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Bird's Trumpets
Playing trumpet with Charlie Parker may be the greatest challenge jazz trumpet players will ever have faced. Bird was a mentor to several trumpet players in his own way.
Thelonious Monk
piano1917 - 1982
Dizzy Gillespie
trumpet1917 - 1993
Miles Davis
trumpet1926 - 1991
Trumpet players to play for Parker fall into three categories. The ones that worked for and recorded with him, the ones that only played for him briefly, often filling in when a regular player was unavailable or Bird was on the road, and Dizzy Gillespie, a category all to himself. Parker famously called Gillespie the other half of his heartbeat, and in truth he was exactly that.
"Step-Buddy" Anderson
Bernard Hartwell aka "Step-Buddy" Anderson (1919-1997) was the first trumpet player to cross paths with Parker while his burgeoning innovations began to take shape. Anderson was from Oklahoma City and already working as a trumpet player when he was 15 years old. While in Oklahoma City, he crossed paths with guitarist and early bebop innovator
Charlie Christian
guitar, electric1916 - 1942
Jay McShann
piano1909 - 2006
Buck Clayton
trumpet1911 - 1991
Fats Navarro
trumpet1923 - 1950
Louis Armstrong
trumpet and vocals1901 - 1971
Charlie Shavers
trumpet1920 - 1971
While with McShann, Anderson has the distinction of introducing Parker and Dizzy Gillespie for the first time in a private session with Gillespie playing piano for them both. Though Anderson said Gillespie wasn't impressed, Gillespie claimed to have felt an instant musical rapport with Parker. After Anderson witnessed Parker's photographic memory that baffled
Earl Hines
piano1903 - 1983
Mary Lou Williams
piano1910 - 1981
Anderson joined
Billy Eckstine
vocals1914 - 1993
Bernie Williams
guitarBenny Harris
Trumpeter Benny Harris (1919-1975) along with alto player George Carry, broughtEarl Hines
piano1903 - 1983
Lester Young
saxophone1909 - 1959
Harris also composed "Crazeology," though Parker recorded the tune with Miles Davis for Dial in 1947. Harris one chance to formally record with Parker came on a concept album for Norman Granz in 1952 titled South of the Border. Unfortunately, many listeners consider this album to not be one of Parker's best and evidence of his decline. Harris is limited to short solos where he mostly does the job, but his embouchure is slightly unstable. He played in the Latin context effectively but didn't have time to stamp the session with his own identity. He suggested that his lip was burned out from a year in the Hines big band. Harris was listed on three bootlegs from Parker's late period. Live at Christy's in 1951 in Massachusetts, Philadelphia in 1951, and the Open Door in 1951. Unfortunately, his solos are edited out in Massachusetts and Boston. I could not locate a recording of the Philadelphia performance. Incredibly, Lawrence Koch discovered that after a disagreement with Parker in Philadelphia, Harris was suddenly fired and replaced by
Clifford Brown
trumpetb.1930
Harris was rehired by Parker a month later. Based on the Tom Lord Discography, he was present for some of Parker's standard repertoire, so he must have been a functional sideman as he was during the Verve date. According to Miles Davis, he, Harris, and Fats Navarro shot up Heroin together, and Navarro didn't like Harris. Heroin may have been a factor in Harris not recording after the mid-50's and his unstable chops. Regardless, though he never recorded as a leader, Harris played with
Don Byas
saxophone, tenor1912 - 1972
Dizzy Gillespie
Dizzy Gillespie (1917-1993) and Charlie Parker had one of the most unique and important relationships in jazz history as the co- creators of bebop, and true masters of the idiom. When they played together, they pushed each other into some of the most brilliant improvisation to ever take place in the history of the music. In early 1943, Parker and Gillespie where both with theEarl Hines
piano1903 - 1983
Ben Webster
saxophone, tenor1909 - 1973
At first Gillespie said he felt he was about chords, and Parker melody. He said they influenced each other. A closer look shows that Gillespie was very advanced harmonically to the point that his incredibly executed lines sometimes offered challenging resolutions. Parker's ideas are more lyrical, with his incredible gift to articulate harmony at any tempo. Both of them had a deep relationship with rhythm and their own built in syncopation. Parker and Gillespie practicing together while with Hines was extremely significant, Parker at 23 years old, and Gillespie at 26. Their co-virtuosity and brotherhood were being developed simultaneously. According to Ross Russell, they would trade parts in exercise books and then double the tempos, and then insert what they were doing into solos. In 1945, "Shaw Nuff," believed to be co-written by both of them but released under Gillespie's leadership, was a signal of next-level virtuosity taking place.
