thermodynamics

[D 1032-D] * [D 1026-C]*

173

Appendix 1: Dial Issues of Charlie Parker 1021 A B

Scrapple from the Apple Don't Blame Me

[D1113-C] [D1116-A]

1022 A B

Stupendous Bikini

[D 1074-A] [D 1087-A]*

200 series. 10" 33 1/3 rpm LP201

CHARLIE PARKER, VOLUME ONE

A

Moose the Mooche Yardbird Suite Ornithology A Night in Tunisia

[D 1010-1 ] [D 1011-1] [D 1012-4] [D 1013-4]

B

Lover Man Bebop The Gypsy Max Making Wax

[D 1022-A] [D 1024-A] [D 1023-A] [D 1021 -A]

LP202

CHARLIE PARKER, VOLUME TWO

A

Relaxing at Camarillo Cheers Carving the Bird Stupendous

[D 1071-E] [D 1072-A] [D 1073-B] [D 1074-B]

B

Cool Blues Dark Shadows Hot Blues This Is Always Bird's Nest

[D 1054-C] [D 1052-A] [D 1054-A] [D1051-D] [D 1053-C]

LP203

CHARLIE PARKER, VOLUME THREE

A

Don't Blame Me Dexterity Bird of Paradise Bongo Bop

[D 1116-A] [D 1101-A] [D 1105-B] [D 1153-D]

B

Embraceable You

[D 1106-A]

Appendix 1: Dial Issues of Charlie Parker

174

Dewey Square Quasimado Scrapple from Apple

[D 1103-B] [D 1152-A] [D 1113-B]

LP207

CHARLIE PARKER, VOLUME FOUR

A

My Old Flame Air Conditioning Crazeology Bird Feathers

[D 1114-A] [D 1151 -E] [D 1155-D] [D 1154-C]

B

Out of Nowhere Bongobeep Bird Feathers Klactoveesedsteene

[D 1115-A] [D 1000] [D 111 1-C] [D 1112-A]

LP208

DODO MARMAROSA TRIO Ornithology

[D 1012-1]

This particular take from Parker's March 28, 1946 Dial session is the one with Marmarosa taking the first solo.

LP210

WOODY HERMAN WOODCHOPPERS Prezology

[D 1103-A]

Issued with masters from Dial sessions led by Sonny Berman and Dexter Gordon.

LP211

MR. SAXOPHONE How Deep Is the Ocean

[D 1156-B]

Issued with masters from Dial sessions led by Dexter Gordon Wardell Gray and Teddy Edwards.

LP212

DIZZY GILLESPIE AND MODERN TRUMPETS Confirmation Superman

[D 1001 -E] * [D 1104-B]

175

Appendix 1: Dial Issues of Charlie Parker "Superman" issued under Miles Davis' name. Includes masters from Dial Dizzy Gillespie (see Appendix 4), Howard McGhee, and Fats Navarro.

900 series. 12" 33 1/3 rpm LP901

BIRD BLOWS THE BLUES

A

Relaxing at Camarillo Carving the Bird Dark Shadows Blowtop Blues Bongobop Cool Blues

[D 1071-A] [D 1073-B] [D 1052-B] [D 1054-A] [D 1102-A] [D 1054-C]

B

Relaxing at Camarillo Carving the Bird Dark Shadows Blowtop Blues Bongobop Cool Blues

[D 1071-DandE] [D 1073-A] [D 1052-A] [D 1054-B] [D 1102-B] [D 1054-D]

Dial LP901 also numbered as Dial LPl.

LP903

RED NORVO'S FABULOUS JAM SESSION

A

Hallelujah Get Happy Slam Slam Blues Congo Blues

[Comet T8-F] [Comet T9-D] [Comet T10-B] [Comet Tll-C]

B

Hallelujah Get Happy Slam Slam Blues Congo Blues Congo Blues Congo Blues

[Comet T8-A] [Comet T9-B] [Comet T10-A] [Comet Til-AA] [Comet Tll-BB] [Comet Til-A]

LP 904

CHARLIE PARKER, UNRELEASED MASTERS

A

Nowhere How Deep

[D 1115-B] [D 1156-A]

176

Appendix 1: Dial Issues of Charlie Parker Quasimado Bird of Paradise Embraceable Charlie's Wig

[D 1152-B] [D 1105-A] [D1106-B] [D1153-E]

B

Nowhere-C Bird of Paradise Drifting on a Reed Klactoveedsedstene Scrapple Dexterity The Hymn

[D 1116-A] [D1105-C] [D 1151-D] [D1112-B] [D1113-C] [D1154-B] [D 1104-A]

LP905

CHARLIE PARKER, UNRELEASED MASTERS, VOLUME TWO

A

Ornithology (Bird Lore) Yardbird Suite Moose the Mooche A Night in Tunisia The Famous Alto Break This Is Always Bird's Nest Bird's Nest

[D [D [D [D [D [D [D [D

B

Drifting on a Reed Charlie's Wig Crazeology Dexterity Dewey Square Home Cooking I Home Cooking II [Home Cooking III]

[D 1151-B] [D1153-B] [ D l 155-C] [D 1101-B] [D 1103-C] [Kopely 905] [Kopely 904] [Kopely 903]

1012-3] 1011-4] 1010-2] 1013-5] 1013-1] 1051-C] 1053-A] 1053-B]

Title for "Home Cooking III" was omitted on the Dial LP905 label.

APPENDIX 2: TITLES SUGGESTED BY TEMPO MUSIC SHOP CUSTOMERS The following titles for Dial releases of Parker's music were taken down by Ross Russell at Tempo Music Shop in 1946 and 1947 from customers' suggestions. From this list, only "Superman" was used for a Parker performance, namely the second take of "The Hymn" [Dial D 1104-B] released under Miles Davis' name on Dial LP212. However, "Chromatic Aberration" and "Dialated Pupils" turned up on Howard McGhee releases. "Bikini Blues, All Men Are Cremated Equal," referring to the atomic bomb tests on Bikini Atoll, was shortened suggestively to "Bikini Blues" for a nevertheless explosive performance by Dexter Gordon. This memorandum "Titles for unnamed Parker original compositions suggested by Tempo customers 1946-47" may be found in folder "Tempo Music," box 4, Ross Russell Collection, Harry Ransom Humanities Research Center, University of Texas at Austin. Great Big Bulging Eyes Sail Chromatic Aberration Roast Leg of Child Iggin' Igor Stravinsky March of the Dodoes Bikini Blues, All Men Are Cremated Equal Orgy Impromptu Pagin' Dr. Freud Bird Flies Again Dallying with Dali Dialated Pupils

Saliva Rig 14 Opus 3 AM Occupational Therapy When the Birds Come Back to Camarillo Gilded Cage Straight Jacket Jump Similes The Roach Flash Gordon Superman Flight

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APPENDIX 3: TITLES SUGGESTED BY CHARLIE PARKER On two occasions Parker gave possible titles on Dial releases to Ross Russell. On one occasion, Parker wrote "Klact-oveeseds-tene" on the back of a Three Deuces club minimum charge card. On the other, Parker sent a list through his agent. That list was kept in the Dial business files as a typewritten memorandum titled "Suggested by Charlie Parker June 8 1948 and relayed to Dial by Billy Shaw." Parker's suggestions are as following: Number One #53 Temesa Esme Quasimado Gelt Herrbleerdeskowden Attwaterdevone The Hymn Klactoveesedsteen Parker did not indicate certain titles for specific recorded performances. "Quasimado" and "The Hymn" were selected for Parker issues on Dial. Being in Parker's own hand, the club charge card spelling of "Klact-oveeseds-tene" was preferred over the nonhypenated version for the Spotlite reissue in 1970. Both the charge card and the list are now kept in the Ross Russell Collection, Harry Ransom Humanities Research Center, University of Texas at Austin.

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APPENDIX 4: THE DIZZY GILLESPIE DIAL SESSION Discussing this session with regard to Charlie Parker may seem irrelevant, as he was absent (see the historical narrative). Had Parker been at Electro Broadcasting Studios that night, he would have been a sideman to Dizzy Gillespie, performing Gillespie's selections from the band's set lists. Yet many of the pieces recorded that night were mainstays in Parker's own career repertory, especially "Dynamo" ("Dizzy Atmosphere"). Following is a catalogue with commentary of the February 6, 1946, Dizzy Gillespie Dial session. The performance collations have been drawn from Parker's career discography, and additional comments are included to reflect Parker's use of this repertory. The collations and record issues are cited with the respective sigla given previously in this book. In no way should the minimal remarks on Gillespie be taken as a critical reflection. Dizzy Gillespie's innovations and talents as trumpet improviser, arranger, and bandleader are shown in abundance in this session. His sidemen, especially Lucky Thompson, Al Haig, and Milt Jackson, provide some excellent solos despite the chaotic studio conditions.

