Charlie Parker

From Wikipedia for FEVERv2
Jump to navigation Jump to search

For other people with the same name, see Charles Parker. Charlie Parker_sentence_0

Charlie Parker_table_infobox_0

Charlie ParkerCharlie Parker_header_cell_0_0_0
Background informationCharlie Parker_header_cell_0_1_0
Birth nameCharlie Parker_header_cell_0_2_0 Charles Parker Jr.Charlie Parker_cell_0_2_1
Also known asCharlie Parker_header_cell_0_3_0 Bird, YardbirdCharlie Parker_cell_0_3_1
BornCharlie Parker_header_cell_0_4_0 (1920-08-29)August 29, 1920

Kansas City, Kansas, U.S.Charlie Parker_cell_0_4_1

OriginCharlie Parker_header_cell_0_5_0 Kansas City, MissouriCharlie Parker_cell_0_5_1
DiedCharlie Parker_header_cell_0_6_0 March 12, 1955(1955-03-12) (aged 34)

New York City, New York, U.S.Charlie Parker_cell_0_6_1

GenresCharlie Parker_header_cell_0_7_0 Charlie Parker_cell_0_7_1
Occupation(s)Charlie Parker_header_cell_0_8_0 Charlie Parker_cell_0_8_1
InstrumentsCharlie Parker_header_cell_0_9_0 Alto and tenor saxophoneCharlie Parker_cell_0_9_1
Years activeCharlie Parker_header_cell_0_10_0 1937–1955Charlie Parker_cell_0_10_1
LabelsCharlie Parker_header_cell_0_11_0 United States: Savoy

United Kingdom: EsquireCharlie Parker_cell_0_11_1

Associated actsCharlie Parker_header_cell_0_12_0 Charlie Parker_cell_0_12_1
WebsiteCharlie Parker_header_cell_0_13_0 Charlie Parker_cell_0_13_1

Charles "Charlie" Parker Jr. (August 29, 1920 – March 12, 1955), nicknamed "Bird" and "Yardbird", was an American jazz saxophonist and composer. Charlie Parker_sentence_1

Parker was a highly influential soloist and leading figure in the development of bebop, a form of jazz characterized by fast tempos, virtuosic technique, and advanced harmonies. Charlie Parker_sentence_2

Parker was a blazingly fast virtuoso and introduced revolutionary harmonic ideas into jazz, including rapid passing chords, new variants of altered chords, and chord substitutions. Charlie Parker_sentence_3

Primarily a player of the alto saxophone, Bird's tone ranged from clean and penetrating to sweet and somber. Charlie Parker_sentence_4

Parker acquired the nickname "Yardbird" early in his career on the road with Jay McShann. Charlie Parker_sentence_5

This, and the shortened form "Bird", continued to be used for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology", "Bird Gets the Worm", and "Bird of Paradise". Charlie Parker_sentence_6

Parker was an icon for the hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual rather than just an entertainer. Charlie Parker_sentence_7

Biography Charlie Parker_section_0

Childhood Charlie Parker_section_1

Charlie Parker Jr. was born in Kansas City, Kansas at 852 Freeman Avenue, and raised in Kansas City, Missouri near Westport and later – in high school – near 15th and Olive Street. Charlie Parker_sentence_8

He was the only child of Charles Parker and Adelaide "Addie" Bailey, who was of mixed Choctaw and African American background. Charlie Parker_sentence_9

He attended Lincoln High School in September 1934, but withdrew in December 1935, just before joining the local musicians' union and choosing to pursue his musical career full-time. Charlie Parker_sentence_10

His childhood sweetheart and future wife, Rebecca Ruffin, graduated from Lincoln High School in June 1935. Charlie Parker_sentence_11

Parker began playing the saxophone at age 11, and at age 14 he joined his high school band where he studied under Bandmaster Alonzo Lewis. Charlie Parker_sentence_12

His mother purchased a new alto saxophone around the same time. Charlie Parker_sentence_13