The same year they played Town Hall in New York City on June 22nd. On "Salt Peanuts," after being forced to wait on "Bird and Diz" with an opening
Al Haig
piano1924 - 1982
Ornette Coleman
saxophone, alto1930 - 2015
Max Roach
drums1925 - 2007
Miles Davis
trumpet1926 - 1991
Famously, Gillespie played trumpet on "Ko-Ko" and piano on "Billie's Bounce" and "Now's the Time." I find it interesting that both Gillespie and Davis were present. The music they were all creating was more important than who was chosen by Parker to play on the date. Davis was 19. Famously, in late 1945, Gillespie hired Parker to play at Billy Bergs in Los Angeles, and afterwards Parker cashed in his train ticket and stayed. Back in New York in 1947, Parker played with Gillespie's big band but was fired by Gillespie for only playing his own solos and being unreliable. Firing your partner and friend happens a lot in jazz. Miles Davis fired
John Coltrane
saxophone1926 - 1967
Cecil Taylor
piano1929 - 2018
Raphe Malik
trumpet1948 - 2006
In September of that year, Gillespie played Carnegie Hall with his big band and had a quintet with Parker. Some have suggested that Parker and Gillespie had a competitive relationship, like brothers, and on this occasion, it sounded like Parker was out for blood. Gillespie may have also been saving his chops for the work with his big band. Gillespie holding back was still a level beyond most trumpet players. Parker's break on "A Night In Tunisia" is stunning, with Gillespie cheering him on during his solo. At the end of "Dizzy Atmosphere," they played another incredible transition device, an entirely new bebop line that sounded like it was written by Gillespie. Whatever animosity was going on between them personally, their musical brotherhood was intact onstage. On "Ko Ko." Gillespie does not solo except on the opening and closing arrangement/introduction. "Ko Ko" was always played as a Parker feature. I will discuss
Fats Navarro
trumpet1923 - 1950
Red Rodney
trumpet1927 - 1994
In June 1950, Parker hired Gillespie to play in a quintet in the famous Verve session with
Thelonious Monk
piano1917 - 1982
Buddy Rich
drums1917 - 1987
Bud Powell
piano1924 - 1966
Roy Haynes
drums1926 - 2024
Tommy Potter
bass, acoustic1918 - 1988
Howard McGhee
Miles Davis recorded with Parker in 1945, but before Miles, I feel it's vital to discuss
Howard McGhee
trumpet1918 - 1987
Coleman Hawkins
saxophone, tenor1904 - 1969
Roy Eldridge
trumpet1911 - 1989
During the period in which he played with Parker, McGhee would swing with measure and control, even when popping out notes at the top of the horn. He didn't possess the abandon and urgency of Gillespie, who when he was playing gave you the feeling that just about anything might happen. Some have type cast McGhee as a swing to bop musician. His work opened the door to both Fats Navarro and Clifford Brown. He will always be known as being present during Parker's breakdown in Los Angeles in July 1946. So much attention is paid to Bird's collapse that McGhee's playing at these sessions is overlooked. On the tune "Bebop" he plays incredibly clean and masterful trumpet. Gillespie and Charlie Shavers are present as stylistic influences. Also overlooked at this session is Parker's recording of "The Gypsy."
The human element in Bird's vulnerability, combined with the melody gave the impression of music being played by avant-garde alto saxophonist
Giuseppi Logan
saxophone1935 - 2020
Lawrence Koch discovered that on "Dee Dee's Dance," McGhee was heard with the piece clearly arranged and worked out. He used a whole tone scale against an F7 chord. He clearly had an artistic stake in these recordings based on the repertoire containing tunes McGhee played with Coleman Hawkins. McGhee in the '50s was consumed by heroin. He appeared with Parker in April of 1951 on a bootleg from Christy's in Boston. He staged a comeback in 1955 and continued to work and record until 1979, appearing on a total of 180 recordings. He was a true ally of Parker, helping him survive in Los Angeles. He and Miles Davis were good friends during this period and not competitive about playing with Parker.
McGhee's place in jazz history is troubling in that his work has been allowed to slip through the cracks by writers attempting to define the narrative. Part of the problem is because he played somewhat between styles. People that are more difficult to categorize are often marginalized by writers. I like to remember McGhee from what he said during this interview. When he was in New York City, after all the playing was over for the night, he and Fats Navarro would sit in the park trading lines, maybe like the ones they played on "Double Talk" in the boptet in 1948.
Miles Davis
Miles Davis (1926-1991) and Charlie Parker stand as one of the most important relationships to occur in jazz in regard to mentorship, along with
King Oliver
trumpet1881 - 1938
Louis Armstrong
trumpet and vocals1901 - 1971
John Coltrane
saxophone1926 - 1967
When Gillespie quit a band with Parker due to Parker's unreliability, Parker famously hired Davis to play with him for two weeks at the Three Deuces. Davis called him the greatest alto player of all time, and the leader of all the music. Davis said that Parker had five or six different styles and compared him to Dali. While most musicians referenced the melody, Parker played beyond it, or above it. Davis was also influenced by Parker not being beholden to notation. Famously, Davis recorded with Parker on his first record date as a leader for Savoy. Davis was struggling with "Cherokee," the same changes as Parker's "Ko Ko." I have yet to locate any audio of him playing through it. According to Davis, the issue was the tempo being so fast. On the date, Gillespie played on the piece. On "Billie's Bounce," Davis' solo has been listened to 1.4 million times to date on YouTube.
