若きパーカーが所属した時代のマクシャンバンドの録音のうち、パーカーに関わるものを集めた内容です。1940年11月30日の1・2、同年12月2日の3〜7、1941か42年の8、1943年のマクシャンビッグバンドによる9〜17。このうち1〜8は全曲で、9〜17の数曲でパーカーのソロを聴けます。実は以前パーカーが流麗なソロを吹くLady Be Goodをテレビ番組で断片的に聞いて、耳に残っていました。今回このＣＤの5曲目で聞けたのは嬉しかったです。ビバップの揺籃期をお好きな方にはお勧めです。
Great recordings of early Charlie Parker. And McShann, as always, terrific. Wichita recordings kind of fuzzy, but I expected that. A great legacy to jazz history.
The leaflet provided with this CD trumpets the recordings as a vital part of jazz history. The claim is justified for the first eight tunes, recorded in 1940, are supposedly the earliest recordings attributed to the legendary Charlie Parker. It is therefore a great pity that the sound quality should be so very poor. In an age when so much can be done the conclusion must be that there has been absolutely no attempt at re-mastering and the impression remains that the CD is simply a lift from the LP. The sound still retains all the creaks and hisses associated with an elderly 78. The ever present background noise greatly detracts from a proper appreciation of Parker's dominant solo work and the contribution of the Jay McShann Orchestra
The last nine tunes, recorded in 1943, although far from perfect have a far better sound quality and provide a good indication of the Kansas sound of the then Jay McShann outfit. The band has a certain feel of Count Basie about it and "One o'Clock Jump" is used as a theme. There is however a marked difference in the contrasting styles of the piano playing of the two band leaders. McShann's robust style is given an ample outing including the splendid "Vine Street Boogie". The personnel is uncertain but is believed to include Paul Quinchette (tenor) and Gene Ramey (bass). Gus Johnson (drums) is listed as being present on the 1940 recordings.
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