Bird And Diz

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Bird And Diz album cover
Album Information
EDITOR'S PICK

Total Tracks: 24   Total Length: 46:37

eMusic Features

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Don Cherry: Pied Piper with a Pocket Trumpet

By Kevin Whitehead, eMusic Contributor

Don Cherry began to make his mark with his first recording session, on February 10, 1958, as foil for freebopping alto saxophonist Ornette Coleman on music recorded for Something Else! Their bebop forebears Dizzy Gillespie and Charlie Parker favored rough-sounding unison melodies, a departure from the swing era's smooth blends, but the Coleman-Cherry mix was scrappier still. As soloist, Don took cues from how Ornette's solos didn't track a tune's harmonies too closely. They didn't… more »

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Hidden Treasure: Chase

By Dan Epstein, eMusic Contributor

Of all the popular music styles and sub-genres of the late '60s and early '70s, "horn rock" is perhaps the only one that hasn't been revived and revered by subsequent generations. A perhaps inevitable offshoot of mid-'60s "blue eyed soul" acts like Tom Jones, The Righteous Brothers and Mitch Ryder & the Detroit Wheels, the "horn rock" movement began in earnest in 1967 when Chicago pop group The Buckinghams, under the direction of producer James William… more »

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Coltrane in the 1950s: Late Bloomer

By Kevin Whitehead, eMusic Contributor

In May 1956, when Sonny Rollins and guest John Coltrane locked horns on the friendly throwdown "Tenor Madness," Coltrane was 29, and Rollins four years his junior. But at this point in their careers, Sonny had the jackrabbit head start. He'd been recording under his own name since 1951, and was much admired; Coltrane hadn't yet made a record of his own. It's easy to forget, sometimes, Coltrane wasn't always lionized; some reviewers of his early… more »

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The Rise and Fall of Lucky Thompson

By Kevin Whitehead, eMusic Contributor

A few years ago, Italian saxophonist Daniele D'Agaro was visiting Chicago, and a critic friend put on a fairly obscure record to stump him. D'Agaro listened for about three seconds, said: "Lucky." Good ears. He knows the distinctive sound of Lucky Thompson after he started hanging out in Paris and playing sumptuous tenor saxophone ballads recalling old idol Don Byas's Parisian sides. On "Solitude" and "We'll Be Together Again," from Lucky in Paris 1959, his tenor's… more »

They Say All Music Guide

This collection of 78 rpm singles, all recorded on June 6, 1950, was originally issued in album format in 1956. Several things distinguish this from numerous other quintet recordings featuring these two bebop pioneers. It was recorded during the period that Charlie Parker was working under the aegis of producer Norman Granz, whose preference for large and unusual ensembles was notorious. The end result in this case is a date that sounds very much like those that Parker and Dizzy Gillespie recorded for Savoy and Dial, except with top-of-the-line production quality. Even more interesting, though, is Parker’s choice of Thelonious Monk as pianist. Unfortunately, Monk is buried in the mix and gets very little solo space, so his highly idiosyncratic genius doesn’t get much exposure here. Still, this is an outstanding album — there are fine versions of Parker standards like “Leap Frog,” “Mohawk,” and “Relaxin’ with Lee,” as well as a burning performance of “Bloomdido” and an interesting (if not entirely thrilling) rendition of the chestnut “My Melancholy Baby.” [This 1986 CD reissue of Bird & Diz adds alternate takes to make what was originally a very skimpy program slightly more generous.] – Rick Anderson

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