Charles Christopher "Bird" Parker, Jr (29th August 1920 – 12th March 1955) … Read Full Bio ↴Charles Christopher "Bird" Parker, Jr (29th August 1920 – 12th March 1955) was a U.S. bebop saxophonist and composer. Early in his career Parker was dubbed Yardbird; this was later shortened to "Bird" (or sometimes "Yard") and remained Parker's nickname for the rest of his life, and inspiration for the titles of his works such as "Ornithology and Yardbird suite".
Parker is commonly considered the greatest bebop jazz musician. In terms of influence and impact, his contribution to jazz was so great that Charles Mingus commented that if Bird were alive today, he would think he was living in a hall of mirrors. Bird's talent is compared almost without argument to such legendary musicians as Louis Armstrong and Duke Ellington, and his reputation and legend as one of the best saxophonists is such that some critics say he was unsurpassed.
A founding figure of bebop, Parker's innovative approach to melody, rhythm and harmony have exerted an incalculable influence on jazz.. Several of Parker's songs have become standards of the repertoire, and innumerable musicians have studied Parker's music and absorbed elements of his style.
Parker became an icon for the Beat generation, and was a pivotal figure in the evolving conception of the jazz musician as an uncompromising artist and intellectual, rather than just a popular entertainer. At various times, Parker fused jazz with other musical styles, from classical (seeking to study with Edgard Varese and Stefan Wolpe) to Latin music (recordings with Machito), blazing paths followed later by others.
Parker was known for often showing up to performances without an instrument and borrowing someone else's at the last moment. At more than one venue he played on a plastic Grafton saxophone; later, saxophonist Ornette Coleman used this brand of plastic sax in his early career. On one particular occasion before a concert in Toronto, Canada, he had sold his saxophone to buy drugs, and at the last minute, he, Dizzy Gillespie and other members of Charlie's entourage went running around Toronto trying to find a saxophone. After scouring all the downtown pawnshops open at the time, they were only able to find a Grafton, which Parker proceeded to use at the concert that night. This concert is documented on the album Jazz at Massey Hall. The album is considered one of the greatest live recordings in Jazz history.
Parker's battles with alcoholism and heroin addiction ranged from his teenage years until his death from pneumonia and a bleeding ulcer at thirty-four. The toll that the drug had taken on his relatively young body was quite profound - a doctor examining Parker's body estimated him to be around sixty years old.
During his lifetime, tribute was paid to Parker when a new nightclub in New York was named Birdland in his honour in 1949.Three years later, George Shearing wrote "Lullaby of Birdland", which was named for both Parker and the nightclub.
Other phenomena also occurred in the United States after the death of Parker, particularly the use of the term "Bird lives" in graffiti throughout New York hours after his death, and later as the title of a contemporary art piece of the same name, created by sculptor Robert Graham in 1999. Despite its widespread use, Ted Joans is usually credited with its inception.
Parker is commonly considered the greatest bebop jazz musician. In terms of influence and impact, his contribution to jazz was so great that Charles Mingus commented that if Bird were alive today, he would think he was living in a hall of mirrors. Bird's talent is compared almost without argument to such legendary musicians as Louis Armstrong and Duke Ellington, and his reputation and legend as one of the best saxophonists is such that some critics say he was unsurpassed.
A founding figure of bebop, Parker's innovative approach to melody, rhythm and harmony have exerted an incalculable influence on jazz.. Several of Parker's songs have become standards of the repertoire, and innumerable musicians have studied Parker's music and absorbed elements of his style.
Parker became an icon for the Beat generation, and was a pivotal figure in the evolving conception of the jazz musician as an uncompromising artist and intellectual, rather than just a popular entertainer. At various times, Parker fused jazz with other musical styles, from classical (seeking to study with Edgard Varese and Stefan Wolpe) to Latin music (recordings with Machito), blazing paths followed later by others.
Parker was known for often showing up to performances without an instrument and borrowing someone else's at the last moment. At more than one venue he played on a plastic Grafton saxophone; later, saxophonist Ornette Coleman used this brand of plastic sax in his early career. On one particular occasion before a concert in Toronto, Canada, he had sold his saxophone to buy drugs, and at the last minute, he, Dizzy Gillespie and other members of Charlie's entourage went running around Toronto trying to find a saxophone. After scouring all the downtown pawnshops open at the time, they were only able to find a Grafton, which Parker proceeded to use at the concert that night. This concert is documented on the album Jazz at Massey Hall. The album is considered one of the greatest live recordings in Jazz history.
