What is considered to be the “first†Be Bop recording?
"Ko-Ko" (as well spelled "Ko Ko" or, less frequently, "KoKo") is a 1945 bebop recording composed by Charlie Parker. The original recorded version lists Parker on alto saxophone with trumpeter Miles Davis, double bassist Curley Russell and drummer Max Roach. Due to the absenteeism of Bud Powell, Giddy Gillespie was enlisted to play pianoforte, instead of his usual trumpet. Pianist Sadik Hakim, and so known as Argonne Thornton, was besides known to be present at the session. Rumors persist to this day about precisely who played trumpet and piano on this piece; some claim it'south young Miles Davis who plays trumpet and Gillespie comping at piano, on both takes;[1] most merits Gillespie plays trumpet[2] [iii] [iv] and, or instead of, piano; some claim Hakim is the pianist on all or role of 1 or both of the takes.[5] [vi] [7] Withal, Miles Davis confirms in his autobiography that he did non play trumpet on "Ko Ko":
"I remember Bird wanting me to play "Ko-Ko," a melody that was based on the changes of "Cherokee." Now Bird knew I was having trouble playing "Cherokee" back and then. So when he said that that was the tune he wanted me to play, I just said no, I wasn't going to do information technology. That's why Giddy's playing trumpet on "Ko-Ko," "Warmin' up a Riff," and "Meandering" on Charlie Parker'due south Reboppers, considering I wasn't going to go out there and embarrass myself. I didn't actually recollect I was gear up to play tunes at the tempo of "Cherokee" and I didn't brand no bones about information technology."[eight]
Dizzy Gillespie also confirms that he played trumpet on "Ko Ko" in an interview with Stanley Crouch in 1986, and that the trumpet intro was composed by Charlie Parker.[ix]
The song begins with a harmonically ambiguous introduction only quickly transitions to B flat major at the top of Parker'southward first solo chorus. At this point, the harmony is at present based upon the chord changes of the song "Cherokee" by Ray Noble. A drum solo by Max Roach ends the transition. The catastrophe material is very similar to the introduction and features an unexpected ending.
Overview [edit]
A recording ban, imposed by the American Federation of Musicians from 1942 to 1944, prevented musicians in the nascent bebop movement from recording new works during the crucial determinative menstruum of this emerging genre. Every bit a result, the "Ko Ko" session, along with the "Shaw 'Nuff" session led by Light-headed Gillespie earlier in the year, is considered by many to be the very kickoff time Bebop was ever recorded.[10] [11]
Charlie Parker said that while playing Ray Noble's melody "Cherokee", "I found that by using the higher intervals of a chord as a melody line and backing them with accordingly related changes, I could play the thing I'd been hearing."[12] He had played that piece so many times that by the cease he hated it, but he had mastered the chords perfectly in all 12 keys. "Ko Ko" has a partially improvised head and the chords are based on "Cherokee".[13]
Other musicians involved include Curly Russell on bass and Max Roach on drums. Trumpeter Giddy Gillespie played piano on almost pieces while 19-year-old Miles Davis played trumpet.
In 2002, the Library of Congress added "Ko Ko" to the National Recording Registry.[xiv]
Recording session [edit]
Charlie Parker's Ri Bop Boys – Ko Ko
"Ko Ko" was recorded on November 26, 1945, at WOR studios in New York City. In the booklet accompanying Charlie Parker: The Consummate Savoy Studio Sessions author James Patrick gives a total account of the session, informed by "[d]ocuments from the Savoy files and the recollections of Teddy Reig, who produced the session ..."