182

Appendix 4: The Dizzy Gillespie Dial Session

February 6,1946 Electro Broadcasting Studios, Glendale, California Personnel: DIZZY GILLESPIE JAZZMEN (TEMPO JAZZMEN) John Birks "Dizzy" Gillespie, trumpet Eli "Lucky" Thompson, tenor saxophone Milton Jackson, vibraphone Allan Haig, piano Raymond Brown, bass Stan Levey, drums

Systematic reissue: Spotlite SPJ 132, Tempo Jazzmen/Hermanites, Confirmation, LP, [1981]; Spotlite SPJ-CD 132, Gillespie/Berman/Navarro on Dial: All Existing Takes, CD, 1997. 1. Confirmation (Charlie Parker): 32 measure AABA chorus; key of F, 4/4 meter. a. D 1001-A; unissued, presumed lost. b. D 1001-B; unissued, presumed lost. c. D 1001-C; unissued, presumed lost. d. D 1001-D; unissued, presumed lost. e. D 1001-E; J=ca.l65; 2:53 Choruses: Introduction (12 mm.) and theme; Jackson (AA), Thompson (BA); Gillespie; Haig (B), theme (A). Spotlite reissue: Spotlite SPJ 132, side 1, track 1; Spotlite SPJ-CD 132, track 2. Issues: Dial 1004, Dial 1008, Dial D-l, Dial LP212 Baronet B105, Blue Star 60, CED-Explosive 52013, Concert Hall BJ1204, Cupol 4318, Eros ERO 8005, Esquire 10-040, Jazztone J1204, Kings of Jazz KLJ20007, Saga ERO 8005, Sagapan 6907, Smithsonian R004, Sonet SXP2822, Spotlite SPJ132 Transcription: Charlie Parker Bebop, pp. 2-3 (Gillespie solo)

2. Diggin' For Diz (George Handy): 64 measure AABA chorus, based on the chords of "Lover" (Richard Rodgers - Lorenz Hart); key of C, 4/4 meter. a. D 1002-A; unissued, presumed lost.

Appendix 4: The Dizzy Gillespie Dial Session

183

b. D 1002-B; unissued, presumed lost. c. D 1002-C; unissued, presumed lost. d. D 1002-D; unissued, presumed lost. e. D 1002-E; J =ca.210; 2:48 Choruses: Levey drum introduction (4 mm.), theme (AA), Thompson (B), Jackson (A); Gillespie (AA), Haig (B), theme (A). Spotlite reissue: Spotlite SPJ 132, side 1, track 2; Spotlite SPJ-CD 132, track 3 Issues: Dial 1005, Dial LP212 Baronet B105, Blue Star 60, Cupol 4318, Eros ERO 8005, Esquire 10-040, Jazztone J1204, Saga ERO 8005, Sagapan 6907, Smithsonian R004, Sonet SXP2822, Spotlite SPJ132

3. Dynamo (John Birks "Dizzy" Gillespie): 32 measure AABA chorus, based on the chords of "I Got Rhythm" (George Gershwin - Ira Gershwin) with the B section substituted; key of A-flat, 4/4 meter. a. D1003-A;J=ca.310;2:58 Choruses: Introduction (24 mm.) and theme; Thompson; Jackson; Gillespie; Haig; Gillespie and Thompson unison (AAB), theme (A); coda (16 mm.). Spotlite reissue: Spotlite SPJ 132, side 1, track 6; Spotlite SPJ-CD 132, track 4. Issues: Dial 1001, Dial LP212 Baronet B105, CED-Explosive 52013, Concert Hall BJ1204, Jazztone J1204, Kings of Jazz KLJ20007, Smithsonian R004, Sonet SXP2822, Spotlite SPJ 132, Swing 383, Vogue LD058, Vogue LDE006 Note: Titled "Dynamo A" on all issues except Baronet B105, and Jazztone J1204, which use "Dynamo." b. D 1003-B;J=ca.310;2:55 Choruses: Introduction (24 mm.) and theme; Thompson; Jackson; Gillespie; Haig; Gillespie and Thompson unison (AAB), theme (A); coda (16 mm.). Spotlite reissue: Spotlite SPJ132, side 1, track 3; Spotlite SPJ-CD 132, track 5. Issues: Dial 1001, Dial LP212 Spotlite SPJ 132, Swing 383, Vogue LD058, Vogue LDE006

184

Appendix 4: The Dizzy Gillespie Dial Session Note: Titled as "Dynamo B" on all issues, except for some variant pressings of Dial 1001.

4. When I Grow Too Old to Dream (Sigmund Romberg - Oscar Hammerstein II): 32 measure ABCB chorus; key of B-flat, 4/4 meter. a. D 1004-A; unissued, presumed lost (although some discographers cite it as having been issued on Dial 1008). b. D 1004-B; unissued, presumed lost (although some discographers cite it as having been issued on Dial 1008). c. D 1004-C; unissued, presumed lost. d. D 1004-D; unissued, presumed lost. e. D 1004-E;J=ca. 135; 2:51 Choruses: Introduction (4 mm.) and theme; ensemble vocal; Thompson (AB), Gillespie (C), ensemble theme (B). Spotlite reissue: Spotlite SPJ 132, side 1, track 4; Spotlite SPJ-CD 132, track 6. Issues: Dial 1004, Dial 1008, Dial D-l Baronet B105, CED-Explosive 52013, Concert Hall BJ1204, Eros ERO 8005, Jazztone Jl 204, Kings of Jazz KLJ20007, Saga ERO 8005, Sagapan 6907, Spotlite SPJ132 Note: Titled "When I Grow Too Old To" on Dial 1004. 5. 'Round About Midnight (Thelonious Monk - Charles "Cootie" Williams - Bernie Hanighen): 32 measure AABA chorus; key of E-flat minor, 4/4 meter. a. D 1005-A; J =ca.70; 2:46 Choruses: Gillespie introduction (8 mm.) and ensemble theme (A), Jackson (A), Thompson (B), Haig (A); Gillespie (A). Spotlite reissue: Spotlite SPJ132, side 1, track 7; Spotlite SPJ-CD 132, track 7. Issues: Dial 1001, Dial 1003, Dial LP212 Baronet B105, Blue Star 106, CED-Explosive 52013, Concert Hall BJ1204, Esquire 10-028, Jazztone J1204, Kings of Jazz KLJ20007, Sonet SXP2822, Spotlite SPJ 132 b. D 1105-B;J=ca.70;2:47

Appendix 4: The Dizzy Gillespie Dial Session

185

Choruses: Gillespie introduction (8 mm.) and ensemble theme (A), Jackson (A), Thompson (B), Haig (A); Gillespie (A). Spotlite reissue: Spotlite SPJ132, side 1, track 5; Spotlite SPJ-CD 132, track 8. Issues: Metronome B578, Smithsonian R004

Session comments: This was the very first Dial session. Although there is some ambiguity about the exact date, the session most likely began late February 6, 1947, continuing into the early hours of February 7. The session was originally to have been led by George Handy, who had conducted a preliminary rehearsal on February 5 (see the catalogue entry for this date in this book). When session supervisor Ross Russell received Handy's resignation from the session, he asked Gillespie to fulfill the studio date. Charlie Parker, alto saxophonist for Gillespie, was absent and unaccounted for at the time of the session. Efforts to hold the session in private were thwarted by unwanted visitors. Ross Russell supervised the session, with the advice of Dial partner Marvin Freeman and Alex Compinski of Alco Recording. Seven of nineteen matrices survive. The surviving takes have been collected on Spotlite SPJ 132 and Spotlite SPJ-CD 132.

Repertorial commentary: 1. Confirmation (Charlie Parker) [D 1001-A, -B, -C, -D, -E]

Session takes: Gillespie's Dial performance is the first recording of "Confirmation." Parker would not record his own studio version until 1953 (6), but he revived this piece during the intervening years. The selection of "Confirmation" for this Dial session strongly suggests that it was in the Gillespie band book in 1945. Five takes were cut, possibly due to the inexperience of the Dial owners in supervising sessions and of the studio technicians in recording jazz.

Collation: (1) Sept. 29, 1947 (2) Feb. 19, 1949 (3) Nov. 1949

NYC NYC Chicago

186

Appendix 4: The Dizzy Gillespie Dial Session (4) Feb. 18, 1950 (5) Apr. 12 or 21, 1951 (6) July 30, 1953

NYC Framingham NYC, Granz

Had Parker made Gillespie's Dial session, the performance could have sounded like their explosive 1947 Carnegie Hall performance (1). Parker would later revive this piece with Kenny Dorham (2) and Red Rodney (3 and 4), but recorded it for Norman Granz (6) without a side trumpet. In entry 127 of their Parker discography, Koster and Bakker believe that "Confirmation" was among the pieces performed by Parker at Framingham or Boston in 1951 (5); however, the corresponding entries in Saks or Sunenblick do not list this title.

2. Diggin' For Diz (George Handy) [D 1002-A, -B, -C, -D, -E]

Session takes: Five takes were cut, and only the last of them was released. This is the same piece as "Diggin' Diz" [D 1000] rehearsed by George Handy the previous day. Gillespie uses a different ensemble tag at the end than Handy's effort. Collation: see that for "Diggin' Diz" (entry for February 5, 1946). 3. Dynamo (John Birks "Dizzy" Gillespie) [D 1003-A, -B] Session takes: Based on the chords of "I Got Rhythm" (George Gershwin - Ira Gershwin) from the Broadway musical GIRL CRAZY (1930). Better known under the title "Dizzy Atmosphere," it was recorded previously by Gillespie with Charlie Parker (1). For this Dial version, Gillespie doubled the lengths of the introduction and coda, added an extra solo chorus, and raised the tempo to 310 beats per minute. With ten takes used during the first two pieces of this session, the time was getting late: the labels of Dial 1001 state that take A was recorded at 1:55 a.m., take B at 2:04 a.m. Collation: (1) Feb. 28, 1945 (2) Dec. 29, 1945 (3) Sept. 20, 1947 (4) Sept. 29, 1947 (5) Nov. 1947 or Jan. 1948 (6) March 31, 1948 (7) July 11, 1948

NYC, Guild LA NYC NYC Chicago (2 perfs.) NYC NYC

Appendix 4: The Dizzy Gillespie Dial Session (8) Feb. 14, 1950 (9) May 17, 1950

187

NYC NYC

Includes those performances under the title "Dizzy Atmosphere." (2) ancj (4) are live performances of Parker and Gillespie, and (2) especially could have sounded like the "Dynamo" matrices had Parker attended the studio session. (3) is an unusual rendering, placing the improvisation choruses and the ultimate unison theme for trumpet and alto saxophone from "Dizzy Atmosphere" within a performance of "Tiger Rag." Parker continued performing "Dizzy Atmosphere" on his own, with Miles Davis (5, 6, and 7), Red Rodney (8), and Fats Navarro (9).

