Bird in Time 1940-1947 Charlie Parker Artist

The history of {|Charlie Parker|} is well documented, so much so that most devotees of {|Bird|}'s pioneering legacy undoubtedly have more than enough recordings to tell the tale. What they might not previously own is readily available in one package on this splendid four-CD set, containing a 100-track chronological musical and verbal account of {|Parker|} from 1940 to 1947. It encompasses items such as two whopping, finely detailed 32-page booklets, an early rare demo and interview with the saxophonist about his family and life as a teenager, and recordings with {|Jay McShann|}, {|Hazel Scott|}, {|Cootie Williams|}, {|Dizzy Gillespie|}, {|Earl Coleman|}, and {|Barry Ulanov's Metronome All Stars|}. The sound quality is good overall, though some of the early interview segments are paper thin, and a few of the songs have dropouts. Generally the studio or radio transcriptions are very good, and have held up through digital transfer. Interviews with {|Max Roach|} and {|Teddy Edwards|} are particularly illuminating and clearly recorded. The interviews with {|Roy Porter|} are just as interesting, but sound scratchy and not as clean. Over this eight-year period, {|Parker|} became the singularly unique star of bop, and fell hard as a heroin addicted junkie, committed to the Camarillo rehabilitation center in California for six months in 1946. Prior to that, he was well on his way to stardom, and the 1940 sessions with {|McShann|}'s band prove the point. These are the most valuable dates in that they showcase the alto and tenor saxophonist as a premier soloist and lead melody constructor. A well done cover of {|Moten Swing,|} the jumpin' {|Oh, Lady Be Good|} with {|Bird|} on tenor, and the self-proclaimed louder and funnier {|Wichita Blues|} give sway to the emergence of {|Parker|}, the latter piece featuring trombonist and violinist {|Bob Gould|}. More {|McShann|} from radio broadcasts lay out further evidence, at times with {|Al Hibbler|} or {|Walter Brown|} singing, but {|Swingmatism|} expresses the emerging modern, tricky, multi-faceted approach. Tracks with guitarist {|Efferge Ware|}, trumpeter {|Billy Eckstine|}, pianist {|Hazel Scott|}, and vocalist {|Rubberlegs Williams|} suffer a bit from sound, but are all rare and precious sessions. Recordings with the {|Cootie Williams Orchestra|} from 1945 represent a high-water mark, ranging from the raucous, hard swinging {|Mary Lou Williams|} evergreen {|711/Roll 'Em,|} a plus take of {|Perdido,|} {|Williams|} originals like the swing jam {|Night Cap,|} and sly, bluesy {|Saturday Night.|} Several tracks with {|Gillespie|} and the {|Rebop Six|} include classics like the furious {|Shaw 'Nuff,|} the inimitable {|Groovin' High,|} and {|Dizzy Atmosphere,|} including vibist {|Milt Jackson|}. These recordings, and following tracks were taken from the legendary {|Jubilee|} revue programs, hosted by the irascible {|Ernie Bubbles Whitman|}. There's an admirable session with poll winners {|Benny Carter|}, {|Willie Smith|}, and {|Parker|} all taking a featured tune. But by the time {|Parker|} was signed to {|Dial|} records in 1946, you could clearly hear the deterioration in his playing. His second series of recordings for {|Dial|} with trumpeter {|Howard McGhee|} is, in the words of the booklet annotator, falling apart, even though you hear a rare take of the fine {|Oscar Pettiford|} bop tune {|Max Is Makin' Wax|} (aka {|Chance It|}), and the obscure {|Parker|} blues {|The Gypsy.|} Unfinished material and solos ({|Parker|} was also doing benzedrine), and the great material of classy crooner {|Coleman|}, especially {|This Is Always,|} follow the post-Camarillo tracks where {|Bird|} sounds disinterested, and {|Dean Benedetti|}'s well known {|Hi-De-Ho|} recordings with an inspired {|McGhee|} gave {|Parker|} somewhat of a boost. {|Parker|} had gained considerable weight in the hospital, {|McGhee|} was taking care of him, and it seemed that {|Bird|}'s run might be done. Fortunately the {|Ulanov|} sessions marked a triumphant return, as {|Bird|} was paired again with {|Gillespie|} and {|Roach|}, clarinetist {|John LaPorta|}, pianist {|Lennie Tristano|}, bassist {|Ray Brown|}, and guitarist {|Billy Bauer|}. These {|Mutual Broadcasting System|} {|Bands for Bonds|} radio broadcasts from September 13 and 20 of 1947, proved {|Parker|} a capable team player, as well as a still impressive soloist. Included is the fiery {|Hot House,|} a wild intro before calming to {|On the Sunny Side of the Street,|} and a Dixieland jam plus bop styled take of {|Tiger Rag|} gone livid and crazy. After having won a poll of listeners, the band made a return appearance on November 8, with trumpeter {|Fats Navarro|}, bassist {|Tommy Potter|}, and tenor saxophonist {|Allen Eager|} replacing {|Diz|}, {|Brown|}, and {|Bauer|}. {|Parker|} is clearly feeling more confident, leading out on the fleet {|Donna Lee|} as the others lag behind. {|Bird in Time|} is an essential item for collectors of {|Parker|}'s music, an