His father, Charles Sr., was often required to travel for work, but provided some musical influence because he was a pianist, dancer and singer on the Theater Owners Booking Association (T.O.B.A.) Charlie Parker_sentence_14

circuit. Charlie Parker_sentence_15

He later became a Pullman waiter or chef on the railways. Charlie Parker_sentence_16

Parker's mother Addie worked nights at the local Western Union office. Charlie Parker_sentence_17

His biggest influence at that time was a young trombone player named Robert Simpson, who taught him the basics of improvisation. Charlie Parker_sentence_18

Early career Charlie Parker_section_2

In the mid-1930s, Parker began to practice diligently. Charlie Parker_sentence_19

During this period he mastered improvisation and developed some of the ideas that led to the later development of Bebop. Charlie Parker_sentence_20

In an interview with Paul Desmond, Parker said that he spent three to four years practicing up to 15 hours a day. Charlie Parker_sentence_21

Bands led by Count Basie and Bennie Moten certainly influenced Parker. Charlie Parker_sentence_22

He played with local bands in jazz clubs around Kansas City, Missouri, where he perfected his technique, with the assistance of Buster Smith, whose dynamic transitions to double and triple time influenced Parker's developing style. Charlie Parker_sentence_23

In late spring 1936, Parker played at a jam session at the Reno Club in Kansas City. Charlie Parker_sentence_24

His attempt to improvise failed when he lost track of the chord changes. Charlie Parker_sentence_25

This prompted Jo Jones, the drummer for Count Basie's Orchestra, to contemptuously take a cymbal off of his drum set and throw it at his feet as a signal to leave the stage. Charlie Parker_sentence_26

However, rather than discouraging Parker, the incident caused him to vow to practice harder, and turned out to be a seminal moment in the young musician's career when he returned as a new man a year later. Charlie Parker_sentence_27

Parker proposed to his wife, Rebecca Ruffin, the same year and the two were married on July 25, 1936. Charlie Parker_sentence_28

In the fall of 1936, Parker traveled with a band from Kansas City to the Ozarks for the opening of Clarence Musser's Tavern south of Eldon, Missouri. Charlie Parker_sentence_29

Along the way, the caravan of musicians had a car accident and Parker broke three ribs and fractured his spine. Charlie Parker_sentence_30

The accident led to Parker's ultimate troubles with pain killers and opioids, especially heroin. Charlie Parker_sentence_31

Parker struggled with drug use for the rest of his life. Charlie Parker_sentence_32

Despite his near death experience on the way to the Ozarks in 1936, Parker returned to the area in 1937 where he spent some serious time woodshedding and developing his sound. Charlie Parker_sentence_33

In 1938 Parker joined pianist Jay McShann's territory band. Charlie Parker_sentence_34

The band toured nightclubs and other venues of the southwest, as well as Chicago and New York City. Charlie Parker_sentence_35

Parker made his professional recording debut with McShann's band. Charlie Parker_sentence_36

New York City Charlie Parker_section_3

In 1939 Parker moved to New York City, to pursue a career in music. Charlie Parker_sentence_37

He held several other jobs as well. Charlie Parker_sentence_38

He worked for nine dollars a week as a dishwasher at Jimmie's Chicken Shack, where pianist Art Tatum performed. Charlie Parker_sentence_39

It was in 1939 in New York that Parker had his musical breakthrough that had begun in 1937 in the Missouri Ozarks. Charlie Parker_sentence_40

Playing through the changes on the song "Cherokee", Parker discovered a new musical vocabulary and sound that forever shifted the course of music history. Charlie Parker_sentence_41

In 1940, he returned to Kansas City to perform with Jay McShann and to attend the funeral of his father, Charles, Sr. Charlie Parker_sentence_42

He played Fairyland Park in the summer with McShann's band at 75th and Prospect for all-white audiences. Charlie Parker_sentence_43

The up-side of the summer was his introduction to Dizzy Gillespie by Step Buddy Anderson near 19th and Vine in the summer of 1940. Charlie Parker_sentence_44