Titles: The one recorded instance when Parker refers to "Dynamo" is during the Bandbox radio broadcast of March 30, 1950, not with regard to "Dizzy Atmosphere" but to "Diggin' Diz"; see the commentary to the February 5, 1946 session earlier in this book. 4. When I Grow Too Old to Dream (Sigmund Romberg - Oscar Hammerstein II) [D1004-A,-B,-C,-D,-E] Session takes: "When I Grow Too Old To Dream" was composed for the movie musical THE NIGHT IS YOUNG (1935), in an ABCB 32-measure structure. Gillespie and his band sound relaxed, even comic, on the released final take, despite what had to have been a very late hour. Collation: Parker never recorded the song in its original form. However, in his December 17, 1947 Dial session, Parker used it as the harmonic basis for "Charlie's Wig" [matrices D 1153]. 5. 'Round About Midnight (Thelonious Monk - Charles "Cootie" Williams - Bernie Hanighen) [D 1005-A, -B] Session takes: '"Round About Midnight" was first recorded on August 22, 1944, during a Majestic Records studio session led by co-composer and trumpet player Cootie Williams leading a jazz orchestra including pianist Bud Powell. For the introduction and ensemble theme, Gillespie takes William's role in leading with the trumpet; in the rest of each performance, the sidemen take turns in playing the ballad melody. Both takes are nearly identical, but they can be distinguished from one another with Milt Jackson's solos; on take A he begins with a

188

Appendix 4: The Dizzy Gillespie Dial Session

descending phrase, and on take B he begins with an ascending phrase instead. Dizzy Gillespie continued performing this piece, including a Spotlite Club radio broadcast in 1946 with co-composer Thelonious Monk at the piano. Monk, with Milt Jackson, would make his celebrated recording for Blue Note on November 21, 1947. Collation: (1) Feb. 12, 1945 (2) Aug. 1948 (3) May 17, 1950 (4) Mar. 31, 1951 (5) Jan. 30, 1953

NYC Chicago NYC NYC NYC, Prestige

Parker certainly knew this tune from playing under Cootie Williams (1). Quite how he would have sounded in Gillspie's Dial session is suggested in (4), with Gillespie and Bud Powell. However, the only studio performance he gave was as a sideman on tenor saxophone during a Miles Davis session for Prestige (5).

The Dial Issues of Dizzy Gillespie: * indicates performances without Gillespie's participation. 1001

Dynamo A Dynamo B

[D 1003-A] [D 1003-B]

Dynamo A 'Round About Midnight

[D 1003-A] [D 1005-A]

Dynamo A 'Round About Midnight

[D 1003-B] [D 1005-A]

Dynamo B 'Round About Midnight

[D 1003-B] [D 1005-A]

1003

Yardbird Suite 'Round About Midnight

[D 1011-4]* [D 1005-A]

1004

Moose The Mooche When I Grow Too Old To

[D 1010-2] * [D 1004-E]

Confirmation Diggin' Diz

[D 1001-E] [D 1000]

or or or

or

Appendix 4: The Dizzy Gillespie Dial Session 1005

Diggin' for Diz Trumpet at Tempo

[D 1002-E] [D 1025-B]*

1008

Confirmation Dial-ogue

[D 1001-E] [D 1035-C]*

Confirmation When I Grow Too Old to Dream

[D 1001-E]

189

or

Dial LP207

[D 1004-E]

CHARLIE PARKER, VOLUME FOUR Bongobeep

[D 1000]

Issued with masters by Charlie Parker (see Appendix 1).

Dial LP212

DIZZY GILLESPIE AND MODERN TRUMPETS Dynamo A Dynamo B Confirmation Diggin' for Diz 'Round About Midnight

[D 1003-A] [D 1003-B] [D 1001-E] [D 1002-E] [D 1005-A]

Issued with masters by Charlie Parker with Miles Davis (see Appendix 1), Howard McGhee, and Fats Navarro.

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APPENDIX 5: GRAND PRIX DU DISQUE HONORS FOR CHARLIE PARKER In his Parker biography Bird Lives!, Ross Russell mentions in two places (pp. 239-240,308) that Parker's Dial recording of "Cool Blues" had won a Grand Prix du Disque. For American readers accustomed to the Grammy Awards, some notes on the Grand Prix du Disque honor and its conferral on Charlie Parker during his lifetime may be helpful. The Grand Prix du Disque is awarded annually by the Academie Charles Cros, Paris; the historical namesake, Charles Cros, envisioned the possibility of recorded sound in 1877, just before Thomas Edison constmcted the first successful phonograph model in the United States. On the recommendation of a jury of 20 to 26 members, the Academie recognizes, through its award, exceptional merit in all types of recorded music, whether classical, popular, or jazz. A chart of jazz recipients of the Grand Prix du Disque from 1948 through 1955 may be found in Jazz Hot no. 100 (June 1955), p. 26. Parker received Grand Prix honors not once, but twice. The first time was in 1950, for Parker's second take of "Embraceable You" [Dial mx. D 1106-B], released in France on Blue Star 145. The second honor, in 1953, was for Vogue's release of two microgroove albums of Parker's Dial performances (Vogue LD057 and LD059). "Cool Blues" [D 1054-B] was retitled "Hot Blues," and it was joined with seven additional performances on Vogue LD057; another eight titles appeared on Vogue LD059. The two releases were appraised in a lengthy review in Jazz Hot (October 1952), pp. 31 -32. Since the recordings on the Vogue albums were solely from Dial sessions, the 1953 Grand Prix du Disque honor reflects well not only on Charlie Parker, but also indirectly on Dial session supervisor Ross Russell.

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BIBLIOGRAPHY Aebersold, Jamey, ed. Charlie Parker Omnibook. Hollywood: Atlantic Music, 1979. Blume, Jerry, with Erik Wiedemann and Charles Delaunay. "Discographie De Charlie Parker." Jazz Hot no. 39 (December 1949): 31-32; no. 43 (April 1950): 30. Bruyninckx, Walter. 60 Years of Recorded Jazz. Mechelen, Belgium: Bruyninckx, 1980. Callender, Red, with Elaine Cohen. Unfinished Dream. London: Quartet, 1985. Charlie Parker Bebop for Alto Sax: Four Solos with Piano Accompaniment. New York: Atlantic Music, 1948. Cook, Richard, and Brian Morton. The Penguin Guide to Jazz on CD, LP and Cassette. New York, London: Penguin, 1994. Davis, Miles, with Quincy Troupe. Miles: The Autobiography. New York: Simon and Schuster, 1989. Detro, John. "JazzTimes Historical Notes: Bird's Dial Sessions." JazzTimes (January 1989): 29. DeVeaux, Scott. "Bebop and the Recording Industry: the 1942 AFM Recording Ban Reconsidered." Journal of the American Musicological Society 41 (1988): 126-165. Dufourq, Norbert, ed. Larousse de la Musique. Paris: Libraire Larousse, 1957. Evans, Chris. "Dial: A Listing of the Sessions Recorded for Ross Russell's Dial Label." Jazz Journal 21 (September 1968): 19-22. Feather, Leonard. "A Bird's-Ear View of Music: Nobody Gets the Bird from Bird as Broadminded Parker, The Blindfold Test." Metronome 64, no.8 (August 1948): 14,21,22. Reprinted as "Blindfold Test: Charlie Parker " (Downbeat 32 [11 March 1965]:32). . Inside Be-bop. New York: J. J. Robbins, 1949. Giddins, Gary. Celebrating Bird: The Triumph of Charlie Parker. New York: Beech Tree Books, W. Morrow, 1987. Gillespie, Dizzy. To Be Or Not To Bop. Garden City, NY: Doubleday, 1979. Gray, James M. An Analysis of Melodic Devices in Selected Improvisations of Charlie Parker. M.A. thesis, Ohio University, 1966. Grennard, Elliott. "Sparrow's Last Jump." Harper's Magazine (May 1947): 419-426. Grigson, Lionel. A Charlie Parker Study Album. London: Novello, 1989. Heckman, Don. "Bird in Flight." Downbeat 32 (11 March 1965): 22-24. Hirschmann, Thomas. Untersuchungen zu den Kompositionen von Charlie Parker. Wissenschaftliche Hausarbeit zum Staatsexamen fur das Lehrmat an Gymnasien, Mainz, 1982. Photocopy.

