
In March 1952, producer Norman Granz had Charlie Parker record with a big band for his Clef label. He assembled a stunning collection of New York talent: Jimmy Maxwell, Carl Poole, Al Porcino and Bernie Privin (tp); Bill Harris, Lou McGarity and Bart Varsalona (tb); Charlie Parker, Harry Terrill and Murray Williams (as); Flip Phillips and Hank Ross (ts); Danny Bank (bar); Oscar Peterson (p); Freddie Green (g); Ray Brown (b) and Don Lamond (d), with Joe Lippman conducting his arrangements.
Four songs were recorded: Night and Day, Almost Like Being in Love, I Can't Get Started and What Is This Thing Called Love. All of the charts packed a strong punch, with Charlie Parker in liquid blues form.
The arrangement for Almost Like Being in Love is explosive, with a slam-bang opening and the brass hammering away throughout. In addition to Bird, there are lovely trombone solos by Bill Harris and Bart Varsalona.
Several weeks after starting this blog in 2007, I interviewed baritone saxophonist Danny Bank (1922-2010) on this session and other Bird-related matters. To read, go here.
Here's the master take of Almost Like Being in Love...
Here's the alternate take, which clearly is inferior...
And here are the false start and incomplete takes...
Four songs were recorded: Night and Day, Almost Like Being in Love, I Can't Get Started and What Is This Thing Called Love. All of the charts packed a strong punch, with Charlie Parker in liquid blues form.
The arrangement for Almost Like Being in Love is explosive, with a slam-bang opening and the brass hammering away throughout. In addition to Bird, there are lovely trombone solos by Bill Harris and Bart Varsalona.
Several weeks after starting this blog in 2007, I interviewed baritone saxophonist Danny Bank (1922-2010) on this session and other Bird-related matters. To read, go here.
Here's the master take of Almost Like Being in Love...
Here's the alternate take, which clearly is inferior...
And here are the false start and incomplete takes...
This story appears courtesy of JazzWax by Marc Myers.
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