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Track 1 TuningTones

Billie's Bounce
ïrack2 Track 3 Fast tempo with saxophone Fast tempo backingtrack Slow tempo with saxophone Slow tempo backingtrack Fast tempo with saxophone Fast tempo backingtrack Slow tempo with saxophone Slow tempobackingtrack Fast tempo with saxophone Fast tempo backingtrack Slow tempo with saxophone Slow tempo backingtrack Fast tempo with saxophone Fast tempo backingtrack Slow tempo with saxophone Slow tempo backingtrack Fast tempo with saxophone Fast tempo backingtrack Slow tempo with saxophone Slow tempo backingtrack Fast tempo with saxophone Fast tempo backingtrack Slow tempo with saxophone Slow tempobackingtrack

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Track 4 Track 5 Track 6 Track7 Track I Track 9 Track 10

Ornithology

Yardbird Suite

Ornithology

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Track 11 Track 12 Track 13

Now'sTheTime

ardbird Suite, r r r r r ! r, r r r r r . 22 llowts The Time
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Track 14 Track 15 Track 16 Track 17

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r r r r . 27Donna Lee
Track 18 Track 19 Track 20 Track 21

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Anthropology
Track22 Track 23 Track24 Track 25

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Blography
ake a few narcotics,add in a pinch of alcohol,stir in some
cultural tension fuelled by a new and dangerous musicl now add prohibition, atragically shortened life and a musical gift as prodigious as it was revolutionary. Now you have the basic ingredients for the life srory of one of the greatest and most influential jazz musicians ever - charlie 'Bird' parker. He was born in Kansas ciry on 29th August r920,the only son of charles and Addie Parker. He started learning the baritone sax but found his rue instrument when his mother gave himan alto sax. Such was his infatuation with the instrumenr that at the age of 14 he dropped out of school completely to dedicate himself to it. He got the nickname 'yardbird' from his love of chicken. This inelegant sobriquet was subsequentlyshortenedto the altogether more appealing'Bird', and it stuck.

Kansas) if you couldn'tcut it, you wereout! on parker'sfirst and time out, at the High Hatclub, he dried up half way through a solo on Body And soul and didn't touch the instrumentfor

anything but successful,however. Kansas City musicians were very competitive (Herschel Evans and Ben Ïíebster both came from

His first forays into the world of the professio jazz musician were nal

three months afterwards. A potentially more damaging later outing culminated in drummer Jo Jonesthrowing a cymbal at Parker as a subtle way of telling him to get off the stage! Rather than discouraging him this experience seemed to stiffen Bird,s resolve, as he simply practised more diligently and for longer hours than he had before.

study harmony with pianist carrie powell, a move that laid the first brick in the impressive wall of his mastery of jazz improvisation.

He startedgetregularwork, first with Tommy Douglas(1936-7) to and then with Bustersmith (1937-8).At this time he startedto

In 1938 he joined the band oÍ JayMcShann, and startedto make a name for himself as a hard-swingingtaker-of-libertieswith iazz harmony. ln 7939 he made his first visit to New York, where he was greatlyinfluencedby the musicalstyle of the Big Apple. It was during his time with McShannthat he madehis first recordings(in 1941,). These early r e c o r d i n g s( i n c l u d i n g S e p i a n B o u n c e , Jumpin' Blues and Lonely Boy Blues) brought him to the attentionof a wrderiazz public, and his reputationas a harmonic innovator beganto spread.

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Charlie Parkq

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During the Second world var he hookedup with Earl Hines (1942-3) and Billy Eckstine(1944) where he met Dízzy...