After the summer season at Fairyland, Parker left with McShann's band for gigs in the region. Charlie Parker_sentence_45

On a trip to Omaha he earned his nickname from McShann and the band after an incident with a chicken and the tour bus. Charlie Parker_sentence_46

In 1942 Parker left McShann's band and played for one year with Earl Hines, whose band included Dizzy Gillespie, who later played with Parker as a duo. Charlie Parker_sentence_47

This period is virtually undocumented, due to the strike of 1942–1943 by the American Federation of Musicians, during which time few professional recordings were made. Charlie Parker_sentence_48

Parker joined a group of young musicians, and played in after-hours clubs in Harlem, such as Clark Monroe's Uptown House. Charlie Parker_sentence_49

These young iconoclasts included Gillespie, pianist Thelonious Monk, guitarist Charlie Christian, and drummer Kenny Clarke. Charlie Parker_sentence_50

According to Mary Lou Williams, the group was formed in order "to challenge the practice of downtown musicians coming uptown and 'stealing' the music." Charlie Parker_sentence_51

She recalled: "Monk and some of the cleverest of the young musicians used to complain: 'We'll never get credit for what we're doing.' Charlie Parker_sentence_52

They had reason to say it... Charlie Parker_sentence_53

In the music business the going is tough for original talent. Charlie Parker_sentence_54

Everybody is being exploited through paid-for publicity and most anybody can become a great name if he can afford enough of it. Charlie Parker_sentence_55

In the end the public believes what it reads. Charlie Parker_sentence_56

So it is often difficult for the real talent to break through... Charlie Parker_sentence_57

Anyway, Monk said: 'We're going to get a big band started. Charlie Parker_sentence_58

We're going to create something they can't steal, because they can't play it.'" Charlie Parker_sentence_59

Bebop Charlie Parker_section_4

One night in 1939, Parker was playing "Cherokee" in a practice session with guitarist William "Biddy" Fleet when he hit upon a method for developing his solos that enabled one of his main musical innovations. Charlie Parker_sentence_60

He realized that the 12 semitones of the chromatic scale can lead melodically to any key, breaking some of the confines of simpler jazz soloing. Charlie Parker_sentence_61

He recalled: "I was jamming in a chili house on Seventh Avenue between 139th and 140th. Charlie Parker_sentence_62

It was December 1939. Charlie Parker_sentence_63

Now I'd been getting bored with the stereotyped changes that were being used all the time at the time, and I kept thinking there's bound to be something else. Charlie Parker_sentence_64

I could hear it sometimes but I couldn't play it... Well, that night I was working over 'Cherokee' and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing. Charlie Parker_sentence_65

I came alive." Charlie Parker_sentence_66

Early in its development, this new type of jazz was rejected by many of the established, traditional jazz musicians who disdained their younger counterparts. Charlie Parker_sentence_67

The beboppers responded by calling these traditionalists "moldy figs". Charlie Parker_sentence_68

However, some musicians, such as Coleman Hawkins and Tatum, were more positive about its development, and participated in jam sessions and recording dates in the new approach with its adherents. Charlie Parker_sentence_69

Because of the two-year Musicians' Union ban of all commercial recordings from 1942 to 1944, much of bebop's early development was not captured for posterity. Charlie Parker_sentence_70

As a result, it gained limited radio exposure. Charlie Parker_sentence_71

Bebop musicians had a difficult time gaining widespread recognition. Charlie Parker_sentence_72

It was not until 1945, when the recording ban was lifted, that Parker's collaborations with Dizzy Gillespie, Max Roach, Bud Powell and others had a substantial effect on the jazz world. Charlie Parker_sentence_73

(One of their first small-group performances together was rediscovered and issued in 2005: a concert in New York's Town Hall on June 22, 1945.) Charlie Parker_sentence_74

Bebop soon gained wider appeal among musicians and fans alike. Charlie Parker_sentence_75

