{"id":1638,"date":"2020-08-29T20:50:15","date_gmt":"2020-08-30T01:50:15","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=1638"},"modified":"2023-06-13T21:51:24","modified_gmt":"2023-06-14T02:51:24","slug":"charlie-parker-100th","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/charlie-parker-100th\/","title":{"rendered":"Five Non-Traditional Tributes to Charlie Parker"},"content":{"rendered":"\n

On August 29, 1920, Charles Parker Jr. was born in a home at 852 Freeman Avenue, Kansas City, Kansas. The name of the street was also fortuitous as he would be the one to free music from its confines to a higher plane of expression. Despite living only a short thirty-four years, Parker established himself as one of history\u2019s greatest musicians. Although improvisation played a significant role in \u201cjazz\u201d before Bird, he took it to the next level by using small parts of compositions to build new harmonic fixtures while exploring the outer ranges of melodicism. <\/p>\n\n\n\n

In the process, he inspired countless musicians. As such, it is unsurprising that there are several tributes to him on the centennial anniversary of his birth. Many focus on his compositions. Others will re-narrate his life story. And while each is well-appreciated, in some ways, they also miss the central point of Parker\u2019s legacy. Yes, \u201cYardbird Suite,\u201d \u201cAnthropology,\u201d and several others continue to fascinate. His biography is worth revisiting. But neither is where his true glory lies. Instead, it is in his expansive ethos, one that sees rules not as hard and fast but barriers to test. As Parker himself said, \u201c[t]hey teach you there\u2019s a boundary line to music. But man, there\u2019s no boundary line to art.\u201d <\/p>\n\n\n\n

And so, this list selects less traditional albums dedicated to his artistic greatness. Each overtly honor Bird but, like the saxophonist himself, aren\u2019t intent on replicating what came before but instead pushing into new territory.  <\/p>\n\n\n\n

Bird Up:  The Charlie Parker Remix Project<\/em><\/strong> (Savoy Jazz, 2003)<\/strong><\/p>\n\n\n\n

Although the title is a bit of a misnomer as it does not, in any technical sense, remix any of Parker\u2019s recordings, it does adopt the spirit of that approach by taking the originals and introducing new thoughts and context to them.  Producer Matthew Backer assembled an impressive team of collaborators from across the musical spectrum to make his reimagined picture a reality. Electronic and acid are writ large but far from the only influences. Consider \u201cSalt Peanuts (The Mr. Peanut Chronicles),\u201d one of the finest tracks, and the brainchild of the late Hal Wilner. It begins with the Kronos Quartet presenting a few bars reminiscent of the great Charlie Parker with Strings<\/em>  (Mercury Records, 1950) before it forges its own path drawing equally from jazz, classical, and folk. Dr. John and Mocean Worker join in along the way, over the backdrop of Dizzy Gillespie\u2019s Quintet. Meshell Ndegeocello\u2019s deep bassline guides her \u201cRelaxin\u2019 At Camarillo (August 29)\u201d duet with Ray Angry\u2019s soulful organ. On \u201cSteeplechase (Sittin\u2019 on 22\u2019s),\u201d Dan the Automator validly contends that any perceived line between \u201cjazz\u201d and \u201chip hop\u201d is arbitrary; one could even argue that Parker\u2019s approach to improvisation of placing together different shards of phrases was an antecedent to sampling. It is a concept the Rob Swift produced \u201cCheers (X-Ecutioners Style)\u201d pushes even further by adding loops of spoken voice, record scratches, and digital beats. <\/p>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n

<\/div><\/div>
<\/div>
<\/div>
<\/div><\/div><\/div>