Customer Reviews

Bird And Diz

5 star:		(10)
4 star:		(4)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

The retail price for this single-disc album will no doubt seem steep to some consumers, especially since the entire program clocks in at under 45 minutes. But it's a well-produced, artfully packaged (though the "retro-cardboard" fold-over case raises questions about durability), and unique session by three of jazz' most blessed improvisors at the pinnacle of their powers.

Originally a 1950 recording released on a 10" LP in 1952, the session was apparently conceived by Norman Granz as an opportunity to win for Bird a larger audience by showcasing him in the company of jazz stars playing "pretty tunes written by good songwriters" (in several years Sonny Stitt would be laying down 5-6 tracks per side of exquisitely played standard tunes for Roost Records). But with the exception of "Melancholy Baby" these are exactly the same kinds of bebop head charts based on blues and "Rhythm" chord changes that Bird had recorded at Dial and Savoy. What distinguishes the album--apart from the singularly aggressive and competitive playing of Parker and Gillespie in their last studio session--is the presence of Monk (playing Bud Powell-like lines on uncharacteristically up-tempo tunes but still unmistakably Monk) and Buddy Rich.

In his generous, well-documented liner notes, James Patrick laments the neglect this session has received from previous critics and historians. Then he observes that though Parker, Gillespie, Monk, and (even) bassist Curley Russell "play beautifully," Buddy Rich is "intrusive" and should have been replaced by a Max Roach, Roy Haynes, or Kenny Clarke. Fine, then we have another recording indistinguishable from the earlier Dials and Savoys!

Rich may be less flowing and propulsive than the aforementioned bebop drummers, but he's definitely not intrusive. In fact, his swing-era symmetry and unfailing metronomic pulse bring a different dimension to the music and complement, above all, Monk's rhythmic approach. It's impossible to believe a musician like Monk would have hung around the studio if he did not appreciate Rich's time. (In the early '70's at Chicago's Plugged Nickel I saw Monk fire a drummer in the middle of the second tune of the first set!)

What I love about this recording are the eleven takes of "Leap Frog." Even though seven are false starts, Bird and Diz are going after one another like rival gladiators on each take. In fact, it's quite a challenge to determine what caused Bird to abort seven of the attempts so quickly (and he clearly is in charge, stopping the recording and giving orders to Monk and the other musicians). The recording provides a fascinating glimpse of the creative process as practiced by one of the indisputable musical geniuses of the 20th century.

I have nothing to add to the below reviews--except for one significant thing they forgot to clarify. You buy this disc for the first six tracks. Those six add up to only 19 minutes of music. I consider that to be more like an EP, which a buyer should be-aware of. Do like me and buy it used.

Though the title credits Charlie Parker and Dizzy Gillespie, bop pioneer Thelonious Monk is also on this date, bringing three bop masters together. Add drummer Budy Rich who, though out of his natural element, plays exceedingly well, and you have a cooking set of bop tunes. The only problem I have with this CD reissue is the extensive number of false starts tacked on to the end of the disc. Though jazz hounds might find this fascinating, they take away from the magical music that preceeded them. My advice is to stop your disc player after track 13, or better still, seek out the original CD which contained only the first 13 tracks.

From the first cut this album truly soars. Together, Parker and Gillespie complement each other stylistically, as well as with unique phrasing. Diz was really the only trumpeter that could be as inventive as, or keep up and feed off of Parker's lines.

"Bloombido" is a classic. "Mohawk" and "Oscar For Treadwell" are my two favs. All of the tunes have a certain energy, not often captured, even the legendary earlier albums by Parker and Gillespie.

Superior remaster job. The sound quality is unmatched for the time period.

Masterful.

First the facts. This is a recording after brief stints apart, of Dizzy Gillespie and Charlie Parker, in June of 1950. A reunion if you will, of two great invoators, arguably creators, of the bop sensation. It is the last significant studio recording of the two, after their ground breaking sessions with the Savoy and Dial. They are accompanied for the one and only time with Thelonius Monk (strange isn't it), on piano of course, Buddy Rich on drums, and Curley Russell. There are essentially six recordings, with several retakes, false starts etc. of the songs.