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. Charlie Parker: Kritische Beitrage zur Bibliographie sowie zu Leben und Werk. Mainzer Studien zur Musikwissenschaft, bd. 31. Tutzing: H. Schneider, 1994. Hodeir, Andre. Jazz: Its Evolution and Essence. Translated by David Noakes. New York: Grove Press, 1956. t Toward Jazz. Translated by Noel Burch. New York: Grove Press, 1962. . "Tjn Chorus Par Disque." Jazz Hot no. 73 (January 1953): 14. Holland, Bill. "Sony, Rhino Plan Royalty Reforms For Older Artists." Billboard (4 March 1995): 10, 20. Isacoff, Stuart. Jazz Masters: Charlie Parker. Music for Millions, no.81. New York: Consolidated Music Publishers, 1978. . Solos for Jazz Alto Sax. New York: Carl Fischer, 1985. Jepsen, Jorgen Grunnet. A Discography of Charlie Parker. Copenhagen: K. Knudsen [1968] . Jazz Records: A-Z, 1942-1969; A Discography. Copenhagen: K. Knudsen, 1963-1970. Kessel, Barney. "Recording with Charlie Parker." Guitar Player 12, no. 9 (September 1978): 16, 133-134. Kinkle, Roger D. The Complete Encyclopedia of Popular Music and Jazz 1900-1950. New Rochelle: Arlington House, 1974. Koch, Lawrence O. Yardbird Suite: A Compendium of the Music and Life of Charlie Parker. Bowling Green, Ohio: Bowling Green State University Popular Press, 1988. Komara, Edward, The Dial Recordings of Charlie Parker. M.A. thesis, State University of New York, Buffalo, 1992. m "Xhe Dial Recordings of Charlie Parker." Library Chronicle of the University of Texas at Austin 24, nos. 1-2 (1994): 79-103. Koster, Piet, and Dick M. Bakker. Charlie Parker 1940-1955. Alphen aan den Rijn: Micrography, 1976. Lawn, Richard. "From Bird to Schoenberg: The Ross Russell Collection." Library Chronicle of the University of Texas at Austin no. 25/26 (1984): 137-147. Levin, Michael and John S. Wilson. "No Bop Roots in Jazz: Parker." Downbeat 16, no. 17 (9 September 1949): 1, 12-13, 19. Martin, Henry. Charlie Parker and Thematic Improvisation. Lanham, MD: Scarecrow, 1996. Miedema, Harry. Jazz Styles and Analysis: Alto Sax. Chicago: Downbeat Workshop Publications, 1975. Oliphant, David, ed. The Bebop Revolution in Words and Music. Austin: Harry Ransom Humanities Research Center, University of Texas, 1994. Trade publication of Library Chronicle of the University of Texas at Austin 24, nos. 1-2 (1994). Owens, Thomas. Charlie Parker: Techniques of Improvisation. Ph. D. diss., University of California, Los Angeles, 1974. . Bebop. New York: Oxford University Press, 1995. Parker, Chan and Francis Paudras. To Bird with Love. Poitiers, France: Editions Wislov, 1981. Parker, Charlie. "My Best on Wax." Downbeat 18, no. 13 (29 June 1951): 15. Patrick, James. "Al Tinney, Monroe's Uptown House, and the Emergence of Modern Jazz in Harlem." Annual Review of Jazz Studies 2 (1983): 150-179. "Charlie Parker and Harmonic Sources of Bebop Composition: Thoughts on the Repertory of New Jazz in the 1940's." Journal of Jazz Studies 2, no. 2 (June 1975): 3-23. — "Discography as a Tool for Musical Research." Journal of Jazz Studies 1, no. 1 (October 1973): 65-81. . "The Uses of Jazz Discography." Notes 29 (1972): 17-23. . Booklet notes for Charlie Parker, The Complete Savoy Studio Sessions. 5 records.

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Savoy S5J5500. Patrick, James, Bob Porter and Phil Schaap. Booklet notes for Charlie Parker, The Complete Benedetti Charlie Parker. 1 compact discs. Mosaic MD7-129. Pinkerton, Phyllis, transcriber. Charlie Parker: Nine Solos Transcribed from Historic Recordings for E-flat and C Instruments with Piano Accompaniment. New York: Leeds Music, 1961. Porter, Roy. There and Back. Baton Rouge: Louisiana State University Press, 1991. Postif, Francois, and Guy Kopelowicz. "Discographie De Charlie Parker." Jazz Hot no. 132 (May 1958): 39-41; no. 133 (June 1958): 40-41. Priestley, Brian. Charlie Parker. Tunbridge Wells, Kent: Spellmount, 1984. — John Coltrane. London: Apollo, 1987. "Les Prix Du Disque De Jazz." Jazz Hot no. 100 (June 1955): 26. Reisner, Robert George. Bird: The Legend of Charlie Parker. New York: Citadel, 1962. Review of Charlie Parker vol. 1 and vol. 2 (Vogue LD057 and LD059). Jazz Hot (October 1952): 31-32. Ross Russell Collection. Harry Ransom Humanities Research Center, University of Texas, Austin. Russell, Ross. "Aux Membres du Hot Club De France." Jazz Hot no. 14 (1947): 6. < "Introduction au Be-bop." Translated by Boris Vian. Jazz Hot no. 22 (April 1948): 5-7. . "La Section Rythmique Be-bop." Translated by Boris Vian. Jazz Hot no. 24 (June/ July 1948): 14-16. . The Sound. New York: Dutton, 1960. . "Yardbird in Lotus Land." Jazz Hot. no. 255 (November 1969): 22-25; no. 257 (January 1970): 15-17; No. 258 (February 1970): 18-20; no. 259 (March 1970): 26-28; no. 260 (April 1970): 26-28; no. 262 (June 1970): 16-17, 19; no. 264 (September 1970): 24-25; no. 281 (March 1972): 10-12. . "Fats Navarro." Jazz Hot no. 267 (December 1970): 26-29. . Jazz Style in Kansas City and the Southwest. Berkeley: University of California Press, 1971. . Bird Lives!: The High Life and Hard Times of Charlie "Yardbird" Parker. New York: Charterhouse, 1973. . Liner notes for Charlie Parker: The Very Best of Bird. 2 records. Warner 2WB 3198. Saks, Norman, Leonard Bukowski and Robert Bregman. The Charlie Parker Discography. Port Jefferson, NY: B. B. S., 1989. m The Charlie Parker Discography. Redwood, NY: Cadence Jazz Books, 1993. Sanjek, Russell. American Popular Music and Its Business: The First Four Hundred Years. New York: Oxford University Press, 1988. Schaap, Phil. Notes for Charlie Parker, Bird at the Roost/The Savoy Years: The Complete Royal Roost Performances. 4 compact discs. Savoy ZDS 4411, 4412, 4413, 4414. . Booklet notes for Charlie Parker, Bird: The Complete Charlie Parker on Verve. 10 compact discs. Verve 837 141-2. Smith, Paul. "Charlie Parker's Solo on 'Dewey Square.'" Downbeat 56 (April 1989): 56-57. Smith, Paul, Morris Feldman, and Michael Goldsen. Charlie Parker for Piano, New York: Atlantic Music Corporation, 1987, 1988. Smyth, David H. "Schoenberg and Dial Records: The Composer's Correspondence with Ross Russell." Journal of the Arnold Schoenberg Institute 12 (1989): 68-90. Strunk, Steven. "The Harmony of Early Bop: A Layered Approach." Journal of Jazz Studies 6, no. 1 (1979): 4-52. Stuart, W. Dorsey. Charlie Parker: World's Greatest Exponent of Jazz. New York: Charlie

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Parker/Mayhew Music Co., 1961. Sunenblick, David. "Charlie Parker in Boston: Appearances/Discography," booklet notes for Charlie Parker, Charlie Parker, Boston, 1952. Compact disc. Uptown UPCD 27.42. Suskin, Steven. Show Tunes 1905-1985. New York: Dodd, Mead and Company, 1986. Tirro, Frank. "Constructive Elements in Jazz Improvisation." Journal of the American Musicological Society 27 (1974): 294-304. . Jazz: A History. New York: WW. Norton and Company, 1977. . "The Silent Theme Tradition in Jazz." Musical Quarterly 53 (1967): 313-334. Viera, Joe. Grundlagen der Jazzrhythmik. Vienna: Universal, 1970. Vine, Rita Faye. An Index to the Published Transcriptions of Charlie Parker's Improvised Solos. Buffalo: 1980. Wang, Richard. "Jazz Circa 1945: A Confluence of Styles." Musical Quarterly 59 (1973): 531-546. Watanabe, Sadao. Jazz Improvisation: Transcriptions of Charlie Parker's Great Alto Solos for All Instrumental Musicians. Tokyo: Nichion, 1975. Weir, Bob, with corrections and additions by Tony Williams and Edward Komara. Dial Records: A Numerical. Sawbridgeworth: Spotlite Records, 1995. Handlist. Reprinted in booklet to The Complete Dial Recordings, Spotlite/Dial (Japan) TOCJ-0001-0010, 1995. White, Andrew. The Charlie Parker Collection. Washington, DC: Andrew's Musical Enterprises, 1978. Williams, James Kent. Themes Composed by Jazz Musicians of the Bebop Era: A Study of Harmony, Rhythm, and Melody. Ph.D. diss., Indiana University, 1982. . "Archetypal Schematic in Jazz Themes of the Bebop Era." Annual Review of Jazz Studies 4 (1988): 49-74. Williams, Martin. "Dial Days: A Conversation with Ross Russell." Downbeat 31, no. 31 (3 December 1964): 15-17, and 31, no. 32 (17 December 1964): 22-23. . "A Charlie Parker Masterpiece." Downbeat 37 (2 April 1970): 34-35. Williams, Tony. Liner notes for Charlie Parker, Charlie Parker on Dial. 6 records. Spotlite LP 101, 102, 103, 104, 105, 106. Williams, Tony and Ross Russell. Booklet notes for Charlie Parker, Charlie Parker on Dial. 4 compact discs. Spotlite SPJ-CD 4-101. Wilson, Peter Niklas and Ulfert Goeman. Charlie Parker: Seine Leben, Seine Musik, Seine Schallplatten. Schaftlach, Germany: OREOS, 1988. Woideck, Carl. Charlie Parker: His Music and Life. Ann Arbor: University of Michigan Press, 1996. — . Charlie Parker Companion. New York: Macmillan, 1997. Wright, Laurie. Mr. Jelly Lord. Chigwell: Storyville, 1980.