A standard three hour/4 side session was scheduled for Nov 26, 1945, at the WOR studios in New York for which Parker would supply original composititions. A Matrimony contract was arranged the preceding week and Parker; Miles Davis, trumpet; Bud Powell, piano; Curly Russell, bass; and Max Roach, drums, were booked for the date. On the 26th Reig went to Parker's apartment to bring Bird to WOR and was informed the Powell had gone with his female parent to Philadelphia where she was buying a house. No need to worry, withal; Dizzy Gillespie was present and introduced to Reig: "Here'southward your piano player". Parker also had contacted pianist Argonne Thornton (afterwards a.chiliad.a. Sadik Hakim) ... and asked that he appear at the studio ...[5]
Other recordings at this session were "Billie'due south Bounciness", "Warming Upward a Riff", "Now's the Time", "Thriving on a Riff", and "Meandering". The album The Charlie Parker Story fully documents this session, as does the aforementioned Complete Savoy Studio Sessions box set.
Duke Ellington too wrote and recorded an unrelated vocal entitled "Ko-Ko" in 1940 at Victor's studios in Chicago.[xv] Ellington's version of the song was inducted into the Grammy Hall of Fame in 2011.[16]
Structure [edit]
There were two takes:
In both takes the piece starts with a 32-bar introduction that was written by Charlie Parker:
- Bars 1–8 – Alto saxophone and trumpet in unison octaves
- Bars 9–16 – Cursory trumpet solo
- Confined 17–24 – Brief saxophone solo
- Bars 25–32 – Alto saxophone and trumpet in thirds/fourths, so briefly in octaves
Following the intro in the first take, sax and trumpet brainstorm the melody of "Cherokee". They are interrupted by someone clapping and whistling and shouting "You lot can't play that".
Later on the introduction in the 2nd take are two 64-bar solo choruses from Parker on the saxophone; each chorus follows the Xxx-two-bar form (AABA), except that the number of bars is doubled to 64, partly due to the extensive importance of solos in bebop music, and partly due to the extremely fast 300bpm tempo. The absence of any equanimous textile on this recording, as well the introduction and coda, is a telling example of the bebop musicians' strong emphasis on improvisation first. It is an extremely virtuosic solo, incorporating fast eighth notation playing and energetic improvisation. Parker'south use of accents go on his phrasing from sounding rhythmically monotonous. This phrasing style gives his bebop soloing a song and melodic quality fifty-fifty as his tactfully executed lines fly by at well-nigh imperceptible speed. The second chorus of Parker'southward solo opens with a two-bar quote from the notably difficult clarinet piece "Loftier Society", fabricated famous by clarinetist Alphonse Picou. Charlie Parker was known to quote melodies from a variety of musical traditions in his improvised solos, and this particular solo is no exception.
Afterward the solo from Parker is a 32-bar drum solo from drummer Max Roach. The drums for the slice are tuned higher than normal, which gives the solo a brighter, livelier experience. Roach too pushes forward the tempo in an exciting mode, only it pulls back collectively to the original tempo soon after Parker and Gillespie reenter.
The piece finishes with a 28-bar coda, integrating the primary themes from the introduction and improvisation from Parker and Davis, and finally an sharp ending. The catastrophe feels unresolved, similar an imperfect cadence, because the bassist, Curly Russell plays an F every bit the last notation. Even without harmonic context, the F sounds like a dominant chord with no resolution due to the strong tonicization of B flat major throughout the recording.
Releases [edit]
"Ko Ko" was issued and reissued many times over the years. The original release was as the B-side coupled with Don Byas' rendition of "How Loftier the Moon" on a 78 rpm Savoy 597. This record was reissued as Savoy 916, the Savoy 900 series being dedicated to Bebop. On both records the group was credited as "Charlie Parker's Ri Bop Boys".
The vocal was subsequently released on Savoy XP 8001: Charlie Parker, Vol. 2 (7 inch EP) and Savoy MG 9000: Charlie Parker, Vol. i (x inch LP) when these formats came into vogue in the early 1950s. Information technology was besides released on Savoy XP 8097: Bird – Diz – Bud – Max, Vol. one and Savoy MG 9034: Bird – Diz – Bud – Max on the aforementioned formats. These were compilations of bebop tracks by Parker, Gillespie, Powell and Roach; on both of these latter releases the title was listed as "Co-coa".