On November 26, 1945, Parker led a record date for the Savoy label, marketed as the "greatest Jazz session ever." Charlie Parker_sentence_76

Recording as Charlie Parker's Reboppers, Parker enlisted such sidemen as Gillespie and Miles Davis on trumpet, Curley Russell on bass and Max Roach on drums. Charlie Parker_sentence_77

The tracks recorded during this session include "Ko-Ko", "Billie's Bounce" and "Now's the Time". Charlie Parker_sentence_78

In December 1945, the Parker/Gillespie band traveled to an unsuccessful engagement at Billy Berg's club in Los Angeles. Charlie Parker_sentence_79

Most of the group returned to New York, but Parker remained in California, cashing in his return ticket to buy heroin. Charlie Parker_sentence_80

He experienced great hardship in California, eventually being committed to Camarillo State Mental Hospital for a six-month period. Charlie Parker_sentence_81

When Parker received his discharge from the hospital, he was clean and healthy. Charlie Parker_sentence_82

Before leaving California, he recorded "Relaxin' at Camarillo" in reference to his stay in the mental hospital. Charlie Parker_sentence_83

However, when he returned to New York he resumed his heroin usage. Charlie Parker_sentence_84

During this time he still managed to record dozens of sides for the Savoy and Dial labels, which remain some of the high points of his recorded output. Charlie Parker_sentence_85

Many of these were with his so-called "classic quintet" including Davis and Roach. Charlie Parker_sentence_86

In 1952, Parker and Gillespie released an album entitled Bird and Diz. Charlie Parker_sentence_87

Charlie Parker with Strings Charlie Parker_section_5

A longstanding desire of Parker's was to perform with a string section. Charlie Parker_sentence_88

He was a keen student of classical music, and contemporaries reported he was most interested in the music and formal innovations of Igor Stravinsky and longed to engage in a project akin to what later became known as Third Stream, a new kind of music, incorporating both jazz and classical elements as opposed to merely incorporating a string section into performance of jazz standards. Charlie Parker_sentence_89

On November 30, 1949, Norman Granz arranged for Parker to record an album of ballads with a mixed group of jazz and chamber orchestra musicians. Charlie Parker_sentence_90

Six master takes from this session became the album Charlie Parker with Strings: "Just Friends", "Everything Happens to Me", "April in Paris", "Summertime", "I Didn't Know What Time It Was", and "If I Should Lose You". Charlie Parker_sentence_91

Jazz at Massey Hall Charlie Parker_section_6

In 1953, Parker performed at Massey Hall in Toronto, joined by Gillespie, Mingus, Powell and Roach. Charlie Parker_sentence_92

Unfortunately, the concert happened at the same time as a televised heavyweight boxing match between Rocky Marciano and Jersey Joe Walcott, so the musical event was poorly attended. Charlie Parker_sentence_93

Mingus recorded the concert, resulting in the album Jazz at Massey Hall. Charlie Parker_sentence_94

At this concert, Parker played a plastic Grafton saxophone. Charlie Parker_sentence_95

Death Charlie Parker_section_7

Parker died on March 12, 1955, in the suite of his friend and patron Baroness Pannonica de Koenigswarter at the Stanhope Hotel in New York City, while watching The Dorsey Brothers' Stage Show on television. Charlie Parker_sentence_96

The official causes of death were lobar pneumonia and a bleeding ulcer, but Parker also had an advanced case of cirrhosis and had suffered a heart attack. Charlie Parker_sentence_97

The coroner who performed his autopsy mistakenly estimated Parker's 34-year-old body to be between 50 and 60 years of age. Charlie Parker_sentence_98

Since 1950, Parker had been living in New York City with his common-law wife, Chan Berg, the mother of his son Baird (who lived until 2014) and his daughter Pree (who died at age 3). Charlie Parker_sentence_99

He considered Chan his wife, although he never married her, nor did he divorce his previous wife, Doris, whom he had married in 1948. Charlie Parker_sentence_100

