Album Info
| Artist: | Charlie Parker |
| Album: | The Long Lost Bird Live Afro-Cubop Recordings |
| Released: | US, 22 Apr 2023 |
Tracklist:
| A1 | Dizzy Atmosphere | 4:05 |
| Written-By - Dizzy Gillespie | ||
| A2 | A Night In Tunisia | 4:47 |
| Written-By - Dizzy Gillespie, Frank Paparelli | ||
| A3 | Groovin' High | 4:56 |
| Written-By - Dizzy Gillespie, Frank Paparelli | ||
| A4 | Confirmation | 3:01 |
| Written-By - Charlie Parker | ||
| B1 | Lament For The Congo | 5:37 |
| B2 | Mambo Fortunato | 5:07 |
| B3 | Salt Peanuts | 4:53 |
| Written-By - Dizzy Gillespie, Kenny Clarke | ||
| C1 | Leo The Lion I | 3:05 |
| Written-By - Tiny Kahn | ||
| C2 | Cuban Holiday | 3:05 |
| Written-By - Lawrence Wooten, Red Wooten | ||
| C3 | Lemon Drop | 3:43 |
| Written-By - George Washington | ||
| C4 | The Goof And I | 3:32 |
| Written-By - Al Cohn | ||
| C5 | Leo The Lion II | 3:09 |
| Written-By - Tiny Kahn | ||
| D1 | Night And Day | 2:47 |
| Written-By - Cole Porter | ||
| D2 | My Funny Valentine | 3:23 |
| Written-By - Lorenz Hart, Richard Rogers | ||
| D3 | Cherokee | 3:10 |
| Written-By - Ray Noble | ||
| D4 | On The Alamo | 2:57 |
| Written-By - Gilbert Keyes, Gus Kahn, Isham Jones, Joe Lyons | ||
| D5 | Manteca | 6:11 |
| Written-By - Chano Pozo, Dizzy Gillespie, Gil Fuller | ||
| D6 | A Short One | 0:24 |
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Description
"The Long Lost Bird Live Afro-Cubop Recordings" is an extraordinary collection that brings together live performances of the legendary saxophonist Charlie Parker. Released posthumously, this compilation provides a unique insight into Parker's forays into Afro-Cuban jazz, a genre that combines the rhythmic intensity of Cuban music with the complex harmonies and improvisational elements of bebop. These recordings are a testament to Parker's innovative spirit and his pivotal role in the development of jazz as a genre.
The album captures Parker's live performances, where his genius as an improviser and his adaptability to different musical contexts are prominently displayed. His integration of Afro-Cuban rhythms with his signature bebop style is a demonstration of his forward-thinking approach and his ability to transcend musical boundaries. These recordings are significant not only for their historical value but also for showcasing Parker's influence in the fusion of jazz and Latin music.
Notable tracks such as "Mango Mangue" illustrate Parker's skill in seamlessly blending complex bebop melodies with the driving rhythms of Afro-Cuban music. His improvisations are both fluid and inventive, showcasing his exceptional technical prowess and deep musicality. The interplay between Parker and other musicians on these recordings, including those skilled in Latin rhythms, adds a rich, collaborative dimension to the music.
The album's live nature adds to its authenticity and vitality, capturing the spontaneous and dynamic atmosphere of jazz performances during this era. The sound quality, while reflective of the recording technology of the time, does not detract from the energy and intensity of the performances. Instead, it provides a window into an important period in jazz history and Parker's career.
Throughout "The Long Lost Bird Live Afro-Cubop Recordings," the fusion of bebop and Afro-Cuban elements is handled masterfully, creating a vibrant and engaging listening experience. The album not only highlights Parker's virtuosity as a saxophonist but also his innovative contributions to the development of new jazz styles.
In conclusion, "The Long Lost Bird Live Afro-Cubop Recordings" is a significant compilation that showcases Charlie Parker's groundbreaking work in the realm of Afro-Cuban jazz. These live recordings provide an invaluable glimpse into the musical explorations of one of jazz's greatest figures, highlighting his role as a pioneer in the fusion of different musical traditions. The album is not only a treasure for jazz enthusiasts but also an important document for anyone interested in the evolution of American music and the blending of diverse cultural influences.