In Los Angeles, Davis played with Parker at the Finale Club and they recorded for Dial. Davis was unhappy with his short and muted solos on these classics. He sounds professional however, still trying to shake off some of his standard devices. After Davis and Parker were both back in New York, Davis worked for Parker again. In another Hollywood worthy event, Parker called for rehearsals and then didn't show up. Then at the Three Deuces, he came in and just blew everyone away, leaving them all slack-jawed. Davis mentions that Parker told him that anything can be done with chords, even a D natural on the 5th bar of a B-flat blues. When they both heard
Lester Young
saxophone1909 - 1959
In January 1951 Parker asked Davis to record with him for Verve. Davis recorded three sessions in one day with Parker's up first. He was now 25, and no longer a total student. He was also now struggling with heroin like Parker. Davis was now playing the beginnings of his style that he created as he was moving away from complete bebop. The space, syncopation, and tone are all Davis on "K.C. Blues." On "Star Eyes," Davis sounded like a trumpet man with his own voice playing with Parker. Davis built his own foundation while playing with Charlie Parker, and then with Parker there, began to establish an entirely different path in music, which to me, is one of the most significant transitions in jazz history.
They still had a contentious professional relationship on a record date for Prestige in 1953, with Parker being difficult on another Davis led session that had both Parker and
Sonny Rollins
saxophoneb.1930
In March 1955 Bird died while Davis was in jail for non-support. He didn't attend the funeral as Parker was buried in Kansas City. Parker's death ended what I believe to be one of the most important musical relationships in jazz history. Davis was inspired by Parker on the deepest levels, and then was able to join him as a working student. While with Parker he was able to develop his abilities while playing with possibly the greatest improvisor that will ever live in jazz. Without their musical relationship from the beginning to the end, I have to question if all of Davis future innovations would have ever taken place. It's possible that jazz as we know it simply wouldn't exist.
Kenny Dorham
Kenny Dorham
trumpet1924 - 1972
Dorham did some big band work with Billy Eckstine, Mercer Ellington, and
Lionel Hampton
vibraphone1908 - 2002
Red Rodney took the trumpet chair with Parker in November 1949, but Dorham did record with Bird in the summer of 1950 when Red Rodney was having an appendectomy. To my mind, he had his brightest moments with him there at Café Society playing "Just Friends" and "April in Paris." With relaxed tempos and without the pressure of executing a bebop head, Dorham played on a higher level of technique in a deepening level of his own style. He essentially graduated from Parker on this performance, much like Davis had graduated from Parker when they recorded "Star Eyes." Dorham kept on building, recording with Thelonious Monk in 1952, with Art Blakey in 1953, and then Sonny Rollins and
Horace Silver
piano1928 - 2014
Jimmy Heath
saxophone, tenor1926 - 2020
Clifford Brown
trumpetb.1930
Max Roach
drums1925 - 2007
He recorded with
Cecil Taylor
piano1929 - 2018
Giuseppi Logan
saxophone1935 - 2020
Dorham stopped recording after Trompeta Toccata (Blue Note, 1964). His health steadily became an issue. He continued to play and made his last recording in August of 1970. At some point he worked for the Post Office and also Manny's Music on the now extinct Music Row on 48th street in Manhattan between 6th and 7th avenues. Dorham died at 48 years old in December 1972 from kidney disease. Career wise, replacing Davis with Parker, and then replacing Brown with Roach were tough positions to be in. Today, Dorham remains a strong influence as an individual and master of hard bop. Almost every trumpet player I speak with mentions listening closely to his unique sound, lyricism and syncopation. He is difficult to imitate. Trumpet players more often use Davis and Brown as a stylistic influence, with critics then using Davis and Brown to label them. Kenny Dorham stands with Parker a student who graduated with honors.
