Charlie Parker Plays Cole Porter

 

Love For Sale & Love For Sale (Alternate Take)

Charlie Parker Plays Cole Porter

The Genius Of Charlie Parker #5

Supervised by Norman Granz

Art Director: Sheldon Marks

Clef Series Verve MGV-8007

1957

From the back cover: In an age where conformity is too often the norm, and entertainment of almost any sort is dispensed with much the same manner and regularity as that of the prescription pharmacist, it's somewhat refreshing to note that Charlie Parker's music stands out for its invigorating nature, it's ever-fresh appeal, and is particularly stamped with the mark of originality. For Parker, unlike many of his contemporaries, was never satisfying with the simple mechanical procedure of playing methodically.

Music to be sure is a form of mathematics, but quite unlike the automated mechanical brain into which facts and figures are fed and a specific answer arrived at, we inject heart, warmth and our own personality in the performance of music before arriving at a conclusion. Fortunately for us, Mr. Parker was abundantly endowed in all these, and suffice to say, his passing left a chair that will be difficult to fill.

To say that Charlie "Yardbird" Parker was inventive is not enough. Parker was the progenitor of a style from whence came much of the modern sounds heard and played today. Any musician who has worked in jazz in the last decade and achieved even the slightest measure of success has been influenced  by Parker, in rhythm, tone, harmony – from every viewpoint. His work set a hitherto unreached climax, a pinnacle, a new standard not only for the saxophone, his chosen instrument, but for all musicians in jazz.

You can run the gamut of the big names in jazz today, and without exception all will attest to having been influence by Parker. His devotees can be found among the newcomers and neophytes of jazz who have only heard his recordings and never had occasion to hear his work in person.

Beyond the one basic requisite of jazz – that it must swing – Parker's legacy in music is the new height attained by the art of improvisation as a result of his prowess. Fidelity in music, especially in jazz, can only be reached if and when the musician is allowed to inject attitudes of his own in the basic writings. His feel for a give song, the musical method used in interpreting what the author has written are all important is still the hallmark to which all jazz musicians aspire.

It's fitting somehow that Parker should have chosen to record the music of Cole Porter in this his last recording session. Parker died on March 12, 1955 – these songs were recorded in New York only three months prior to his death. Few will challenge the relevancy of Parker playing Porter, for in such a marring, we're privileged to hear two unquestionable champions in their field.

There's another somewhat unorthodox surprise in store for listeners to this collection of Porter, for seldom do we hear, on records at least, more than one interpretation of a selection. This absence is corrected here via the additional performances of "I Get A Kick Out Of You," "Love For Sale," and different shades of phrasing in "I Get A Kick" are all delightful interludes.

No musician can ever play the same solo the same way twice. If ever this was true, it's true of Charlie Parker for the very essence of improvisation lies in lending new meaning, fresh implication to any given song or passage. This too, is true of Cole Porter's music.

Porter's music has stood the test of time, has met and mastered every known device which either rewards or rejects creative ability. His melodies are sincere, his lyrics smart, sophisticated and at times brutally frank. Above all though, he capably transmits emotion and even the most cynical has been touched by a Porter melody.

"Charlie Parker Plays Cole Porter" appears to be a just fulfillment of an exceptional career for the "Bird." This artistry of each is unique and has seldom been so well exemplified as it is in this collection.

Instrumentalists appearing with Parker on the "A" side are Roy Haynes, drums; Jerome Darr, guitar; Teddy Kotick, bass; and Walter Bishop Jr., piano. On the "B" side Arthur Taylor replaces Roy Haynes on drums and Billy Bauer replaces Jerome Darr on guitar.

From Billboard - June 10, 1957: Save for an upcoming Parker memorial album, these LP's represent the last of what has been termed the definitive library of jazz pioneer Charlie Parker. Never limited as to style of choice of repertoire, aficionados of Bird will find an unusual variety of his works here, ranging from his interpretive cutting or "Charlie Plays Cole Porter," to the unique blend in "Bird & Die." Each package stands well enough on its own for drive, inventiveness and bottomless well of imagination. "Flesta" is a highly unorthodox view of Parker, while "Now's The Time" and "Jazz Perennial" are more the quicksilver style Parker fans know well. Of the lot, "Swedish Schnapps" rates the nod.

I Get A Kick Out Of You

I Get A Kick Out Of You (Alternate Take)

Just One Of Those Things

My Heart Belongs To Daddy

I've Got You Under My Skin

Love For Sale

Love For Sale (Alternate Take)

I Love Paris

I Love Paris (Alternate Take)