His marital status complicated the settling of Parker's estate and would ultimately serve to frustrate his wish to be quietly interred in New York City. Charlie Parker_sentence_101

Dizzy Gillespie paid for the funeral arrangements and organized a lying-in-state, a Harlem procession officiated by Congressman and Reverend Adam Clayton Powell, Jr., as well as a memorial concert. Charlie Parker_sentence_102

Parker's body was flown back to Missouri, in accordance with his mother's wishes. Charlie Parker_sentence_103

Berg criticized Doris and Parker's family for giving him a Christian funeral, even though they knew he was a confirmed atheist. Charlie Parker_sentence_104

Parker was buried at Lincoln Cemetery in Missouri, in a hamlet known as Blue Summit, located close to I-435 and East Truman Road. Charlie Parker_sentence_105

Parker's estate is managed by Jampol Artist Management. Charlie Parker_sentence_106

Personal life Charlie Parker_section_8

Parker's life was riddled with mental health problems and an addiction to heroin. Charlie Parker_sentence_107

Although unclear which came first, his addiction to opiates began at the age of 16, when he was injured in a car crash and a doctor prescribed morphine for the pain. Charlie Parker_sentence_108

The addiction that stemmed from this incident led him to miss performances, and to be considered unreliable. Charlie Parker_sentence_109

In the jazz scene heroin use was prevalent, and the substance could be acquired with little difficulty. Charlie Parker_sentence_110

Although he produced many brilliant recordings during this period, Parker's behavior became increasingly erratic. Charlie Parker_sentence_111

Heroin was difficult to obtain once he moved to California, where the drug was less abundant, so he used alcohol as a substitute. Charlie Parker_sentence_112

A recording for the Dial label from July 29, 1946, provides evidence of his condition. Charlie Parker_sentence_113

Before this session, Parker drank a quart of whiskey. Charlie Parker_sentence_114

According to the liner notes of Charlie Parker on Dial Volume 1, Parker missed most of the first two bars of his first chorus on the track, "Max Making Wax." Charlie Parker_sentence_115

When he finally did come in, he swayed wildly and once spun all the way around, away from his microphone. Charlie Parker_sentence_116

On the next tune, "Lover Man," producer Ross Russell physically supported Parker. Charlie Parker_sentence_117

On "Bebop" (the final track Parker recorded that evening) he begins a solo with a solid first eight bars; on his second eight bars, however, he begins to struggle, and a desperate Howard McGhee, the trumpeter on this session, shouts, "Blow!" Charlie Parker_sentence_118

at him. Charlie Parker_sentence_119

Charles Mingus considered this version of "Lover Man" to be among Parker's greatest recordings, despite its flaws. Charlie Parker_sentence_120

Nevertheless, Parker hated the recording and never forgave Ross Russell for releasing it. Charlie Parker_sentence_121

He re-recorded the tune in 1951 for Verve. Charlie Parker_sentence_122

Parker's life took a turn for the worse in March 1954 when his 3-year-old daughter Pree died of illness. Charlie Parker_sentence_123

He attempted suicide twice in 1954, which once again landed him in a mental hospital. Charlie Parker_sentence_124

Artistry Charlie Parker_section_9

Parker's style of composition involved interpolation of original melodies over existing jazz forms and standards, a practice known as contrafact and still common in jazz today. Charlie Parker_sentence_125

Examples include "Ornithology" (which borrows the chord progression of jazz standard "How High the Moon" and is said to be co-written with trumpet player Little Benny Harris), and "Moose The Mooche" (one of many Parker compositions based on the chord progression of "I Got Rhythm"). Charlie Parker_sentence_126

The practice was not uncommon prior to bebop, but it became a signature of the movement as artists began to move away from arranging popular standards and toward composing their own material. Charlie Parker_sentence_127

While tunes such as "Now's The Time", "Billie's Bounce", "Au Privave", "Barbados", "Relaxin' at Camarillo", "Bloomdido", and "Cool Blues" were based on conventional 12-bar blues changes, Parker also created a unique version of the 12-bar blues for tunes such as "Blues for Alice", "Laird Baird", and "Si Si." Charlie Parker_sentence_128

