Charlie Parker: Difference between revisions

Parker left Hines' band and formed a small group with Gillespie, pianist [[Al Haig]], bassist [[Curley Russell]], and drummer [[Stan Levey]]. The group stood out from its contemporaries, as it was racially integrated and it lacked a guitarist for rhythmic support. This new format enabled soloists to be freed from harmonic and rhythmic restrictions, and in late 1944 the group secured a gig at the Three Deuces club in New York. The group's name recognition spread along [[52nd Street (Manhattan)|52nd Street]] and its style was dubbed "bebop" for the first time. Musicians at other clubs came to hear bebop and reacted negatively to it because, according to bassist [[Charles Mingus]], they saw it as a threat to their existing style of jazz.{{Sfn|Priestley|1984|pp=27–28|p=}}[[File:Charlie Parker, Tommy Potter, Miles Davis, Duke Jordan, Max Roach (Gottlieb 06851).jpg|thumb|left|upright=1.2|Parker with (from left to right) [[Tommy Potter]], [[Max Roach]], [[Miles Davis]], and [[Duke Jordan]], at the Three Deuces, New York, circa 1945]]

 

It was not until 1945, after the AFM's recording ban was lifted, that Parker's collaborations with [[Dizzy Gillespie]], [[Max Roach]] and others had a substantial effect on the jazz world. One of their first small-group performances together was rediscovered in 2004 and released in 2005: a concert in New York's [[The Town Hall (New York City)|Town Hall]] on June 22, 1945. Bebop soon gained wider appeal among musicians and fans.<ref>{{Cite AV media notes |title=Town Hall, New York City, June 22, 1945 |first=Ira |last=Gitler |author-link=Ira Gitler |others=[[Charlie Parker]]; [[Dizzy Gillespie]] |date=2005 |publisher=Uptown |id=UPCD 27.51 |location=Whitehall, MI}}</ref><ref>{{Citation |title=Town Hall, New York City, June 22, 1945 - Dizz... {{!}} AllMusic |url=https://www.allmusic.com/album/town-hall-new-york-city-june-22-1945-mw0000649331 |access-date=2024-08-19 |language=en}}</ref>