INDEX OF NAMES Academie Charles Cros, 191 Alderton, Harry, 62 Allied, 7 American Federation of Musicians 1942-1944 union recording ban, 2, 5 1948 union recording ban, 5, 13, 22, 98, 104 union contracts, 2, 4, 5, 11-13 Arlen, Harold, 58, 115 Armstrong, Louis, 1 Babasin, Harry, 5 Baker, Chet, 124 Bakker, Dick. See Koster, Piet Bartok, Bela, 6 Bechet, Sidney, 7 Benedetti, Dean, 22, 27, 121-122, 124-125, 134-135, 137, 138, 139, 143, 144, 150, 151, 153 Benedetti, Rick, 22 Benjamin, Bret, 11 Berg, Alban, 6 Berlin, Irving, 111, 156 Berman, Saul "Sonny," 4 Berman, Wally, 8 Billy Berg's (club), 2 Bishop, Walter, Jr., 120 Black and White Records, 7, 62 Blume, Jerry, 41 Broadcast Music, Inc. (BMI), 12 Broiles, Melvyn, 75-77, 138 Brown, Raymond "Ray," 63, 182-185 Bunn, Jimmy, 14, 71 Bunn, Teddy, 14

Burns, Ralph, 4 Byas, Don, 7, 62, 129 Byrd, Emry, 11-12 CP. MacGregor Studios, 3, 4, 5, 71, 79, 85 Callender, George "Red," 3, 13, 14, 79-84, 85-89 Camarillo State Hospital, 4, 27, 73 Carter, Mia, 11 Chaloff, Serge, 4 Clarke, Kenny, 1 Clayton, Buck, 7 Coleman, Earl, 4, 6, 7, 14, 22, 30, 79-84, 122, 133 Coltrane, John, 30 n.58 Comet Records, 2, 7, 57-62, 115-117 Compinski, Alec, 2, 185 Concert Hall, 8, 32 n.lll Continental Records, 2, 124 Cook, Richard, 148 Coslow, Sam, 102, 144, 149 Crosby, Bing, 156 Davis, Jimmy, 71-72, 127 Davis, Miles, 3, 5, 14, 22, 65-70, 91-98, 99104, 105-112,144,151, 154, 156, 187,188 Dial Records conversion of matrices to tape, 7 Dial Collectors Series, 15 Dial Ethnic Series, 6 Dial Historical Series, 7 Dial Jazz Series, 6, 15 Dial Library of Contemporary Classics, 6

198 Dial Popular Series, 7 Dial Publishing, 12 first release, 3 first sessions, 2-3, 181-189 founding, 1, 2 issue labels, 8 jazz sessions, 2-6 pressing quality, 7 record processing, 7 record titles, 14-15 Dorham, Kenny, 124, 128, 186 Dukoff, Bobby, 73 Eckstine, Billy, 2, 95, 143 Edwards, Teddy, 5 Eldridge, Roy, 7 Electro Broadcasting Studios, 2,63,181, 182 Ellington, Edward "Duke," 1 Evans, Chris, 41 Evans, Nick, 11 Fields, Dorothy, 104, 151 Filipelli, Joseph. See Phillips, Flip Finale Club, 3, 4, 70, 144 Fishkind, Arnold, 75-77 Freeman, Marvin, 1, 2, 4, 11, 12, 14, 73, 185 Freeman, Richard, 73 Freeman, Russell, 75-77 Garner, Erroll, 4, 5, 7, 14, 79-84, 133, 134 Garrison, Arvin, 2, 3, 64, 65-70 Gendron, Bernard, 11 Germain, Jean, 7 Gershwin, George, 16, 65, 71, 77, 81, 87, 89,91,97, 101, 106, 110, 121, 130, 131, 134, 138, 139, 141, 144, 148, 154, 156, 183, 186 Gershwin, Ira. See Gershwin, George Giddins, Gary, 11, 30 n.58, 144 Gilden, Violet, 102 Gillespie, John Birks "Dizzy," 1, 2, 21, 95, 120, 143-144, 156 as composer, 69, 72, 124, 128, 183, 186 as performer, 57-61, 63, 116, 125, 127, 128, 181-189 Comet session with Norvo, 7 Dial issues of, 188-189 Dial session, 2-3, 181-189 Goodman, Benny, 76, 129, 130 Gordon, Dexter, 5, 14, 100, 147-148

Index of Names Gordon, Joe, 151 Gordon, Mack, 79-80, 133 Grainger, Percy, 128 Grand Prix du Disque, 191 Granz, Norman, 3, 13, 22 Gray, Wardell, 5, 14, 85-89, 100, 147-148 Green, Johnny, 103, 150 Grennard, Elliot, 4, 73 Grey, Clifford, 57, 115 Haig, Allan "Al," 128, 148, 181-185 Hamilton, Nancy, 67, 123 Hammerstein, Oscar, II, 95, 107, 143, 154, 184 Handy, George, 2, 63, 119, 182, 185, 186 Hanighen, Bernie, 184, 187 Harris, Benny, 12-13, 110, 123, 155, 156 Harris, Bill, 4 Hart, Clyde, 156 Hart, Lorenz, 64, 119, 182 Hawkins, Doug, 6, 7, 14, 78, 98, 104, 112 Haynes, Cyril, 7, 62 Heard, James "J.C.," 57-61, 117 Herman, Woody, 4, 81 Heyman, Ed, 103, 150 Hines, Earl, 2, 7, 16,66,76, 122 Hirsch, Walter, 76, 129 Hollingsworth, Dell, 10 Holmes, Campbell, 1 Hossassion, Jose, 11 Jackson, Milton "Milt," 5, 181-185, 187 Jazztone Records, 32 n. 111 Jepsen, Jorge, 41 Johnson, James "J.J.," 5, 14, 105-112, 154, 155,156 Johnston, Arthur, 102, 149 Jolivet, 6 Jordan, Ben, 14, 73, 84, 90 Jordan, Irving "Duke," 5, 14, 91-98, 99104, 105-112, 141 Kern, Jerome, 95, 143 Kessel, Barney, 5, 14, 85-89 Kesterton, Robert, 71-72 Kinkle, Roger, 113 Kirby, John, 16, 134 Koch, Lawrence, 127, 141 Koehler, Ted, 58, 115 Kolax, King, 30 n.58

Index of Names Komara, Edward, 11 Kopely, Chuck, 6, 78 Koster, Piet, 21, 41, 157, 186 Laguna, Eddie, 5 Lamond, Donald, 14, 85-90 LaPorta, John, 156 Lawn, Richard, 9, 11 Leake, George, 10, 31 n.79 Leibowitz, Rene, 6 Levey, Stan, 63, 182-185 Lewis, Morgan, 67, 123 Liston, Melba, 5 Lubinsky, Herman, 2 MacGregor Studios. See CP. MacGregor Studios Manne, Shelly, 127 Manor Records, 2, 127, 128 Marmarosa, Michael "Dodo," 3, 5, 14, 6570, 85-89 Martin, David Stone, 8 McGhee, Howard, 3, 6, 22, 117, 121-122, 127, 137, 139 as composer, 5, 16, 88, 89-90, 138 as session leader, 4, 5, 14, 71-73, 128 as session sideman, 5, 14, 75-78, 85-89 McGilvery, Laurence, 9 McHugh, Jimmy, 104, 151 McKusick, Hal, 77, 131 McMillan, Vic, 3, 13,65-70 McRae, Carmen, 122 McShann, Jay, 21, 36 n.177, 122, 123, 143 Melrose Records, 7 Messiaen, Olivier, 6 Mills, Jackie, 5 Mingus, Charles, 27 Mitchell, Bruce, 149 Modern Jazz Quartet, 8 Monk, Thelonious, 1, 8, 184, 187 Moody, James, 5 Morgenstern, Dan, 11 Morton, Brian, 148 Myrow, Josef, 79-80, 133 Navarro, Fats, 6, 187 Nelson, Eric, 11 Noble, Ray, 77, 130 Norville, Kenneth. See Norvo, Red Norvo, Red, 7, 15-16, 57-62, 115, 116

199 Owens, Thomas, 11, 125, 134 Page, Oran "Hot Lips," 7 Paparelli, Frank, 69, 124 Parker, Charlie, 1,2, 186, 187 absence from Gillespie Dial session, 181, 185 as composer, 11-13, 65, 66, 67, 76, 81, 82,85,91,92,93,94,95,99,100, 101, 105, 106, 107, 109, 121, 122, 123, 129, 134, 137, 141, 142, 147, 148, 153, 154, 155, 182 as session leader, 2, 3, 4-5, 11, 13-14, 65-70, 75-78, 79-84, 85-90, 91-98, 99-104, 105-112 as session sideman, 2-3, 4, 7, 11, 57-61, 63,71-73, 116-117, 127-128 Benedetti recordings of, 22, 27, 121122, 124, 125, 134-135, 137, 138, 139, 143, 144, 150, 151, 153, 154 Comet session with Norvo, 7, 15 death of, 8 Dial contract, 3, 4, 11, 34 n.129 Dial contract violations, 5, 13 Grand Prix du Disque honors for, 191 postponed Dial session, 3 remarks on Dial version of "Loverman," 4, 127-128 royalties, 11-13 Savoy sessions, 2, 5, 35 n.149 title suggestions for records, 14 wages, 11 Parker, Douglass, 11 Patrick, James, 11-12, 131, 134, 138 Petrillo, James, 11 Pettiford, Oscar, 71, 127 Phillips, Flip, 4, 57-61, 116 Porter, Roy, 3, 22, 65-70, 71-73 Postif, Francois, 41 Potter, Tommy, 5, 14, 91-98, 99-104, 105112,151 Powell, Bud, 187, 188 Powell, Gordon "Specs," 57-61 Pratt, Jimmy, 75-77 Priestley, Brian, 30 n.58 Pro Arte Quartet, 6 Procope, Russell, 134 Profit, Clarence, 76,129

