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1949 Jazz At The Philharmonic Best of, Live
Customers Who Bought This Item Also Bought
|1. The Opener|
|2. Lester Leaps In|
|3. Embraceable You|
|4. The Closer|
|6. Flying Home|
|7. How High The Moon?|
This edition of Norman Granz's star-studded Jazz at the Philharmonic comes from a September 1949 concert at Carnegie Hall. The format is the usual loose jam session mixing bop and swing musicians, but it's an extraordinary lineup, joining Parker with two of his biggest influences, trumpeter Roy Eldridge and tenor saxophonist Lester Young. Young swings mightily, particularly on his signature "Lester Leaps in," while Eldridge is sparkling throughout, his opening statement of "Embraceable You" a lustrous delight. Parker's mercurial genius is apparent every time he solos, while the other horn players--tenor saxophonist Flip Phillips and trombonist Tommy Turk--add some meaty, hard-driving work. The rhythm section is something of a mixed blessing, combining the consummate skills of pianist Hank Jones and bassist Ray Brown with Buddy Rich's obstreperous drumming, but it all works in the vigorous JATP fashion, giants and journeymen alike generating the wailing force of a big band. Ella Fitzgerald's vocals add much to the excitement of "Flying Home" and "How High the Moon." --Stuart Broomer
Top Customer Reviews
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. 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.
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.
Most recent customer reviews
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... Read morePublished on Nov. 2 2003 by Jeff Easto
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... Read morePublished on May 1 2001 by Milan