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.
Koko
Charlie Parker Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
ากน ากา ื นไจ งหบ าหน
รหรา บไข าหส ฟผยว
าหน บหบ บหบ ไขจด
หาหส งหบ งหบ ไขยห กว
กขวหศก กสยก ยกย หย
สหย หา ห ทหส บบไ ม่ เกิน
สหย หสบ ไข วหบกห
ากน ากา ื นไจ งหบ าหน
รหรา บไข าหส ฟผยว
าหน บหบ บหบ ไขจด
หาหส งหบ งหบ ไขยห กว
กขวหศก กสยก ยกย หย
สหย หา ห ทหส บบไ ม่ เกิน
ลหว บหม มปส จไน
As the lyrics to Charlie Parker's song Koko are written in a transcription of syllables rather than in any recognizable language, it is likely that the primary focus of the song is on the instrumental elements rather than the lyrics. The song has a fast tempo and a bebop style, featuring Parker's virtuosic saxophone playing. The song progresses through a series of complex chord changes, featuring extended harmony and improvisation from Parker and his band.
While the lyrics may not provide any clear meaning, they do contribute to the overall rhythmic and melodic structure of the song. The syllables are arranged in a way that complements the instrumentation, creating a sort of call-and-response between the saxophone and the vocalization. The use of repetition and variation in the lyrics also mirrors the improvisational nature of the song as a whole.
Overall, Koko is a tour-de-force of bebop music, showcasing Parker's incredible talent as a saxophonist and composer. While the lyrics may not provide any clear narrative or meaning, they contribute to the overall structure and sound of the song, demonstrating Parker's attention to detail and his ability to create complex and compelling music.
Line by Line Meaning
สหย หสบ ไข วหบกห
Charlie Parker starts with an instrumental intro to his song, Koko.
ากน ากา ื นไจ งหบ าหน
The percussive sounds in the music add an energetic vibe to the song.
รหรา บไข าหส ฟผยว
The melody of the song is complex and intricate.
าหน บหบ บหบ ไขจด
The song continues with its complex melody and arrangements.
หาหส งหบ งหบ ไขยห กว
Charlie Parker's improvised saxophone solos are full of surprises and unexpected turns.
กขวหศก กสยก ยกย หย
His solos are inspired and dynamic, showcasing his virtuosity on the saxophone.
สหย หา ห ทหส บบไ ม่ เกิน
The rhythm section of the song provides a steady and supportive groove for Parker's solos.
ลหว บหม มปส จไน
Overall, Koko is a masterful example of bebop jazz and Charlie Parker's genius as a musician.
Writer(s): Charlie Parker
Contributed by Eliana W. Suggest a correction in the comments below.
@RAJANAWAB
I have been listening to these 3 minutes since 1959 and it still sounds totally fresh with new possibilities and nuances.
@lho3201
I couldn't agree with you more. I've listened to it hundreds of times since the early 70s and it sounds brand new every time. This is genius on a level my simple mind just can't absorb.
@RAJANAWAB
I also love the 2 versions of EMrbracabel You that have 2 entirely different conceptions-Just 2 takes at same time!
@theodorepullins3124
RAJANAWAB THAT’S AWESOME
@theodorepullins3124
I LOVE ❤️ THIS
@brownj83
Been listening to this since 1996 when I was in 8th grade. Best solo in Jazz history!
@343ramana
Quite simply, Bird's two improvised choruses on Koko are the greatest jazz improv ever.
Totally incomprehensible how he could think that fast, come up with beautiful, interesting and perfectly balanced lines, and whip it all off with such ease. Astounding!
@harrythehorse5403
LOL.. I was just getting ready to respond to the above comment, to show complete agreement, when I realized it was my own comment from 8 months earlier!
@rekindled3624
@Harry the Horse it happened to me too! Hahahahahahah
@emilianoturazzi
@Harry the Horse very funny :))) but I have to technically answer: this isn't improvised as we usually think to improvisation. If you check several Bird's versions of Cherokee/Koko you'll easily ear that he uses basically the same set of phrases recombining it - the recombination is improvised, but the set of phrases isn't. Some are specific for this set of chords, some are unspecific (and he used them in different contexts) some are just improvised fill in. So when he "thought" "let's do this" he was thinking to a whole set of tones and already studied fingerings.
It always sounds fresh as improvised (and this is the true magic touch) but it is a sort of composition (that's not true for all of his improvisations of course).
Obviously this is one of his masterpieces....