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Music, an international language, is made more evident here as “ Bird and Diz” made the crossover utilizing jazz, bebop and Cuban/South American rhythms proving that we are not divided. Sometimes under the auspices of Frank “Machito” Grillo recognized as the originator of Afro-Cubob Jazz I recognize that Stan Kenton has some involvement here, which may have meant that his arranger, Pete Rugalo may have been involved.
Anyway, what is most remarkable about this collection from the ‘40’s is that most musicians learned from each other...there was no “School Of Jazz”! Once you learned the basics you could apply the art of improvisation to any cultural trend.
Even more remarkable is that when Charles “Bird” Parker flew he not only broke the sound barrier but also achieved “Escape Velocity”.
Whatever the equation, he blew!
Some say to get his sound on his alto sax he’d use a penknife to trim down a tenor reed. Not to be outdone Dizzy had the bell of his horn accidentally raised so he could hear better of what came out the other end, and Ray Brown (Bass) would later use a bow, and become part of The Oscar Peterson Trio.
Adaptability was and is the essence of jazz today.
Other notables here are John Lewis (Later MJQ), Kenny Clarke (Drums, Dexter Gordon), Woody Herman, Red Rodney (trumpet), Kenny Drew (piano) Art Blakey.
This is an extremely exciting and exhilarating album.
formally of Emerson Lake & Palmer,
The Nice and Keith Emerson Trio
Tracks 1-2 recorded live at the Renaissance Ballroom, New York City, New York on May 19 & 20, 1950
Track 3 recorded live at Jubilee, Los Angeles, California on December 29, 1945
Tracks 4-6 recorded live at Carnegie Hall, New York, New York on September 29, 1947
Tracks 7-12 recorded live at the Civic Auditorium, Portland, Oregon on February 25, 1954
Tracks 13-17 recorded live at the Municipal Arena, Kansas City, Missouri on July 22, 1951
Track 18 recorded live at Birdland, New York, NY on December 20, 1950