Index of Names

200

Radio Recorders, 65 Raeburn, Boyd, 2, 124 Rajonsky, Milton. See Rogers, Shorty Ramirez, Roger "Ram," 71-72, 127 Rauscher, Morris, 14 Razaf, Andy, 77, 87, 101, 131, 138, 148 Red Rodney, 11, 148, 186, 187 Redcross, Robert, 22 Reid, Billy, 72, 128 Reig, Teddy, 2 Reiner, Paul, 7, 62 Reisman, Leo, 151 Reisner, Robert, 9 Rheinhardt, Django, 7 Riggs, James, 11 Roach, Maxwell "Max," 5, 6, 14, 22, 9198,99-104, 105-112, 141, 151 Robein, Bunny, 6, 14, 78 Robin, Leo, 57, 115 Rodgers, Richard, 64, 119, 182 Rogers, Shorty, 4 Romberg, Sigmund, 107, 154, 184, 187 Rose, Melvin, 7 Russell, Dorothy, 14, 35 n. 166, 112 Russell, Luis, 1 Russell, Ross, 1, 2, 21, 27, 128, 135, 137, 147,148 acquires Comet sessions, 7, 62 administering Dial royalties to Parker, 11-13 and Charlie Parker's Grand Prix du Disque honors, 191 as session producer, 2-6, 8, 13-14, 73, 78, 84, 90, 98, 104, 112, 122, 124, 142, 185 as writer, 1, 8, 9 assists in Spotlite reissue, 8-9 calypso recordings issued by, 6 operates golf club, 8 places collection at the University of Texas at Austin, 9-11 retires to South Africa, 9 returns to the United States, 11 sells Dial, 8 sorts Dial pressings, 8, 129, 155 Saks, Norman, 21, 157 Sampson, Edgar, 76, 129 Sanjek, Russell, 11, 12 Savoy Records, 2, 5, 13, 22, 27, 143, 145, 156

Schaap, Phil, 134, 154, 157 Schoenberg, Arnold, 6 Schreiber, Les, 7, 62 Schuller, Gunther, 6 Scott, Hazel, 145 Shaw, Billy, 5, 142, 155 Sherman, Jimmy, 71-72, 127 Shifty Henry, 80-81,84, 133 Singleton, Zutty, 1 Smith, Indira. See Russell, Dorothy Smith, Willie "The Lion," 7 Smyth, David, 6 Spanier, Muggsy, 137 Spotlite Records, 9 Stamm, Marvin, 11 Steuermann, Edward, 6 Stewart, Leroy "Slam," 7, 57-61, 116 Stravinsky, Igor, 6 Sunenblick, David, 157 Supersax, 67, 69, 72, 98, 102 Suskin, Steven, 113 Tatum, Art, 7, 62 Tempo Music Shop, 1,4, 14-15 Thomas, Lorenzo, 11 Thompson, Eli "Lucky," 2, 3, 65-70, 181-185 Tinney, Al, 131 Tizol,Juan, 16, 100, 147 Tristano, Lennie, 156 Ulanov, Barry, 156 Universal Recorders, 7 University of Texas at Austin, 9-11 Vaughan, Sarah, 2, 124, 127-128, 133 Waller, Thomas "Fats," 16, 77, 87, 101, 131, 138, 148 Webern, Anton, 6 Weir, Bob, 42 West, Harold "Doc," 79-84 West, Mae, 149 Williams, Charles "Cootie," 184, 187, 188 Williams, Tony, 8-9, 33, 148, 156 Wilson, Theodore "Teddy," 7, 57-61, 116 Woidek, Carl, 11 Woode, Henri, 66, 76, 122 WOR Studios, 5, 7, 62, 91, 99, 105 Youmans, Vincent, 57, 115 Young, Lester, 2, 142

INDEX OF TITLES Catalog entries are given in capital letters, with matrix numbers in brackets [D for Dial, T for Comet, and K for Kopely]. Titles refer to songs and jazz pieces unless otherwise noted. Air Conditioning, 93, 106, 154 All the Things You Are, 16, 22, 95-97, 143144 BEBOP [D 1024], 4, 16, 21, 72, 128 Bebop (alternate title), 93, 142 Bebop Revolution in Words and Music (exhibit), 10-11 Belle of the Nineties, 149 Big Foot, 27, 106, 154 Bikini, 5, 15 Bird Blues, 59-60, 116, 117 BIRD FEATHERS [D 1111], 5, 15,99-100, 147 Bird Feathers (alternate title), 93, 109, 111, 142, 155 Bird Lore, 15,68 BIRD OF PARADISE [D 1105], 5, 16, 21, 22,95, 143-144 Bird's Blues, 59, 61, 116, 117 BIRD'S NEST [D 1053], 4, 16, 81-82, 134 Bird's Nest Soup, 82, 134 Blowtop Blues, 83, 135 Blue Serge, 4, 15 Blues (8-measure form), 133 Blues (12-measure form), 59, 60, 75, 83, 85,88,92,94,99, 105, 109, 116, 129, 134, 137, 138, 141, 142-143, 147, 153, 155 Blues (title), 92, 93, 142

BLUES 1 [K unnumbered], 75, 129 BLUES 2 [K unnumbered], 75, 129 Blues on the Sofa, 75, 129 Blues Up and Down, 16, 27, 134, 135 BONGO BEEP [D 1154], 6, 15,21,93, 109-110, 147, 155 Bongo Beep (as alternate title), 64, 119, 141 BONGO BOP [D 1102], 5, 15,92-93, 141142, 155 Bongo Bop (as alternate title), 108, 109, 155 Bud's Bubble, 156 CARVIN' THE BIRD [D 1073], 5, 16, 21, 22,27,88, 138 Chance It, 127 CHARLIE'S WIG [D 1153], 6, 16, 21, 93, 107-108, 142, 154, 187 Charlie's Wig (as alternate title), 94, 109 Chase, The (Germain), 15 Chase, The (Gordon-Gray), 5, 21, 100, 147148 Chasin' the Bird, 27 CHEERS [D 1072], 5, 16, 27, 87-88, 138 Cherokee, 2, 4, 22, 77, 130 CONFIRMATION [D 1001], 3, 12, 15, 182, 185-186 CONGO BLUES [Til], 16,60-61, 116-117 COOL BLUES [D 1054], 4, 12, 13, 16, 27,

202 82-84, 134-135, 191 Country Gardens, 128 CRAZEOLOGY [D 1155], 6, 13, 15, 16, 110-111, 147,155-156 Crazeology (as alternate title), 108 Crazeology II, 111 Curbstone Scuffle, 15

Index of Titles

Hit the Deck (show), 115 HOME COOKING [K 903, 904, 905], 6, 16,21,76-77,130-131 Honeysuckle Rose, 16, 21, 87, 101, 131, 138,148 Hot Blues, 64, 83, 119, 135, 191 HOW DEEP IS THE OCEAN [D 1156], 6, 15,16,111,156 DARK SHADOWS [D 1052], 4, 13, 16, 21, How High the Moon, 16, 67, 123, 124 80-81,133-134 Howard's E-Flat Blues, 27, 138 DEWEY SQUARE [D 1103], 5, 16, 93-94, HYMN, THE [D 1104], 5, 15, 16, 21, 22, 109, 142 27,94-95, 142-147 DEXTERITY [D 1101], 5, 13, 15, 16, 91, I Got Rhythm, 16, 65, 71, 76, 81, 87, 91, 141 101, 110,127, 134, 138, 141, 148, Dexterity (as alternate title), 109, 155 156, 183, 186 Dialated Pupils, 4, 127 Ideology, 156 DIGGIN' DIZ [D 1000], 2, 11, 13, 15, 21, 63,83, 119, 186, 187 Interlude, 124 DIGGIN' FOR DIZ [D 1002], 64, 119, 182, I've Got News for You, 81 186 Dizzy Atmosphere, 186, 187 Jumpin' Blues, The, 123 DON'T BLAME ME [D 1116], 5, 16, 21, 27,104, 151 Klactoveedsedsteen, 101 DRIFTING ON A REED [D 1151], 6, 27, Klactoveesedstene, 100 KLACT-OVEESEDS-TENE [D 1112], 5, 105-106, 153-154 Drifting on a Road, 108 9, 13,15,16,21, 100-101, 147-148 Duel, The, 5 Koko, 2, 22, 143 DYNAMO (A and B) [D 1003], 3, 64, 119, Kopely Plaza Blues, 76, 129 183, 186-187 Little Benny, 156 EMBRACEABLE YOU [D 1106], 5, 13, Love Me Tonight (film), 119 16,21,22,97,144, 154,191 Lover, 64, 119, 182 Embraceable You (as harmonic model), 16, LOVERMAN [D 1022], 16, 21, 71-72, 106, 154 128-129 LULLABY IN RHYTHM [K 901, 902], 16, 129 Famous Alto Break, The, 69 Fantasy on Frankie and Johnny, 5 52nd St. Theme, 125 MAX MAKING WAX [D 1021], 4, 16, 71, Frankie and Johnny, Fantasy on, 5 127 Funny Face (show), 131, 139 Meandering, 16, 22, 145 MOOSE THE MOOCHE [D 1010], 3, 12, 13, 15,16,21,27,65-66,121-122 GET HAPPY [T9], 58-59, 115-116 Move, 111 Giant Swing, 105, 154 Girl Crazy (show), 121, 127, 130, 138, 141, MY OLD FLAME [D 1114], 5, 16, 21, 27, 102,149-150 148, 154, 156, 186 Good Jelly, 95, 143 NIGHT IN TUNISIA, A [D 1013], 3, 13, GYPSY, THE [D 1023], 4, 16, 72, 128 16,21,27,69-70, 124-125 Night Is Young, The (film), 154, 187 HALLELUJAH [T8], 16, 57-58, 115, 116