These unique chords are known popularly as "Bird Changes". Charlie Parker_sentence_129

Like his solos, some of his compositions are characterized by long, complex melodic lines and a minimum of repetition, although he did employ the use of repetition in some tunes, most notably "Now's The Time". Charlie Parker_sentence_130

Parker contributed greatly to the modern jazz solo, one in which triplets and pick-up notes were used in unorthodox ways to lead into chord tones, affording the soloist more freedom to use passing tones, which soloists previously avoided. Charlie Parker_sentence_131

Parker was admired for his unique style of phrasing and innovative use of rhythm. Charlie Parker_sentence_132

Through his recordings and the popularity of the posthumously published Charlie Parker Omnibook, Parker's identifiable style dominated jazz for many years to come. Charlie Parker_sentence_133

Other well-known Parker compositions include "Ah-Leu-Cha", "Anthropology", co-written with Gillespie, "Confirmation", "Constellation", "Moose the Mooche", "Scrapple from the Apple" and "Yardbird Suite", the vocal version of which is called "What Price Love", with lyrics by Parker. Charlie Parker_sentence_134

Miles Davis once said, "You can tell the history of jazz in four words: Louis Armstrong. Charlie Parker_sentence_135

Charlie Parker". Charlie Parker_sentence_136

Discography Charlie Parker_section_10

Main article: Charlie Parker discography Charlie Parker_sentence_137

Recognition Charlie Parker_section_11

Awards Charlie Parker_section_12

Grammy Award Charlie Parker_sentence_138

Charlie Parker_table_general_1

Grammy Award historyCharlie Parker_header_cell_1_0_0
YearCharlie Parker_header_cell_1_1_0 CategoryCharlie Parker_header_cell_1_1_1 TitleCharlie Parker_header_cell_1_1_2 GenreCharlie Parker_header_cell_1_1_3 LabelCharlie Parker_header_cell_1_1_4 ResultCharlie Parker_header_cell_1_1_5
1974Charlie Parker_cell_1_2_0 Best Performance by a SoloistCharlie Parker_cell_1_2_1 First Recordings!Charlie Parker_cell_1_2_2 JazzCharlie Parker_cell_1_2_3 OnyxCharlie Parker_cell_1_2_4 WinnerCharlie Parker_cell_1_2_5

Grammy Hall of Fame Charlie Parker_sentence_139

Recordings of Charlie Parker were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance." Charlie Parker_sentence_140

Inductions Charlie Parker_sentence_141

Charlie Parker_table_general_2

Year inductedCharlie Parker_header_cell_2_0_0 TitleCharlie Parker_header_cell_2_0_1
2004Charlie Parker_cell_2_1_0 Jazz at Lincoln Center: Nesuhi Ertegun Jazz Hall of FameCharlie Parker_cell_2_1_1
1984Charlie Parker_cell_2_2_0 Grammy Lifetime Achievement AwardCharlie Parker_cell_2_2_1
1979Charlie Parker_cell_2_3_0 Big Band and Jazz Hall of FameCharlie Parker_cell_2_3_1

Government honors Charlie Parker_section_13

In 1995, the U.S. Charlie Parker_sentence_142 Postal Service issued a 32-cent commemorative postage stamp in Parker's honor. Charlie Parker_sentence_143

In 2002, the Library of Congress honored his recording "Ko-Ko" (1945) by adding it to the National Recording Registry. Charlie Parker_sentence_144

