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Complete Charlie Parker On Dial
''Complete Charlie Parker on Dial'' is a 1996 box set release of jazz saxophonist and composer Charlie Parker's 1946–47 recordings for Dial Records. The box set, released by Jazz Classics, features 89 songs, including alternate takes and notes composed by jazz historian and Parker biographer Ira Gitler. John Genarri, author of the book ''Blowin' Hot and Cool: Jazz and Its Critics'' singles out the recording of "Lover Man" on this album, noting that " is wrenching, anguished version...has been called Parker's most poetic statement on record" though, says Gennari, Parker himself viewed it as substandard and threatened physical violence against Ross Russell, a Dial records producer, for including it.Gennari, John"Blowin' Hot and Cool: A Soundtrack"University of Chicago Press. Retrieved 2008-09-04. Gennari also indicates that other tracks included on this CD—"Relaxin' at Camarillo", "Cheers", "Stupendous" and "Carvin' the Bird"—"have struck many listeners as his most joyous and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Box Set
A box set or (its original name) boxed set is a set of items (for example, a compilation of books, musical recordings, films or television programs) traditionally packaged in a box and offered for sale as a single unit. Music Artists and bands with an extremely long and successful career often have anthology or "essential" collections of their boxes of music released as box sets. These often include rare and never-before-released tracks. Some box sets collect previously released boxes of singles or albums by a music artist, and often collect the complete discography of an artist such as Pink Floyd's ''Oh, by the Way'' and ''Discovery'' sets. Sometimes bands release expanded versions of their most successful albums such as Pink Floyd's ''Immersion'' box set versions of their ''The Dark Side of the Moon'' (1973), ''Wish You Were Here'' (1975) and ''The Wall'' (1979) albums. Pink Floyd have also released ''The Early Years 1965–1972'' box set which features mostly unreleased mate ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Clarence Profit
Clarence Profit (June 26, 1912 – October 22, 1944) was a jazz pianist and composer associated with swing. Profit was born in New York, United States. He came from a musical family and began studying piano at the age of three, and he led a ten-piece band in New York City in his teens. A visit to his grandparents in Antigua resulted in his staying in the Caribbean for five years. He also led a group in Bermuda. He returned to the US and led his own trio, which was noted as "a format which best suited his powerful stride piano style". He co-composed "Lullaby In Rhythm" with Edgar Sampson. He was respected in his era, but after his early death fell into obscurity. He died in New York in October 1944, at the age of 32. References ;Footnotes ;General references *AllMusic AllMusic (previously known as All Music Guide and AMG) is an American online music database. It catalogs more than three million album entries and 30 million tracks, as well as information on musicians an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Benny Goodman
Benjamin David Goodman (May 30, 1909 – June 13, 1986) was an American clarinetist and bandleader known as the "King of Swing". From 1936 until the mid-1940s, Goodman led one of the most popular swing big bands in the United States. His concert at Carnegie Hall in New York City on January 16, 1938, is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's 'coming out' party to the world of 'respectable' music." Goodman's bands started the careers of many jazz musicians. During an era of racial segregation, he led one of the first integrated jazz groups, his quartet and quintet. He performed nearly to the end of his life while exploring an interest in classical music. Early years Goodman was the ninth of twelve children born to poor Jewish emigrants from the Russian Empire. His father, David Goodman (1873–1926), came to the United States in 1892 from Warsaw in partitioned Poland and became a tailor. His mother, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Roger "Ram" Ramirez
Roger "Ram" Ramirez (September 15, 1913 – 11 January 1994) was a Puerto Rican jazz pianist and composer. He was a co-composer of the song "Lover Man (Oh, Where Can You Be?)" Early life Ramirez was born in San Juan, Puerto Rico on September 15, 1913. He grew up in New York and started playing the piano at a young age. Later life and career Ramirez's first professional performances were in the early 1930s. In 1933 he played with Monette Moore, then with Rex Stewart and Sid Catlett in New York. He joined Willie Bryant in 1935, and toured Europe with Bobby Martin in 1937. During the first half of the 1940s Ramirez played with Ella Fitzgerald, Frankie Newton, Charlie Barnet, John Kirby, and Catlett, in addition to leading his own band. Ramirez wrote "Lover Man (Oh, Where Can You Be?)" in 1942, which became a jazz standard following Billie Holiday's recording of it two years later. He was a freelance into the mid-1950s, when he added electronic organ to his instruments. In 1953 he w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lover Man
"Lover Man (Oh, Where Can You Be?)" (often called simply "Lover Man") is a 1941 popular song written by Jimmy Davis, Roger ("Ram") Ramirez, and James Sherman. It is particularly associated with Billie Holiday, for whom it was written, and her version was inducted into the Grammy Hall of Fame in 1989. Holiday's version reached No. 5 on the R&B chart and No. 16 on pop in 1945. In July 1946, Charlie Parker recorded a rendition of "Lover Man" while he was intoxicated. Dial Records producer Ross Russell had to hold him up to the microphone during the recording. Sonny Stitt played the song many times on alto saxophone in a virtuoso way, in the original key of D flat. Most jazz musicians play the song nevertheless in F. Barbra Streisand recorded a version for her album Simply Streisand in 1967, her version peaked #29 at Billboard Adult Contemporary chart. Cover versions * Sarah Vaughan recorded the song for the Guild label in 1945 with backing by an instrumental ensemble that inc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oscar Pettiford