"Ko Ko"'s next release was on Savoy MG 12014: The Genius of Charlie Parker. This was also its first 12-inch LP release. The Charlie Parker Story was released next, which included all of the takes from the entire session. This anthology was the first to release the aborted showtime take of "Ko Ko" along with the previously released master have.
The main take of "Ko Ko" was released next on Savoy 12126: The Jazz Hr, a compilation of various Savoy artists; and so on Savoy SJL 2201: Bird/The Savoy Recordings (Principal Takes).
And, every bit noted higher up, the entire session was reissued once more on the box gear up Charlie Parker: The Consummate Savoy Studio Recordings.[17]
CD reissues followed in the 1990s. The Genius of Charlie Parker [eighteen] and The Charlie Parker Story [19] were both reissued on CD by Nippon Columbia. Consummate Savoy Masters [20] and Complete Savoy Sessions [21] were issued every bit CD box sets past Definitive Classics, and this session was included in The Complete Savoy and Dial Studio Recordings 1944–1988 released in 2000 by Atlantic Records.[22]
See besides [edit]
- List of jazz contrafacts
Footnotes [edit]
- ^ Urbano, Tommaso. "The Ko-ko session: November 26, 1945, Charlie Parker Reboppers' recording for Savoy". themusicofmiles . Retrieved 2 January 2015.
- ^ Gitler, Ira (1956). The Musings of Miles (liner notes). Miles Davis. Prestige Records. PRLP 7007.
- ^ Haddix, Chuck (2013). The Life and Music of Bird, University of Illinois Press, pages 81-83 – ISBN 978-0-252-03791-vii
- ^ Koch, Lawrence (1988). Yardbird Suite: A Compedium of the Music and Life of Charlie Parker (volume). Northeastern University Press. ane-55553-384-1.
- ^ a b Patrick, James (1978). "The Koko Session". Charlie Parker: The Consummate Savoy Studio Sessions (booklet). Charlie Parker. Arista Records. S5L 5000.
- ^ Porter, Bob (1978). "Talking with Teddy". Charlie Parker: The Complete Savoy Studio Sessions (booklet). Charlie Parker. Arista Records. S5L 5000.
- ^ Hakim, Sadik. "Reflections of an Era: My Experiences with Bird and Prez". anthonyflood.com . Retrieved ii Jan 2015.
- ^ Davis, Miles. "Miles: The Autobiography". yanko.lib.ru.
- ^ Dawkins, Arthur. "An Interview with Lightheaded Gillespie". dh.howard.edu.
- ^ "Charlie Parker: 'Bird Lives!' Part 1". npr.org. National Public Radio. Retrieved vii January 2015.
- ^ Patay, Matthew. "Charlie Parker Biography". imdb.com . Retrieved seven January 2015.
- ^ Shapiro, Nat and Hentoff, Nat. Hear Me Talkin' To Ya, Courier Dover Publications, 1955, page 354 – ISBN 0-486-21726-4, ISBN 978-0-486-21726-0
- ^ Reisner, Robert George. Bird: The Legend of Charlie Parker, Da Capo Printing, page 103 – ISBN 0-306-80069-1
- ^ "The National Recording Registry 2002". The Library of Congress. Retrieved 18 January 2013.
- ^ See the Smithsonian Collection of Classic Jazz vol.III to listen at the commencement issue.
- ^ "Grammy Hall of Fame". Recording Academy . Retrieved seven January 2019.
- ^ "Charlie Parker Discography". jazzdisco.org . Retrieved 3 January 2015.
- ^ The Genius of Charlie Parker at Discogs
- ^ The Charlie Parker Story at Discogs
- ^ Parker, Charlie. Consummate Savoy Masters at AllMusic
- ^ Parker, Charlie. Complete Savoy Sessions at AllMusic
- ^ Parker, Charlie. The Complete Savoy and Dial Studio Recordings 1944–1948 at AllMusic
Source: https://en.wikipedia.org/wiki/Ko-Ko
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