As far as sound quality goes, you will not do better for this time frame. Some have complained about the addition of the false starts etc. of songs; nonsense! They are rare glimpses of the creative processes that went into the recording of these milestones. What would such people advocate? Less music?!? The more the better. If they present a problem, use your skip remote for goodness sakes.

Now for the plug! I cannot emphasize this enough: these recordings are the high water mark of the early bop era, equaled but rarely surpassed. They are absolutely essential to anyone who is a fan of Diz and Bird. They help define, elaborate, ground, establish the well deserved reputation of these two giants and their contribution to music. Yes, one can argue that the Savoy and Dial sessions are more polished, innovative etc., but that is all besides the point. If you are reading this review, you are not the casual music or jazz fan. You simply cannot go wrong with this album and I guarantee you that it will be on your playlist for years. If you are a newcomer, buy the disc and use it as an inspiration and launching pad to further Diz and Byrd. Enjoy!

This is hardly a typical recording, but I have to say that this is my favorite jazz album ever recorded. It's the only recording to have Thelonious Monk playing together with Charlie Parker and Dizzy Gillespie, which in itself is pretty amazing. Although their styles are so distinct, they do play quite well together. Hearing them playing together is almost surreal.

It's hard for me to describe how and why I like this album. I think the main reason that I like it is that it's so strange and so normal at the same time. The tunes exemplify this...two catchy blues (Bloomdido and Mohawk), a laid-back song to the same chord changes as "Stompin at the Savoy" (Relaxin' with Lee), a slowish and rather bizarre rhythm-changes tune (An Oscar for Treadwell), leap frog which is just ridiculously fast, and rather cheerful...and then...my melancholy baby.

And of course...bizarre stuff happens to the harmonies and rhythms when you put these musicians together. One moment it sounds so old-fashioned, the next moment totally modern. I love it all the way!

You get two takes of each most songs, four of leap frog, and some outtakes for kicks.

This is not the CD to buy as your "introduction to jazz" or for someone whose tastes you are uncertain of. But if you *really love* jazz, this is a MUST-BUY.

this disc is blazing with Musical Genius.Bird is in true form Monk adds his style Dizzy was Birds Musical SoulMate and Buddy Rich is in the Pocket.a Must have.nothing but Genius here.

For the age of the recording, the sound quality is extremely good (as you can listen to here). The CD runs about 45 minutes, but only the first six songs are the complete studio recording as it was meant to be heard. On song seven (as you can see), you begin to hear different variations of the first six songs. Songs seven through thirteen are complete, and then the remainder are just second-long blips -- false starts, some conversation (which can be interesting), and various beginnings that they experimented with. The longest of these is about 50 seconds, and many are only 12 to 14 seconds -- the majority of the CD is, of course, the first 13 complete songs. So, the CD has a very complete feeling from the start, yes, but be aware how it trails off. You buy the CD for the first six songs and the next variations on those songs, though. You won't be disappointed.

Most folks looking at this CD for purchase are going to know what they are in for. Buy it. It is a classic. Incredible playing from two of the giants of Bebop. It's also amazing to hear Charlie begin solo after jaw dropping solo on the extra tracks of Leap Frog and Relaxin' with Lee. Heads up: the said "studio conversations" on the extra tracks are difficult to make out and scant few. The soloists demonstrate a seemingly endless stream of creativity and drummer, Buddy Rich sparks a unique drive in the ensemble.

From the first cut this album truly soars. Together, Parker and Gillespie complement each other stylistically, as well as with unique phrasing. Diz was really the only trumpeter that could be as inventive as, or keep up and feed off of Parker's lines.

"Bloombido" is a classic. "Mohawk" and "Oscar For Treadwell" are my two favs. All of the tunes have a certain energy, not often captured, even on legendary earlier albums by Parker and Gillespie.

Superior remaster job. The sound quality is unmatched for the time period.

Masterful.