Parker's battles with alcoholism and heroin addiction ranged from his teenage years until his death from pneumonia and a bleeding ulcer at thirty-four. The toll that the drug had taken on his relatively young body was quite profound - a doctor examining Parker's body estimated him to be around sixty years old.
During his lifetime, tribute was paid to Parker when a new nightclub in New York was named Birdland in his honour in 1949.Three years later, George Shearing wrote "Lullaby of Birdland", which was named for both Parker and the nightclub.
Other phenomena also occurred in the United States after the death of Parker, particularly the use of the term "Bird lives" in graffiti throughout New York hours after his death, and later as the title of a contemporary art piece of the same name, created by sculptor Robert Graham in 1999. Despite its widespread use, Ted Joans is usually credited with its inception.
Billie's Bounce
Charlie Parker Lyrics
Jump to: Line by Line Meaning ↴
duh duh duh duh
duh duh duh duh
duh duh duh duh DUH
duh duh duh duh duh duh
duh duh duh duh duh duh
DUH...
duh duh duh
duh duh duh
duh duh DUH
DUH duh duh duh
duh duh duh
duh duh
DUH...
DUH duh duh duh duh
duh duh duh duh
duh duh...
Duh duh duh
duh duh DUH
duh duh duh duh
Duh duh duh duh Duh
duh duh duh duh DUH
du du du du du du
du du du du du
duh duh duh
duh duh duh duh
duh duh duh duh DUH
duh duh duh duh duh duh
duh duh duh duh duh duh
DUH...
duh duh duh
duh duh DUH
DUH duh duh duh
duh duh duh
duh duh
DUH...
DUH duh duh duh duh
duh duh duh duh
duh duh...
Duh duh duh
duh duh DUH
duh duh duh duh
Duh duh duh duh Duh
duh duh duh duh DUH
du du du du du du
du du du du du
duh duh duh
duh duh duh duh
Instrumental intro
duh duh duh duh duh duh
Instrumental verse
DUH...
Instrumental break
duh duh duh
Instrumental transition
DUH duh duh duh
Instrumental verse with emphasis
duh duh duh
Instrumental transition
DUH...
Instrumental break
DUH duh duh duh duh
Instrumental verse with increased emphasis
duh duh duh duh
Instrumental verse
Duh duh duh duh Duh
Instrumental transition with emphasized middle note
duh duh duh duh DUH
Instrumental verse with final emphasis
du du du du du du
Instrumental outro
Contributed by Caden E. Suggest a correction in the comments below.
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@wfberan
70+ years later and NOBODY ever mastered this tempo like Bird (and Max) did. Absolute perfection.
@thezenbum
"Learn to play the piano, man, and then you can figure out crazy solos of your own."
-- Dizzy Gillespie to Miles Davis
@mason5069
i should learn the piano
@GrumpyStormtrooper
starting to play music on the piano is a great advantage, you have everything right there laid out like a fine restaurant's silverware. once i get even better at piano in some years i'll move on to another instrument.
@Composer19691
saucy risi ...”...like a fine restaurant’s silverware”
I like that.
@guitargentmick-tv8424
It’s not really about “playing” piano although you certainly need a piano. Lol.
It’s about understanding jazz harmony. It’s the Study of chords, arpeggios, substitution. Imperative for a jazz horn player to know this stuff in order to create more sophisticated lines and melodies. A piano is the easiest way to actually see, hear and eventually create this type of jazz. Such a genius art form. DIZ was on top of it !
@johnmc3862
@@GrumpyStormtrooper Lowest notes on the left, highest on the right, nothing could be more simple 😂
@colourfulwithaU
Miles was a teenager playing in a high pressure situation. Of course he played a 'wrong note' or two. But mechanically playing 'all the right notes' is entirely secondary to making a committed and good performance.
@TWO20
As he would say later in in his career, “you gotta not play the butter notes”
@hitemhard4272
As the saying goes, There are no wrong notes in improvisation...just better choices.