parker was blues mixed with classical. tempting concotion

Fantastik Kenny and Red.Wow...

I can hear Bird’s voice, this is not fake

kzbin.info/www/bejne/hKLLeYeejr2Uqpo

there is a modern Bird wanna-be, Charles McMpherson out of Detroit...his practising, compare to this? is like a 6 year old to a master. An inmpressive difference, not to mention in tone, as well as swing. No offect to Chuck, but Wow..

Can anyone hear what they say at the end?

Amazing. Shows he didn't just make up those incredibly fast 32nd note runs. He worked on those in practice sessions. That run at 0:17! Just wow!

I don't think Miles has been challenged like the line and tempo of Donna Lee. He pulled it off though

"Download the Dominos app ...." SHUT UP!

Brilliant!

Wow! How and where did you find this?

Bird's sound is so HEAVY, it's like velvet or molasses. Very dense, but not 'overblown'. You can learn a ton just from those 2 concert Eb's he starts with, and that velvety vibrato on the 2nd Eb. He practices as if he's playing a concert. Also, when he plays the opening double time phrases, the time-feel of it all stretches. Instead of thinking double time as "1-e-and-ah-2" with Bird it feels like a diagonal line UP, and then Down. One movement. Starting point, destination; fill in with the right notes etc. There's a video with Barry Harris teaching studies how to play a certain phrase on the piano and he was trying to get them to do / see it as one physical movement A ---- B. vs "note note note note note note" etc.

I’ve heard/read a lot of analysis about this recording. Chilly willies and wide eyes/ears aside, I think the most telling trait about this recording is the way he is practicing in general and the way he is practicing scales. The ‘practicing in general’ comment comes from (or in retaliation to) years of hearing the trope of ‘structured practice’. This is a fallacy and I can’t iterate enough that practice is your own personal (highly personal) journey. Navigating the myriad concepts and technicalities prone to each individual instrument, not to mention overall theory, leads one down many paths with many forks in many roads. For anyone to suggest that there is a ‘way’ to practice is ludicrous. We all get there (i.e. on the bandstand) in our own way. Having stated that, the reason I think that this particular recording (and we’ve all heard countless titans practicing) is so interesting is because you can truly hear where CP is coming from. There’s no metronome, there’s no ‘playbook’ (granted this is obviously something that was made in a hotel room before a gig or by some rich kid who paid for a lesson and brought an early reel to reel tape machine) but what CP does here is run down IDEAS. You’ll notice that he starts out every exercise by blowing and honing in on one note - the tonic - for whatever he wants to explore. The other astounding thing is that when he is running scales… the first note is ‘scooped’… i.e. he’s navigating the tonal center in milliseconds for the cascade of notes that will follow. This isn’t someone who is following a ‘rule book’ or contextualizing each exercise. It’s someone who is exploring the instrument on their own terms, playing around and seeing what happens, and trying to adapt that knowledge into a cohesive sound. At a certain point, you’ve got to just play what whatever comes into your head. Should you have a structured 5/6/7/8 hour practice routine? No. Should you have things that you have acknowledged that are quintessential to work on? Yes. How you incorporate them into your practice routine is entirely subjective. Start every practice routine with ‘automatic writing’, an exercise many authors employ. Just play. The notes do or don’t matter. I guarantee you, within 10mins, you’ll have unearthed 10 things you want to focus on for the day. Bonus tip - do the same thing on the first tune at a gig. No one will notice and you’ll feel free as a…BIRD. Stay safe out there.

ONE ☝🏾 with the Horn

Charlie Parker sets the bar for all alto players to ascertain in the jazz world . Legend has it that the first time Freddie Hubbard ever heard Charlie Parker and Philly Joe Jones swinging they were swinging so fast Freddy said it was frightening .He was too scared to even break out his horn .

1:26-1:31, you can hear the beginnings of Ornette...

❣️😃

One story has it he thought there was only one key. A musician told him there were twelve so he practiced in all twelve when at the time they only played in a few keys.

It’s only rare to those who haven’t heard or seen it before

Good evening, jamesjonesrocket. it is surprisingly distinctive video. thank. :)

Interesting that he practiced that fast. It's known you gotta practice slow to build good technique but I thought you'd also have to practice really slow to sustain it.

God Lives.

That's what I've always said about him. His effortless ability to make scales really sing. And how he closes out the scale run, is still in a class by itself. He is "jazz"; even though he didn't like to be called a jazz artist. He was the reason all those cats that came after were playing the way they did.

I like his references to classical music.

Dialing tone ?

...прошло много лет, а Чарльз звучит совершенно современно, и так будет много лет. Это и есть настоящий гений ❤

This was at an old friend's apartment in the East Village in the early 50s. He was a fine saxophonist named Dick Meldonian. Dick recorded it himself and he gave me a cassette of this about 30 years ago. Bird eventually tires of the unnamed 3rd party who continues to ask bird dumb questions. It is a precious moment captured in time of a genius in a casual setting.

Now imagine him doing this everyday, 10 hours, for a decade

what are they talking about?

i do not think anyone else uses the sax like that...,the quality of the notes....,none can dublicate that sound and musical ideas !!!!!

He sounds like Pan, from mythology. When his lips and fingers touch the instrument music is Everywhere. A cascade of inventive melodies. Joyful.

ჩარლი პარკერ! 🎼❤️

Totally legit. You can hear his voice

Nice anything rare by Bird is very much appreciated!

Excelente ! Gracias por compartirlo. Me hizo recordar sesiones de amigos en hoteles compartiendo y tocando el sax.

Session details for those interested can be found here: www.plosin.com/milesAhead/BirdSessions.aspx?s=550000 Originally issued (as the uploaded notes) on this album: www.discogs.com/Charlie-Parker-The-Last-Notes-1953-1954/release/3318350

seems legit

a master getting ready play!

Apparenly Carl Albert is skeptical. Probably cause he doesn't know shit.

Un tesoro... Muchísimas gracias!!!!!!!!

Hm. Warming up is quite a very private thing, isnt it?

This gives me the chills!!! Bird can make scales sound magical. Thanks for posting!

FAKE.

Let me guess....Klose?

For future reference to anyone reading this, Google "video2mp3" for free online service where you type in a KZbin address and it makes a recording of it for you. I've used it several times with no hassles. I also like this recording btw!

This is great Parker played a few bars of the Klose Book excercise 23 at 0:27 he played a few bars of the excersice

Another possibility to "touch" Bird:) Thanks jamesjonesrocket for sharing! I love YT!!

"All the way up the horn." Just incredible to be able to hear this.

For Bird, each key had the very same value. He demonstrated how he played the scales: Not in the usual practice from C to G to D to A to E to B to F#, then from F to Bb to Eb to Ab to Db to Gb, no, he played them from one tone, up to the next half-tone, chromatically. ∽∽ That way of thinking chromatically enabled him to play easily in each possible key. ∽∽ The rest is about the unique way how he put all those things together, how he created all those melodies & rhythms and made them swing.

blowing out cobwebs. doesnt matter what exercise he playing.