Oscar Pettiford (September 30, 1922 – September 8, 1960) was an American jazz double bassist, cellist and composer. He was one of the earliest musicians to work in the bebop idiom. Biography Pettiford was born in Okmulgee, Oklahoma, United States. His mother was Choctaw, and his father Harry "Doc" Pettiford was half Cherokee and half African American. He grew up playing in the family band in which he sang and danced before switching to piano at the age of 12, then to double bass when he was 14. He is quoted as saying he did not like the way people were playing the bass, so he developed his own way of playing it. Despite being admired by the likes of Milt Hinton at the age of 14, he gave up in 1941 as he did not believe he could make a living. Five months later, he once again met Hinton, who persuaded him to return to music. In 1942, he joined the Charlie Barnet band and in 1943 gained wider public attention after recording with Coleman Hawkins on his " The Man I Love". Pett ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dizzy Gillespie
John Birks "Dizzy" Gillespie (; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuosic style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, scat singing, bent horn, pouched cheeks, and light-hearted personality provided one of bebop's most prominent symbols. In the 1940s, Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione, and balladeer Johnny Hartman. He pioneered Afro-Cuban jazz and won several Grammy Awards. Scott Yanow wrote, "Dizzy ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
A Night In Tunisia
"A Night in Tunisia" is a musical composition written by Dizzy Gillespie around 1940–42, while Gillespie was playing with the Benny Carter band. It has become a jazz standard. It is also known as "Interlude", and with lyrics by Raymond Leveen was recorded by Sarah Vaughan in 1944. Composition Gillespie called the tune "Interlude" and said "some genius decided to call it 'Night in Tunisia'". He said the tune was composed at the piano at Kelly's Stables in New York. He gave Frank Paparelli co-writer credit in compensation for some unrelated transcription work, but Paparelli had nothing to do with the song. "A Night in Tunisia" was one of the signature pieces of Gillespie's bebop big band, and he also played it with his small groups. In January 2004, The Recording Academy added the 1946 Victor recording by Gillespie to the Grammy Hall of Fame. On the album '' A Night at Birdland Vol. 1'', Art Blakey introduced his 1954 cover version with this statement: "At this time we'd like to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Benny Harris
"Little" Benny Harris (April 23, 1919 in New York City – May 11, 1975 in San Francisco) was an American bebop trumpeter and composer. A self-taught musician, in the mid-1930s Benny Harris was already playing with Thelonious Monk. In later years, he participated in some of the jam sessions that gave birth to the bebop jazz style. Reportedly, it was Harris that persuaded Dizzy Gillespie of Charlie Parker's ability by playing one of Parkers's improvisations to Gillespie. Harris's first major gig was in 1939 with Tiny Bradshaw.Scott Yanow, Benny Harrisat AllMusic He played with Earl Hines on and off from 1941 to 1945, and worked the 52nd Street bebop circuit in New York City in the 1940s, where he collaborated with Benny Carter, John Kirby, Coleman Hawkins, Don Byas, and Thelonious Monk. He was with Boyd Raeburn from 1944 to 1945 and Clyde Hart in 1944; he and Byas worked together again in 1945. He played less in the late 1940s, though he appeared with Dizzy Gillespie in 194 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ornithology (composition)
"Ornithology" is a jazz standard by bebop alto saxophonist Charlie Parker and trumpeter Benny Harris. Description Its title is a reference to Parker's nickname, "Bird" (ornithology is the study of birds). The Charlie Parker Septet made the first recording of the tune on March 28, 1946 on the Dial label, and it was inducted into the Grammy Hall of Fame in 1989. "Ornithology" is a contrafact – a newly created melody written over the chord progression of another song, in this case the standard "How High the Moon". It remains one of the most popular and frequently performed bebop tunes. Jazz vocalists scatting on "How High the Moon" (notably Ella Fitzgerald) often quote the melody of "Ornithology" (and vice versa). Coleman Hawkins used the first two bars of the melody in a Cozy Cole recording session dating back to November 14, 1944, in a tune called "Look Here". Notable recordings include Bud Powell's version and the Gerry Mulligan-Chet Baker 1957 version. Babs Gonzales wrote v ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Master Recording
Mastering, a form of audio post production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device (the master), the source from which all copies will be produced (via methods such as pressing, duplication or replication). In recent years digital masters have become usual, although analog masters—such as audio tapes—are still being used by the manufacturing industry, particularly by a few engineers who specialize in analog mastering. Mastering requires critical listening; however, software tools exist to facilitate the process. Results depend upon the intent of the engineer, the skills of the engineer, the accuracy of the speaker monitors, and the listening environment. Mastering engineers often apply equalization and dynamic range compression in order to optimize sound translation on all playback systems. It is standard practice to make a copy of a master recording—known as a safety copy—in case ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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