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Charlie Parker With Strings: The Master Takes by Charlie Parker (CD, Jan-1995, Verve USA) 
Charlie Parker With Strings: The Master Takes by Charlie Parker (CD, Jan-1995, Verve USA)

 
Charlie Parker With Strings: The Master Takes by Charlie Parker (CD, Jan-1995, Verve USA)

Release Date: Jan 1995
Format: CD
Record Label: Verve (USA)
Genre: Alto Sax, Jazz Instrument
UPC: 731452398420
Product ID: EPID3169160
Description: Personnel includes: Charlie Parker (alto saxophone), Flip Phillips (tenor saxophone), Al Porcino (trumpet), Joseph Singer (French horn), Mitch Miller (oboe), John LaPorta (clarinet), Zelly Smirnoff (violin), Isadore Zir (viola), Maurice ...
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13 results|Group by condition
Track Listing
1. Just Friends
2. Everything Happens to Me
3. April in Paris
4. Summertime
5. I Didn't Know What Time It Was
6. If I Should Lose You
7. Dancing in the Dark
8. Out of Nowhere
9. Laura
10. East of the Sun (And West of the Moon)
11. They Can't Take That Away From Me
12. Easy to Love
13. I'm in the Mood For Love
14. I'll Remember April
15. What Is This Thing Called Love?
16. April in Paris
17. Repetition
18. Easy to Love
19. Rocker
20. Temptation
21. Lover
22. Autumn in New York
23. Stella by Starlight
24. Repetition

Details
Playing Time:75 min.
Producer:Norman Granz
Distributor:Universal Distribution
Recording Type:Mixed
Recording Mode:Mono
SPAR Code:n/a

Album Notes
Personnel includes: Charlie Parker (alto saxophone), Flip Phillips (tenor saxophone), Al Porcino (trumpet), Joseph Singer (French horn), Mitch Miller (oboe), John LaPorta (clarinet), Zelly Smirnoff (violin), Isadore Zir (viola), Maurice Brown (cello), Verley Mills (harp), Al Haig, Lou Stein, Tony Aless, Bernie Leighton (piano), Art Ryerson (guitar), Ray Brown, Tommy Potter, Bob Haggart, Curly Russell (bass), Buddy Rich, Roy Haynes, Don Lamond, Shelly Manne (drums), Diego Iborra (percussion).
Compilation producer: Michael Lang.
Recorded in New York between December 1947 and 1952. Includes liner notes by Joe Goldberg and Norman Granz.
This is an expanded version of the early-'50s album that broadened Charlie Parker's audience by focusing on the beautiful lyricism of his playing. These recordings feature Parker's alto saxophone over a gorgeous bed of strings, but perhaps an even more significant departure is the fact that he simplified his phrasing. His wondrously uncurling ribbons of notes are supplanted by the confident ease with which he embraces each of these melodies, dancing through and around them and never losing their essential character. On an album of back-to-back standouts, "April in Paris" is a towering beauty. Comprised primarily of what were--or have since become--standards, this is as fine a place as any to see exactly why Parker is perhaps the preeminent improviser in the history of jazz.

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