Charlie Parker residence Charlie Parker_section_14

Charlie Parker_table_infobox_3

LocationCharlie Parker_header_cell_3_0_0 151 Avenue B

Manhattan, New York CityCharlie Parker_cell_3_0_1

CoordinatesCharlie Parker_header_cell_3_1_0 Charlie Parker_cell_3_1_1
BuiltCharlie Parker_header_cell_3_2_0 circa 1849Charlie Parker_cell_3_2_1
Architectural styleCharlie Parker_header_cell_3_3_0 Gothic RevivalCharlie Parker_cell_3_3_1
NRHP reference No.Charlie Parker_header_cell_3_4_0 Charlie Parker_cell_3_4_1
Significant datesCharlie Parker_header_cell_3_5_0
Added to NRHPCharlie Parker_header_cell_3_6_0 April 7, 1994Charlie Parker_cell_3_6_1
Designated NRHPCharlie Parker_header_cell_3_7_0 April 7, 1994Charlie Parker_cell_3_7_1
Designated NYCLCharlie Parker_header_cell_3_8_0 May 18, 1999Charlie Parker_cell_3_8_1

From 1950 to 1954, Parker lived with Chan Berg on the ground floor of the townhouse at 151 Avenue B, across from Tompkins Square Park on Manhattan's Lower East Side. Charlie Parker_sentence_145

The Gothic Revival building, which was built about 1849, was added to the National Register of Historic Places in 1994 and was designated a New York City landmark in 1999. Charlie Parker_sentence_146

Avenue B between East 7th and East 10th Streets was given the honorary designation "Charlie Parker Place" in 1992. Charlie Parker_sentence_147

Musical tributes Charlie Parker_section_15

Charlie Parker_unordered_list_0

  • Jack Kerouac's spoken poem "Charlie Parker" to backing piano by Steve Allen on Poetry for the Beat Generation (1959)Charlie Parker_item_0_0
  • Lennie Tristano's overdubbed solo piano piece "Requiem" was recorded in tribute to Parker shortly after his death.Charlie Parker_item_0_1
  • American composer Moondog wrote his famous "Bird's Lament" in his memory; published on the 1969 album Moondog.Charlie Parker_item_0_2
  • Since 1972, the Californian ensemble Supersax harmonized many of Parker's improvisations for a five-piece saxophone section.Charlie Parker_item_0_3
  • In 1973, guitarist Joe Pass released his album I Remember Charlie Parker in Parker's honor.Charlie Parker_item_0_4
  • Weather Report's jazz fusion track and highly acclaimed big band standard "Birdland", from the Heavy Weather album (1977), was a dedication by bandleader Joe Zawinul to both Charlie Parker and the New York 52nd Street club itself.Charlie Parker_item_0_5
  • The biographical song "Parker's Band" was recorded by Steely Dan on its 1974 album Pretzel Logic.Charlie Parker_item_0_6
  • Avant-garde jazz trombonist George Lewis recorded Homage to Charles Parker (1979).Charlie Parker_item_0_7
  • The opera Charlie Parker's Yardbird by Daniel Schnyder, libretto by Bridgette A. Wimberly, was premiered by Opera Philadelphia on June 5, 2015, with Lawrence Brownlee in the title role.Charlie Parker_item_0_8
  • The name of British 1960s blues-rock band The Yardbirds was at least partially inspired by Parker's nickname.Charlie Parker_item_0_9
  • Charles Mingus' song "Reincarnation of a Lovebird"Charlie Parker_item_0_10
  • In 1993, Anthony Braxton recorded a 2-CD album titled Charlie Parker Project, released in 1995. This material was re-released in 2018 as part of an 11-CD set titled Sextet (Parker) 1993.Charlie Parker_item_0_11

