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Charles Parker Jr. (August 29, 1920 – March 12, 1955), nicknamed "Bird" or "Yardbird", was an American jazz saxophonist, bandleader, and composer. [1] [2] Parker was a highly influential soloist and leading figure in the development of bebop, [3] a form of jazz characterized by fast tempos, virtuosic technique, and advanced harmonies.
Jazz vocalists scatting on "How High the Moon" (notably Ella Fitzgerald) often quote the melody of "Ornithology" (and vice versa). Coleman Hawkins used the first two bars of the melody in a Cozy Cole recording session dating back to November 14, 1944, in a tune called "Look Here".
Bird and Diz is a studio album by jazz saxophonist Charlie Parker and trumpeter Dizzy Gillespie.It was recorded primarily on June 6, 1950, in New York City. [7] Two tracks featured on the original pressing, "Passport" and "Visa", were recorded by Parker, without Gillespie and with different personnel than the other tracks, in March and May 1949. [8]
Pianist Keith Jarrett—whose bands of the 1970s had played only original compositions with prominent free jazz elements—established his so-called 'Standards Trio' in 1983, which, although also occasionally exploring collective improvisation, has primarily performed and recorded jazz standards. Chick Corea similarly began exploring jazz ...
However, in various interviews and publications since, Miles Davis has claimed to be the composer. [2] [3] Among these is a statement Davis made in his autobiography: "I wrote a tune for the album called 'Donna Lee', which was the first tune of mine that was ever recorded. But when the record came out, it listed Bird [Parker] as the composer.
The soul singer didn't miss a beat when she went solo, releasing the #1 single "Ain't No Mountain High Enough" that same year. She would go on to record three more hit singles during the decade.
This is an A–Z list of jazz tunes which have been covered by multiple jazz artists. It includes the more popular jazz standards, lesser-known or minor standards, and many other songs and compositions which may have entered a jazz musician's or jazz singer's repertoire or be featured in the Real Books, but may not be performed as regularly or as widely as many of the popular standards.
A two bar sequence at the end of a blues progression, rhythm changes progression, or other forms, notably 32-bar AABA jazz song forms, which signals to the listeners and performers that the song ending or subsection ending has been reached, and as such, the song will repeat again from the beginning.