Index of Titles Night Mist, 5 Night Music, 5 Nine-Fifteen Revue (show), 115 Nowhere-C, 104, 152 Opus, 77, 131 ORNITHOLOGY [D 1012], 3, 12, 13, 16, 21,22,27, 122-124, 156 OUT OF NOWHERE [D 1115], 5, 16, 103104, 150-151 Parker's Blues, 93, 142 Past Due, 27, 137 Pastel, 84 Perdido, 16, 100, 147 Prezology, 93, 142 QUASIMADO [D 1152], 6, 15, 16, 106107,154 Quasimodo, 154

203

Something for You, 127 Sparrow's Last Jump (story), 4, 73 Stop Time Blues, 117 STUPENDOUS [D 1074], 5, 15, 16, 21, 22, 89, 138 Superman, 15, 95, 143 Surprising, 89 'S Wonderful, 16, 77, 89, 131, 139 Table in the Corner, A, 144, 145 Thermodynamics, 73 THIS IS ALWAYS [D 1051], 4, 13, 16, 21, 34 n. 146, 79-80, 133 Three Little Girls in Blue (film), 133 Tiger Rag, 187 Trade Winds, 107 Trio, 84 Trumpet at Tempo, 73 Two for the Show (show), 123 Very Warm for May (show), 143

RELAXIN' AT CAMARILLO [D 1071], 5, 13, 15, 16,22,27,85-87,89, 137 Relaxin' at the Touro, 137 Rosetta, 16,66,76, 122 'ROUND ABOUT MIDNIGHT [D 1005], 15, 184-185, 187-188 Schnourphology, 100, 147 Scrapple from Apple, 101 SCRAPPLE FROM THE APPLE [D 1113], 5, 12, 16,22, 101-102, 148-149 Sing Hallelujah, 58, 115 SLAM SLAM BLUES [T10], 59-60, 116, 117

What Price Love, 122 When I Grow Too Old To, 15, 184 WHEN I GROW TOO OLD TO DREAM [D 1004], 15, 184, 187 When I Grow Too Old to Dream (as harmonic model), 16, 107, 154 Wichita Blues, 94, 143 YARDBIRD SUITE [D1011], 3, 6, 12, 13, 15, 16,21, 122 YARDBIRD SUITE [K unnumbered], 16, 76, 122, 129

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INDEX OF TRANSCRIPTIONS Aebersold, Jamey. Charlie Parker Omnibook. Hollywood: Atlantic Music, 1979 Title

Matrix no.

Catalogue page

Dewey Square Moose the Mooche Ornithology Scrapple from the Apple Yardbird Suite

D 1103-C D 1010-2 D 1012-4 D1113-C D 1011-4

94 66 69 102 67

Annual Review of Jazz Studies vol. 4, see Williams, James Kent

Charlie Parker Bebop for Alto Sax: Four Solos with Piano Accompaniment. New York: Atlantic Music, 1948. Title

Matrix no.

Confirmation Moose the Mooche Ornithology Yardbird Suite

D D D D

Catalogue page

1001-E 1010-2 1012-4 1011-4

Downbeat vol. 32, no. 6, see Heckman, Don Downbeat vol. 37, no. 7, see Williams, Martin Downbeat vol. 56, no. 4, see Smith Paul

182 66 69 67

206

Index of Transcriptions

Gray, James M. An Analysis of Melodic Devices in Selected Improvisations of Charlie Parker. M.A. thesis, Ohio University, 1966 Title

Matrix no.

Ornithology

D 1012-?

Catalogue page 69

Grigson, Lionel. A Charlie Parker Study Album. London: Novello, 1989. Title

Matrix no.

Moose the Mooche Scrapple from the Apple

D 1010-2 D 1113-B

Catalogue page 66 101

Heckman, Don. "Bird in Flight." Downbeat 32 (11 March 1965): 22-24. Title

Matrix no.

Klact-oveeseds-tene

D 1112-B

Catalogue page 100

Hirschmann, Thomas. Untersuchungen zu den Kompositionen von Charlie Parker. Wissenschafdiche Hausarbeit zum Staatsexamen fur das Lehrmat an Gymnasien, Mainz, 1982. Photocopy. Title

Matrix no.

Bird Feathers Bird of Paradise Bongo Beep Bongo Bop Charlie's Wig Cool Blues Dewey Square Dexterity Drifting on a Reed Hymn, The Klact-oveeseds-tene Moose the Mooche Quasimado Relaxin' at Camarillo Scrapple from the Apple Yardbird Suite

D 1111 D 1105 D 1154 D 1102 D1153 D 1054 D1103 D1101 D 1151 D1104 D 1112 D1010 D1152 D1071 D1113 D1101

CCatalogue page 100 96-97 109 92-93 108 82-84 93-94 91-92 105-106 95 100 65-66 107 85-87 101-102 67

Index of Transcriptions

207

Hodeir, Andre. "Un Chorus Par Disque." Jazz Hot no. 73 (January, 1953): 14. Title

Matrix no.

Ornithology

D 1012-4

Catalogue page 69

Hodeir, Andre. Jazz: Its Evolution and Essence. Translated by David Noakes. New York: Grove Press, 1956. Title

Matrix no.

Cool Blues

D 1054-D

Catalogue page 84

Hodeir, Andre, Larousse, see Larousse de la Musique. Hodeir, Andre. Toward Jazz. Translated by Noel Burch. New York: Grove Press, 1962. Title

Matrix no.

Orinthology

D 1012-4

Catalogue page 69

Isacoff, Stuart. Jazz Masters: Charlie Parker. Music for Millions, no. 81. New York: Consolidated Music Publishers, 1978 Title

Matrix no.

Catalogue page

Bird of Paradise Bird of Paradise Bird of Paradise Bongo Bop Bongo Bop Out of Nowhere

D 1105-A D 1105-B D 1105-C D 1102-A D1102-B D 1115-A

96 96 97 92 93 103

Isacoff, Stuart. Solos for Jazz Alto Sax. New York: Carl Fischer, 1985. Title

Matrix no.

Klact-oveeseds-tene

D 1112-B

Catalogue page 101

Jazz Hot no. 73, see Hodeir, Andre, "Un Chorus Par Disque." Journal of Jazz Studies vol. 6, no. 1, see Strunk, Steven.

Index of Transcriptions

208

Journal of the American Musicological Society vol. 27, no. 2, see Tirro, Frank, "Constructive Elements." Koch, Lawrence O. Yardbird Suite: A Compendium of the Music and Life of Charlie Parker. Bowling Green, Ohio: Bowling Green State University Popular Press, 1988. Embraceable You 1106-A (reprint of the transcription originally appearing in Martin Williams, " A Charlie Parker Masterpiece", Downbeat 37 (2 April 1970): 34-35. Larousse de la Musique. Paris: Libraire Larousse, 1957. Larousse pages

Title

Matrix no.

Catalogue

vol.1, pp. 623-624

Don't Blame Me

D 1116-A

104

Martin, Henry. Charlie Parker and Thematic Improvisation. Lanham, MD: Scarecrow, 1996. Title

Matrix no.

Bongo Bop Cool Blues Cool Blues Cool Blues Cool Blues Crazeology Embraceable You Embraceable You

D D D D D D D D

1102-A 1054-A 1054-B 1054-C 1054-D 1155-D 1106-A 1106-B

Catalogue page 92 83 83 84 84 111 97 98

Miedema, Harry. Jazz Styles and Analysis: Alto Sax. Chicago: Downbeat Workshop Publications, 1975. Title

Matrix no.

Ornithology

D 1012-4

Catalogue page 69

Owens, Thomas. Charlie Parker: Techniques of Improvisation. Ph.D. dissertation, University of California, Los Angeles, 1974. Volume 2. Title

Page

Matrix no.

Catalogue page

Carvin' the Bird 1 Carvin' the Bird 2

97-98 99-100

D 1073-A D 1073-B

88 89

Cool Blues 1

342

D 1054-A

83

Index of Transcriptions

209

Catalogue Page

Title

Page

Matrix no.

Cool Blues 2 Cool Blues 3 Cool Blues 4

343 344 345

D 1054-B D 1054-C D 1054-D

83

Dark Dark Dark Dark

93 94 95 96

D D D D

1052-A 1052-B 1052-C 1052-D

80 81 81 81

Dewey Square 1 Dewey Square 2 Dewey Square 3

123-25 126-27 128-29

D 1103-A D 1103-B D 1103-C

93

Dexterity 1 Dexterity 2

179 180

D 1101-A D 1101-B

92

Don't Blame Me

403

D 1116-A

104

Embraceable You 1 Embraceable You 2

330 331

D 1106-A D 1106-B

97 98

Home Cooking III

105-08

K-903

77

Hymn 1 Hymn 2

139 140

D 1104-A D 1104-B

95 95

Night in Tunisia 1 Night in Tunisia 4 Night in Tunisia 5

460 460 461-62

D 1013-1 D 1013-4 D 1013-5

69 70 70

Ornithology 3 Ornithology 4

407 408

D 1012-3 D 1012-4

68 69

Out of Nowhere 1 Out of Nowhere 2 Out of Nowhere 3

422-23 424-25 426-27

D 1115-A D 1115-B D 1115-C

103 104 104

Quasimado 1 Quasimado 2

121 122

D1152-A D 1152-B

107 107

Relaxin' Camarillo 1 Relaxin at Camarillo 3 Relaxin at Camarillo 4 Relaxin at Camarillo 5

346 346-7 347-8 348

D 1071-A D 1071-C D1071-D D 1071-E

85 86

86 87

Slam Slam Blues 1 Slam Slam Blues 2

138 138

Comet T10-A Comet T10-B

59 60

Shadows 1 Shadows 2 Shadows 3 Shadows 4

84 84

94

94 91

Index of Transcriptions

210

Pinkerton, Phyllis, transcriber. Charlie Parker: Nine Solos Transcribed from Historic Recordings for E-flat and C Instruments with Piano Accompaniment. New York: Leeds Music 1961. Title

Matrix no.