Red Rodney
Red Rodney (1927-1994) was the next trumpet student in line with Parker. Parker and Norman Granz launched the Bird with Strings project with the first recording taking place November 30th, 1949. Parker would eventually tour with strings, leaving less work for a quintet with a trumpet. Rodney was coming from a lot of big band experience, playing with
Jimmy Dorsey
composer / conductor1904 - 1957
Gene Krupa
drums1909 - 1973
Benny Goodman
clarinet1909 - 1986
Woody Herman
band / ensemble / orchestra1913 - 1987
On "Fine and Dandy," Rodney sounds fluent. His sound and style were less identifiable than Davis, Navarro, or Dorham. His first recording with Parker happened in November 1949 at the Pershing Ballroom. On Christmas Eve 1949, Parker played Carnegie Hall, with Rodney now finding himself playing next to Parker on the famous concert stage instead of a club, a place you might expect to see Gillespie. Parker raised the stakes even further calling "Ko Ko" at breakneck speed. Parker played so fast that he started playing sheets of sound before
John Coltrane
saxophone1926 - 1967
Jon Faddis
trumpetb.1953
Rodney continued to work for Parker into 1950. In June, Parker called Gillespie instead of Rodney to make the famous verve recording with Thelonious Monk,
Curly Russell
bass, acoustic1917 - 1986
Buddy Rich
drums1917 - 1987
Kenny Clarke
drums1914 - 1985
He graduated from Parker on this recording as in the fall he quit, possibly due to another drug arrest. Parker and Rodney would not work together again. Rodney battled drugs but kept playing throughout the '50s recording five albums as a leader or co-leader. He spent the '60s playing Las Vegas shows. He returned to New York City in 1972 and staged a comeback. For the rest of his career Rodney evolved and challenged himself, eventually mentoring tenor saxophone phenomenon
Chris Potter
saxophone, tenorb.1971
Wynton Marsalis
trumpetb.1961
Lester Bowie
trumpet1941 - 1999
Fats Navarro
The great Fats Navarro (1023-1950) never worked for Parker past substituting for Red Rodney or when they crossed paths on jam sessions or big band collaborations. Part of the reason was he could command a higher salary. For many trumpet players Navarro was the quintessential bebop trumpeter, even above Gillespie. Known as "Fat Girl" for his weight and high-pitched voice, his playing contained a bebop purity and he was at the center of the movement. Navarro playing at full strength would be more of a collaborator with Parker like Gillespie. He was able to form his style without Parker's direct mentorship.Howard McGhee
trumpet1918 - 1987
Coleman Hawkins
saxophone, tenor1904 - 1969
Tadd Dameron
piano1917 - 1965
Bud Powell
piano1924 - 1966
Eddie "Lockjaw" Davis
saxophone, tenor1922 - 1986
Clifford Brown
trumpetb.1930
Navarro did cross paths with Parker on record and the results were fascinating. On a Barry Ulanov jam session in the late '40s they were captured playing over the changes to "Cherokee" at a brisk tempo. Following Parker's typical brilliance over these changes, Navarro owned the environment with authority and sounded totally relaxed while doing it. I spoke with trumpeter
Jeremy Pelt
trumpetb.1976
The other recording of Parker and Navarro we have is pure gold. While the date is often questioned, it is believed to have taken place at Birdland in late 1949 or early 1950. The band is Parker, Navarro, Bud Powell on piano,
Tommy Potter
bass, acoustic1918 - 1988
Art Blakey
drums1919 - 1990
Ras Miguel is Navarro's nephew and through him I was able to play Navarro's trumpet mouthpiece. I can't deny that while playing it, I just seemed to mystically feel his phrasing, his feeling, down in my bones. Line construction seemed urgent, but I felt the confidence to just let it happen. Navarro was always fluid and never sounded like he was trying to figure out what he was doing. He stood tall as one of Bird's trumpets, if only for a few bright moments.
Chet Baker
The notorious Chet Baker (1929-1988) was next in my study of trumpet players under Bird's wing. Baker was 23 and won an audition to play with Parker on a visit to Los Angeles in 1952. On a crisp Indiana following Parker, Baker may have played more bop than at any other time in his career, constructing lines and almost quoting "Donna Lee." On "Irresistible You," Baker played louder, attempting double time and upper register playing, in a short solo. On "Liza," Baker played more aggressively trying to match the fast tempo.In 1953 Baker joined Parker for a West Coast Tour. At the University of Oregon on "Ornithology," Baker tried to play the original head arrangement with triplets on the turnaround and had a hard time keeping up, his solo was unrecorded. On "Barbados," Baker tried to improvise through the head presumably not knowing it. Interestingly enough, with Baker's tone and pacing on the head improvisation, he sounded much more like himself. Again, his solo was edited out. Parker took "Cool Blues" up-tempo and we can hear Baker in exchanges with Parker and drummer
Shelly Manne
drums1920 - 1984
Gerry Mulligan
saxophone, baritone1927 - 1996
Tags
History of Jazz
Charlie Parker
Matt Lavelle
United States
New York
New York City
Herb Pomeroy
Joe Gordon
Chet Baker
Rolf Ericson
Fats Navarro
Red Rodney
Kenny Dorham
Miles Davis
Howard McGhee
Dizzy Gillespie
Benny Harris
"Step-Buddy" Anderson
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