Despite the fact that the roots of jazz date back to as early as the mid to late 1800’s, jazz, defined as simply “improvisation”, really took form in the 1940’s during the bebop era. Charlie Parker, considered an “architect of bebop”, was one of the most important contributors to the formation of this new genre of jazz. His technical proficiency on the saxophone coupled with his brilliant improvisation makes him one of the most significant and influential saxophonists of the 1940’s.
Charlie Parker, born in Kansas City, Missouri on August 29, 1990 was the only child of Charles and Addie Parker. During this time, jazz and many other styles of music were flourishing throughout Kansas City. Charlie’s first encounter with music came about in high school where he was part of the school band. Parker began by playing the baritone and alto horns but soon realized his love for the alto saxophone. In 1935, Charlie’s love for music prompted him to leave school and play music full time.
He started his music career by playing with local bandleader Lawrence Keyes. However, Parker’s talent was not immediately obvious, and Keyes was not impressed. But Charlie remained persistent and learned from the ruthless atmosphere of the Kansas City jam session. During the years between 1935 and 1939 Parker played with several local jazz bands, including the band of Buster Smith and jay McShann’s band, but it was not until he moved to New York City in 1939 where he discovered his true influence.
Parker lived in New York City for almost a year, participating in jam sessions and washing dishes to earn income. New York City was where Charlie first heard the astounding harmonies of pianist Art Tatum. Tatum’s effortless ability and streams of high speed playing likely helped to develop Parker’s mature style. Parker also met guitarist Biddy Fleet in New York City. Parker claimed that Fleet taught him about instrumental harmony which also inspired Parker’s style. After nearly a year in New York City, Parker moved back to Kansas City to reunite with the McShann band.
Charlie Parker became of the bands directors and was placed in charge of the reed section. From this time, probably around 1940, we have Parker’s first amateur recording. Parker then went on to do his first professional recording in December of 1940 at a radio station with the McShann band. Parker traveled with the McShann band for nearly four years and was given great opportunities. He clutched solos in several of the band big recordings such as “Sepian Bounce, “The Jumpin’ Blues”, and “Hootie Blues”. Parker spent most of late 1941 and early 1942 playing with the McShann band at the Savoy in New York City. In New York, he got the opportunity to play after-hours sessions at Minton’s and Monroe’s with numerous other talented musicians. He caught the eye of big names like Dizzy Gillespie and Thelonious Monk. He had the opportunity to share the stage with talents such as trumpeter Roy Eldridge and drummer Kenny Clarke. Even big names such as these were astonished by Parker’s talent.
In 1944, Parker left the McShann band and joined Earl Hines’ big band for eight months. He also played for Eckstine’s band as well. After dabbling for a short time in various big bands, Parker decided to settle in New York. There he played with guitarist Tiny Grimes and recorded his first ever solo with rhythm changes called “Red Cross”. #During Parker’s solos in these small-group recordings, we begin to see Parker’s bebop playing take shape.
Parker’s bebop style continues to mature as he teams up with Dizzy Gillespie in 1945. The duo’s relationship flourished as they cooperatively recorded big name tunes of the bebop era such as “Groovin’ High”, “Dizzy Atmosphere”, “All the Things You Are”, and “Salt Peanuts”. In December of 1945, Gillespie led Parker and his band to the West Coast on a nightclub tour. The tour ended up being unsuccessful and only last six weeks. After the six weeks, Gillespie and the band returned to the New York but Parker stayed in Los Angeles. It is said that Parker pawned his plane ticket back to New York for money to support his ongoing heroine addiction.
Charlie Parker’s heroine addiction dated all the way back to his teenage years. The addiction caused him great physical and emotional distress which ultimately forced him into an early nervous breakdown. Parker was admitted to Camarillo State Hospital in July of 1946 where he stayed for six months of rehabilitation and was released in January 1947. Shortly after his release, Parker returned to New York in April 1947 which proved to be the best place for him to do his work. The next four years of his life were extremely productive.
Once back in New York, Gillespie teamed up with trumpeter Miles Davis, pianist Duke Jordan, bassist Tommy Potter, and drummer Max Roach, to form his infamous quintet. The quintet remained in tact for a year and a half during which time they recorded and performed some of Parker’s most infamous tunes. Parker also engaged in several other interesting projects such as two European tours in Paris and Sweden where he was applauded by his faithful fans. Parker even ventured south of the border to record with Machito’s Afro-Cuban band. Between the years of 1947 and 1951 Charlie Parker produced and recorded some of his most well-known music. However, the last four years of his life were an unfortunate spiral due to his drug and alcohol addiction.
Parker’s body was suffering both physically and mentally by the age of 30. Paired with his alcoholism, drug use, and overeating, Parker developed severe depression due to his daughter’s death. He became so helpless he even twice attempted suicide in 1954. He soon realized he needed professional help and admitted himself into Bellevue Hospital in New York. On March 5, 1955 Parker performed his last public engagement at “Birdland”, a nightclub in New York named for him. The performance proved to be devastating as Parker publicly fought with Bud Powell. Exactly one week later on March 12, 1955 Parker died at a friend’s apartment. Because of Parker’s persistent drug and alcohol and abuse, his body was in the shape of what the doctor believed to be the body of a fifty-three year old. However, Charlie Parker was only thirty-four at the time of his death.
Despite all of Parker’s social problems and addictions, he is undoubtedly one of the most influential people in jazz history. Charlie Parker is one of the most brilliant saxophonists of all time and played a huge part in developing the style of bebop.
Louck, Tracie. "Charlie Yardbird Parker." The Official Site of Charlie "Yardbird" Parker. 12 Dec. 2006. .
Martin, Henry, and Keith Waters. Essential Jazz: the First 100 Years. Belmont: Thomson Schirmer, 2005. 143-150.
Priestley, Brian. Chasin' the Bird: the Life and Legacy of Charlie Parker. 2nd ed. London: Equinox Ltd., 2005. 1-138.
The above essay was written by Becca Moist and merely states opinions by a college student. However, if you feel strong about responding to the opinions stated, please write to articles@directorym.com and express your concerns.