Word: parkers
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Dates: during 1990-1999
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...often said, as a way of orienting anyone coming to him fresh, that Powell did for the piano what Charlie Parker did for the saxophone. Together, and with no small assist from Thelonious Monk and Dizzy Gillespie, they took a hand in fearlessly turning jazz inside itself, then inside out, as they created bebop. But Powell found distinctive melodic nuances on his keyboard. He wasn't as witty and romantic as Nat Cole or as exuberant a geometrician as Art Tatum, both non-beboppers. But he could find a secret, personal vibrancy on a standard like Jerome Kern's Yesterdays...
...years in the late 1940s, the wizard saxophone player Jackie McLean, eight years younger than Powell, spent a lot of time as a kind of musical apprentice and all-purpose guardian for him. He'd take Powell to performing dates, get him together with musicians like Parker who still revered him, and generally make sure he got through the day, and through the music...
Often enough Powell did need help with that; still, the music could dazzle. The way McLean recalls it in the notes that accompany the elegantly packaged Verve set, Charlie Parker "got used to being king of the hill. But when he stepped on the bandstand with Bud, he wasn't king of the hill anymore, because Bud was going to give him back as much as he got." And that, of course, was near as good as it ever gets...
IMAGING: Mark Stelzner (Manager); Gerard Abrahamsen, Raphael Joa, Lois Rubenstein (Supervisors); Steven Cadicamo, Charlotte Coco, Michael Dohne, John Dragonetti, Paul Gettinger, Carl Leidig, Linda Parker, Mark P. Polomski, Richard Shaffer, David Spatz, Lorri Stenton, Paul White...
IMAGING: Mark Stelzner (Manager); Gerard Abrahamsen, Raphael Joa, Lois Rubenstein (Supervisors); Steven Cadicamo, Charlotte Coco, Michael Dohne, John Dragonetti, Paul Gettinger, Carl Leidig, Linda Parker, Mark P. Polomski, Richard Shaffer, David Spatz, Lorri Stenton, Paul White...