By Edward Komara
Dial files catered to jazz musicians and list creditors. Charlie Parker was once one of many significant jazz artists to list with Dial. His Dial classes happened on the own depths and inventive peaks of his occupation in which he brought a few such jazz staples as Ornithology and Scrapple from the Apple. His ten periods linked to Dial are awarded intimately and contain the repertory, unique matters and reissues, titles and notated transcriptions, and analyses of performances. observation explains the various titles to Parker's items and collates a few of the recordings within which he played his Dial repertory open air the confines of the Dial studios; those celebrated performances helped to form smooth jazz.In addition to of Parker's Dial recordings, jazz historians and students alike will get pleasure from the old narrative detailing the evolution of Dial files, its proprietor Ross Russell, and its enterprise family members with Charlie Parker. This exam of the 1940's jazz checklist company sheds mild at the dissemination of jazz through documents. 5 appendices entire this good geared up and thorough examine of Charlie Parker and his mythical Dial recordings.
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Dial files catered to jazz musicians and checklist creditors. Charlie Parker used to be one of many significant jazz artists to checklist with Dial. His Dial classes happened on the own depths and inventive peaks of his profession within which he brought a few such jazz staples as Ornithology and Scrapple from the Apple.
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Extra info for The Dial Recordings of Charlie Parker: A Discography (Discographies: Association for Recorded Sound Collections Discographic Reference)
L()3 Russell to Martin Williams, "Dial Days," Downbeat 31 (17 December 1964): 22. 1()4 Folder "Dial discography-reference," box 6, Ross Russell Collection. 105 Chronology, folder "Ross Russell auto bio-chronology" (sic), box 8, Ross Russell Collection. Russell, 17March 1958, folder "Letters-after 1955,"box 1, Ross Russell Collection. 107 The inventory is kept in folder "Dial parts," box 6, Ross Russell Collection. 1<)8 "Note re Parker Masters," folder "Discography/Dial/Parker," box 6, Ross Russell Collection.
49 Howard McGhee as told to Robert Reisner, Bird: The Legend of Charlie Parker, 144. " Down Beat 18 (29 June 1951): 15. 51 Elliott Grennard, "Sparrow's Last Jump," Harper's Magazine (May 1947): 419-426. 52 The surviving takes have been collected on The Tempo Jazzmen/The Hermanites, Confirmation (Spotlite SPJ132), and on Gillespie/Berman/Navarro on Dial (Spotlite SPJ-CD 132). 53 See Jepsen, Jazz Records 1942-1969 (Copenhagen: Knudsen, 1963-1970), 5:86 for discographical data. All surviving takes from this session may be found on Howard McGhee, Trumpet at Tempo (Spotlite SPJ131), and on Howard McGhee on Dial (Spotlite SPJ-CD 131).
36), the "Another Hair-Do" session on December 21, 1947 (KB no. 44A), and Miles Davis' first session as leader on August 14, 1947, with Parker as sideman, that produced "Half Nelson" and three other sides (KB no. 37). 150 This is the session with pianist Hank Jones, bassist Ray Brown and drummer Shelly Manne on the "The Bird," and then with the Neal Hefti Orchestra on "Repetition," in December 1947 (see Phil Schaap's booklet to Bird: The Complete Charlie Parker on Verve, Verve 837 141-2). l51 This is the concert on April 22, 1946, at which Parker and others performed a blues released as "JATP Blues" (see Koster and Bakker no.
The Dial Recordings of Charlie Parker: A Discography (Discographies: Association for Recorded Sound Collections Discographic Reference) by Edward Komara