Customer Reviews

Jazz at the Philharmonic 1949

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

 

 

[Recently the "doctored" recording of Bird playing a marathon solo of "Lester Leaps In" in the Clint Eastwood film "Bird" (played by Forest Whittaker) raised numerous questions since Bird recorded the tune only twice according to my research, and he rarely chose to play more than one or two choruses, whether on stage or in the studio. Yet he improvises for a full nine 32-bar choruses on the movie soundtrack. The mystery was finally solved. The original "Lester" was from a 1952 amateur recording on which Lennie Niehaus had removed the rhythm section, replacing them with a new one led by pianist Monty Alexander. Others may disagree, but I would have to recommend Bird's solo on the 1949 JATP date ahead of either the original 9-chorus solo or the doctored 9-chorus solo of the late 1980s' Eastwood movie. On the present solo, it's admittedly a challenge but the listener need no be overwhelmed by the solo. It's 4 instead of 9 choruses (Lester, Roy Eldridge, Hank Jones also need solo time), and the tempo is slightly slower--just enough to make it possible to follow Bird's intricate patterns and phrasings as well as the structural development of the solo.]

What follows is my original review:

Rarely do I feel the urge to play another one of the records by Norman Granz' traveling production--the same tunes, same chord changes, same format, same musicians, same sub-par audio reproduction. But this one is the exception (the Stan Getz-J.J. Johnson edition is also pretty good) for a couple of simple, but singular, reasons: Bird and Ella. To the experienced ear, Bird flies way above the growling tenors, the screeching trumpets, the raucous crowd, and demonstrates why he's the best improvisor in the history of jazz. Moreover, the audio on this session, while admittedly "lo fi," is a notch above similar outings, including the one of Bird traveling with the group in 1946. Not only does the session provide an opportunity to hear Bird play in a live, extended format, but it's unique in including him with Ella on a couple of the tunes.

This is not one of Bird's legendary, "perfect" solos on "Embraceable You," but it's a simply dazzling improvisation by him on "Lester Leaps In," light years ahead of the other musicians and in the league of Tatum's harmonies at their most complex and sophisticated. (Lest there be any misunderstanding, Bird's is the third horn to solo on "Lester Leaps In," after Lester himself and trombonist Tommy Turk and before trumpeter Roy Eldridge, who goes 4th, and Flip Phillips, who serves as the 5th and final horn. All of the soloists, including Lester, acquit themselves well.) The other highlight is to hear Ella come back for the encore ("Perdido") and join it mid-stream. She's "just" another one of the jamming musicians.

After a lifetime of collecting records, an acquisition like this prevents me from stopping.

[I agree with other reviewers that all of the soloists are in fine form and deserve commendation. Trombonist Tommy Turk is especially impressive, all the more so because he's so obscure that I'm left to wonder if the name is not a pseudonym for someone like Bill Harris, adopted for the occasion to avoid contractual conflicts. It's a shame the audio doesn't pick up the bass and that the horns don't have more "presence," but at least the sound hasn't been messed with by some modern engineer to the point where it sounds artificial and phony.] [Later: See the invaluable recent review--January, 2010--about TOMMY TURK. One of the most interesting things I've read about a musician in a long time.]

I remember about 5 years ago in my Music Appreciation class we were learning about Jazz in the 40's and 50's. I knew nothing about the man they called Charlie Parker back then. But what I remember is the way my instructor bobbed his head when Charlie Parker began to play. Initially I became attracted to what I was hearing, but I didn't have a desire to get any of this man's brilliant music. But I am now on a quest for what I heard several years ago. I am a newcomer to the great Charlie Parker and I have heard several of his Cd's and so far JATP 1949 is thebest because of it's sound quality. Charlie Parker is outstanding and so is Lester Young. I would've given this cd 5 stars only if it had more Charlie Parker. But there certainly is enough of him, I'm just greedy. I recommend this cd for everyone and don't believe the negative that you here about "this cd". He did a wonderful job bringing Charlie Parker to this type of setting. I would like to know what Charlie Parker cd's have the best sound quality. Thank you.

It's simply outstanding music, with great solo works by Prez and Bird. Prez's solo on "Embraceable You" is the high point of his career, and the great moment in recorded history of jazz!

I neither agree nor disagree with the other reviews above. Bird, Ella, Roy, Prez - they didn't make any bad albums. However, everyone is sleeping on the unsung star on this recording - the great trombonist Tommy Turk. Hailing from Pennsylvania, Tommy possessed a MONSTER sound + chops, and could rip it on both the swing and beebop selections. Under-recorded and underpromoted, very little has been written about him. However, he was most likely one of the top ten best trombone players of the 40's/50's, along with Frank Rosolino, Slide Hampton, and JJ. His sound and style were rough, wild, and seemingly more "on the edge than some of these other, "cleaner" virtuosos." Tommy was reportedly a very friendly and peaceful person. He also suffered from being severely overweight, and most likely was also diabetic. He was murdered during a bank hold up circa 1980 in Las Vegas; when the gunmen ordered everyone to lay face down on the floor, his weight prevented him from doing this comfortably, and sat up to try and breathe, he was shot and killed. He can also be heard on a Verve JATP album with Billie Holiday, as well as some sides with Flip Philips. However, in my opinion, these sidemen and rhythm section inspire him to greater heights than any of his other scant recordings. There are no known performance photographs of him. Remember this gentle giant through this dope album!!!

This recording captures an evening of rare beauty. As much as one may have criticized Norman Granz for occasionally manufacturing ensembles, he can easily be forgiven in light of the beauty that was manifest on this particular evening. Charlie Parker's solo on Embraceable You easily counts as one of the most beautiful and poignant ever captured in his recording career -- bar none.

Unlike the great mural jointly painted by Leonardo, Michelangelo, and Raphael, unlike the great novel collectively written by Hemingway, Dreiser, Steinbeck, and Dos Passos, unlike the classical masterpiece composed in conference by Beethoven, Schubert, and Schumann, this disc actually exists. Nobody on this date is less than terrific, but it is a revelation to hear Charlie Parker and Lester Young together. Flip Phillips gets the crowd fired up with his conventional hot licks; Roy Eldridge does the same with his stage-chewing trumpet, as does Tommy Turk with his trombone; the rhythm section of bassist Ray Brown, drummer Buddy Rich, and pianist Hank Jones keeps things hopping.

But apart from all the very real and very welcome fun is the intriguing contrast between Bird and Prez. Lester Young's flowing lines were a marked departure from the more muscular sax of his great predecessors like Coleman Hawkins. (Although Young could honk too, as he does here on "The Closer".) Young is still too advanced for the crowd, who do not cheer him as lustily as they do Phillips. Yet his style has already been comprehended and surpassed by Parker, as evidenced by his darting, upper-register, bop lines. He's so brilliant the record is filed under his name.

The JATP traded in manufactured thrills? Hey, at least it's thrilling, compared to the if-you-want-melody-you're-a-fascist attitude of jazz that would come in subsequent decades. A great souvenir from an age when geniuses weren't ashamed to show their audiences a good time.

This was my first Charlie Parker CD. I've been hooked ever since. Bird's studio albums are great, but there's something about the electricity of his music live that outshines the stuff he's done in studiio. And this is one of the best

lots of stars with ella and eldridge and of course bird-great for bebop lovers or great jazz collectors in general