Other tributes Charlie Parker_section_16

Charlie Parker_unordered_list_1

  • In 1949, the New York night club Birdland was named in his honor. Three years later, George Shearing wrote "Lullaby of Birdland", named for both Parker and the nightclub.Charlie Parker_item_1_12
  • The 1957 short story "Sonny's Blues" by James Baldwin features a jazz/blues playing virtuoso who names Bird as the "greatest" jazz musician, whose style he hopes to emulate.Charlie Parker_item_1_13
  • In 1959, Jack Kerouac completed his only full-length poetry work, Mexico City Blues, with two poems about Parker's importance, writing in those works that Parker's contribution to music was comparable to Ludwig van Beethoven's.Charlie Parker_item_1_14
  • The 1959 Beat comedy album How to Speak Hip, by comedians Del Close and John Brent, lists the three top most "uncool" actions (both in the audio and in the liner notes) as follows: "It is uncool to claim that you used to room with Bird. It is uncool to claim that you have Bird's sax. It is even less cool to ask 'Who is Bird?'"Charlie Parker_item_1_15
  • A memorial to Parker was dedicated in 1999 in Kansas City at 17th Terrace and The Paseo, near the American Jazz Museum located at 18th and Vine, featuring a 10-foot (3 m) tall bronze head sculpted by Robert Graham.Charlie Parker_item_1_16
  • The Charlie Parker Jazz Festival is a free two-day music festival that takes place every summer on the last weekend of August in Manhattan, New York City, at Marcus Garvey Park in Harlem and Tompkins Square Park in the Lower East Side, sponsored by the non-profit organization City Parks Foundation.Charlie Parker_item_1_17
  • The Annual Charlie Parker Celebration is an annual festival held in Kansas City, Kansas since 2014. It is held for 10 days and celebrates all aspects of Parker, from live jazz music and bootcamps, to tours of his haunts in the city, to exhibits at the American Jazz Museum.Charlie Parker_item_1_18
  • In the short-story collection Las armas secretas (The Secret Weapons), Julio Cortázar dedicated "El perseguidor" ("The Pursuer") to Charlie Parker. This story examines the last days of a drug-addicted saxophonist through the eyes of his biographer.Charlie Parker_item_1_19
  • A biographical film called Bird, starring Forest Whitaker as Parker and directed by Clint Eastwood, was released in 1988.Charlie Parker_item_1_20
  • In 1984, modern dance choreographer Alvin Ailey created the piece For Bird – With Love in honor of Parker. The piece chronicles his life from his early career to his failing health.Charlie Parker_item_1_21
  • In 1999 the spanish metal band Saratoga created the song Charlie se Fue in honor of Charlie Parker, for the album Vientos de Guerra.Charlie Parker_item_1_22
  • In 2005, the Selmer Paris saxophone manufacturer commissioned a special "Tribute to Bird" alto saxophone, commemorating the 50th anniversary of Parker's death (1955–2005).Charlie Parker_item_1_23
  • Parker's performances of "I Remember You" (recorded for Clef Records in 1953, with the Charlie Parker Quartet, comprising Parker on alto sax, Al Haig on piano, Percy Heath on bass, and Max Roach on drums) and "Parker's Mood" (recorded for the Savoy label in 1948, with the Charlie Parker All Stars, comprising Parker on alto sax, Miles Davis on trumpet, John Lewis on piano, Curley Russell on bass, and Max Roach on drums) were selected by literary critic Harold Bloom for inclusion on his shortlist of the "twentieth-century American Sublime", the greatest works of American art produced in the 20th century. A vocalese version of "Parker's Mood" was a popular success for King Pleasure.Charlie Parker_item_1_24
  • Jean-Michel Basquiat created many pieces to honor Charlie Parker, including Charles the First, CPRKR, Bird on Money, and Discography I.Charlie Parker_item_1_25
  • Charlie Watts, drummer for the Rolling Stones, wrote a children's book entitled Ode to a High Flying Bird as a tribute to Parker. Watts has cited Parker as a large influence on his life when he was a boy learning jazz.Charlie Parker_item_1_26
  • The 2014 film Whiplash repeatedly refers to the 1937 incident at the Reno Club, changing the aim point of the cymbals to his head and pointing to it as proof that genius is not born but made by relentless practice and pitiless peers.Charlie Parker_item_1_27
  • Jazz historian Phil Schaap hosts Bird Flight, a radio show on WKCR New York that is dedicated solely to Parker's music.Charlie Parker_item_1_28

Credits to the contents of this page go to the authors of the corresponding Wikipedia page: Parker.