Night in Tunisia

D 1013-5

Catalogue page 70

Smith, Paul. "Charlie Parker's Solo on 'Dewey Square.'" Downbeat 56, no.4 (April 1989): 56-57. Title

Matrix no.

Dewey Square (theme chorus only)

D 1103

Catalogue page 93-94

Strunk, Steven. "The Harmony of Early Bop: A Layered Approach." Journal of Jazz Studies 6, no. 1 (1979): 4-52. Title

Matrix no.

Catalogue page

Embraceable You

D 1106-A

97

Stuart, W. Dorsey. Charlie Parker: World's Greatest Exponent of Jazz. New York: Charlie Parker/Mayhew Music Co., 1961. Title

Matrix no.

Big Foot Crazeology Quasimado

D1151-? D 1155-? D 1152-?

Catalogue page 106 Ill 107

Tirro, Frank. "The Silent Theme Tradition in Jazz." Musical Quarterly 53 (1967): 313-334. Scrapple from the Apple Tirro's transcription of the theme chorus with a Parker improvised bridge was taken from the January 15, 1949 Royal Roost radio broadcast issued on Le Jazz Cool 103 (see Koster and Baker entry no.67). Because this transcription is not of a Dial studio recording, it is not listed in the Parker-Dial thematic catalogue. Tirro, Frank. "Constructive Elements in Jazz Improvisation." Journal of the American Musicological Society 27 (1974): 294-304.

Index of Transcriptions

211

Title

Matrix no.

Catalogue page

Drifting on a Reed

D 1151 -E

106

Tirro, Frank. Jazz: A History. New York: W.W. Norton, 1977. Title

Matrix no.

Catalogue page

Crazeology Embraceable You

D 1155-D D 1106-A

111 97

Wang, Richard. "Jazz Circa 1945: A Confluence of Styles." Musical Quarterly 59 (1973): 531-546. Title

Matrix no.

Slam Slam Blues

Comet T10-B

Catalogue page 60

Watanabe, Sadao. Jazz Improvisation. Transcriptions of Charlie Parker's Great Alto Solos for All Instrumental Musicians. Tokyo: Nichion, 1975. Title

Matrix no.

Catalogue page

Bird Feathers Bird of Paradise (I) Bird of Paradise (II) Bird of Paradise (III) Bird's Nest Bongo Beep Bongo Bop Charlie's Wig Cheers Cool Blues Dexterity Diggin' Diz Hymn Klact-oveeseds-tene Out of Nowhere

D 1111-C D 1105-A D 1105-B D 1105-C D 1053-A D 1154-C D 1102-A D 1153-B D 1072-D D 1054-A D 1101-B D 1000 D 1104-B D 1112-B D 1115-A

100 96 96 97 81 109 92 108 88 83 92 63 95 101 103

White, Andrew. The Charlie Parker Collection. Washington, DC: Andrew's Musical Enterprises, 1978. Folios 67-129. Title

CPC folio

Matrix no.

Catalogue page

Bebop

75

D 1024-A

73

Index of Transcriptions

212 Title

CPC folio

Matrix no.

Bird Feathers

106

D 1111-C

100

Bird of Paradise I Bird of Paradise II Bird of Paradise III

101 102 103

D 1105-C D 1105-A D 1105-B

97 96 96

Bird's Nest I Bird's Nest II Bird's Nest III

79 80

81

D 1053-C D 1053-A D 1053-B

82 81 82

Bongo Beep I Bongo Beep II

121 121

D 1154-B D 1154-C

109 109

Bongo Bop I Bongo Bop II

94 94

D 1102-B D 1102-A

93 92

Carvin' the Bird I Carvin' the Bird II

88 89

D 1073-B D 1073-A

88

Charlie's Wig I Charlie's Wig II Charlie's Wig III

119 120 120

D1153-E D 1153-B D 1153-D

108 108 108

Cheers I Cheers II Cheers III Cheers IV

86 86 87 87

D D D D

Congo Blues I Congo Blues II Congo Blues III Congo Blues IV Congo Blues V

128 128 129 129 129

Tll-AA Tll-BB Tll-A Tll-B Tll-C

60 60 61 61 61

Cool Blues I Cool Blues II Cool Blues III Cool Blues IV

82 82 83 83

D D D D

1054-C 1054-A 1054-B 1054-D

84 83 83 84

Crazeology I Crazeology II Crazeology III Crazeology IV

122 122 123 123

D D D D

1155-A 1155-B 1155-C 1155-D

110 110 110 111

Dark Shadows I Dark Shadows II Dark Shadows III

77 77 78

D 1052-A D 1052-B D 1052-C

80 81 81

1072-D 1072-A 1072 B 1072-C

Catalogue page

89

88 87 87 87

213

Index of Transcriptions

Catalogue Page

Title

CPC folio

Matrix no.

Dark Shadows IV

78

D 1052-D

81

Dewey Square I Dewey Square II Dewey Square III

97 98 98

D 1103-C D 1103-A D 1103-B

94 94

Dexterity I Dexterity II

93 93

D 1101-B D 1101-A

92 91

Diggin' Diz

67

D1000

64

Don't Blame Me

114

D 1116-A

104

Drifting on a Reed I Drifting on a Reed II Drifting on a Reed III

116 117 117

D1151-E D 1151-B D 1151-D

106

Embraceable You I Embraceable You II

104 105

D 1106-A D 1106-B

97 98

Famous Alto Break

71

D 1013-1

69

Get Happy I Get Happy II

126 126

T9-B T9-D

59 59

Gypsy

74

D 1023-A

72

Hallelujah I Hallelujah II Hallelujah III

115 115 115

T8-E T8-A T8-F

58 57 58

Home Cooking I Home Cooking II Home Cooking III

90 91 92

K-905 K-904 K-903

78 77 77

How Deep Is the Ocean 1 How Deep Is the Ocean II

124 125

D 1156-A D 1156-B

112 112

Hymn I Hymn II

99 100

D 1104-A D 1104-B

95 95

Klact-oveeseds-tene I Klact-oveeseds-tene II

107 108

D 1112-B D1112-A

101 100

Loverman

73

D 1022-A

72

Max Making Wax

72

D 1021-A

71

93

105

106

214

Index of Transcriptions

Title

CPC folio

Matrix no.

Moose the Mooche I Moose the Mooche II Moose the Mooche III

68 68 68

D 1010-1 D 1010-2 D 1010-3

65 66 66

My Old Flame

110

D 1114-A

102

Night in Tunisia I Night in Tunisia II Night in Tunisia III Famous Alto Break

71 71 71 71

D D D D

1013-1 1013-5 1013-4 1013-1

69 70 70 69

Ornithology I Ornithology II

70 70

D 1012-3 D 1012-4

68 69

Out of Nowhere I Out of Nowhere II Out of Nowhere III

111 112 113

D 1115-B D 1115-A D 1115-C

103 103 104

Quasimado I Quasimado II

118 118

D1152-A D 1152-B

107 107

Relaxin' Relaxin' Relaxin' Relaxin'

84 84 85 85

D D D D

Scrapple from the Apple I Scrapple from the Apple II

109 109

D1113-B D1113-C

Slam Slam Blues I Slam Slam Blues II

127 127

T10-A T-10-B

59 60

Stupendous I Stupendous II

95 96

D 1074-A D 1074-B

89 89

This Is Always I This Is Always II

76 76

D 1051-C D1051-D

80 80

Yardbird Suite I Yardbird Suite II

69 69

D 1011-1 D 1011-4

67 67

at Camarillo I at Camarillo II at Camarillo III at Camarillo IV

1071-E 1071-A 1071-C 1071-D

Catalogue page

87 85 86 86 101 102

Williams, James Kent. "Archetypal Schemata in Jazz Themes of the Bebop Era: Annual Review of Jazz Studies 4 (1988): 49-74.

215

Index of Transcriptions Title

Matrix no.

Bebop Bongo Bop Cheers Moose the Mooche Quasimado Yardbird Suite

D1024 D1102 D1072 D1010 D1152 D 1011

Catalogue page 73 92-93 87-88 65-66 107 67

Williams, Martin. "A Charlie Parker Masterpiece." Downbeat 37 (2 April 1970): 34-35. Title

Matrix no.

Catalogue page

Embraceable You

D 1106-A

97

Woidek, Carl. Charlie Parker: His Music and Life. Ann Arbor: University of Michigan Press, 1996. Title

Matrix no.

Catalogue page

Klact-oveeseds-tene Night in Tunisia (break) OutofNowhere

D 1112-A D 1013-1 D 1115-A

100 69 103

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About the Compiler EDWARD M. KOMARA is a music librarian and director of the blues archive at the University of Mississippi.

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