CHARLIE PARKER — Bird And Diz (aka The Genius Of Charlie Parker #4 aka Une Rencontre Historique) (review)

CHARLIE PARKER — Bird And Diz (aka The Genius Of Charlie Parker #4 aka Une Rencontre Historique) album cover Album · 1952 · Bop Buy this album from MMA partners
4.5/5 ·
js
“Bird and Diz” is a collection of tunes recorded by the dynamic duo in 1950 and released two years later. This would be the last time these two would record together in the studio, and the only time they recorded with the idiosyncratic Theolonius Monk on piano. It is a stellar all-star lineup, and they do not disappoint. Many have criticized the use of the old school swing drummer, Buddy Rich, for this modern (circa ’50) bop session, but given that the drums are not recorded that well in the first place, basically the best you could hope for is someone who keeps good time, and Buddy does fine in that department. The tunes on here range from the old school humorously corny “My Melancholy Baby”, to the abstract, modern and high speed rush of “Leap Frog”. Except for “Baby”, all of the tunes on here are Parker originals that mostly lean on well worn bop chord changes. The tunes are okay, but its what they do with them that sets this group apart.

Although supremely talented on their own, something happens to ‘Bird and Diz’ when they get together, their talent seems to multiply, and when you add the dry wit of Monk, you have one of the more inspired sessions on record. Playing that is this confident, witty, relaxed and just plain brilliant is rare. Everything on here has a certain effervescent buoyancy that others can not reproduce. Sly humor is a big part of all this, particularly Monk’s terse deconstructionist rides. You can also hear them spoof each other’s solos, such as on the out-take of “My Melancholy Baby” where Parker follows Monk’s ridiculously melodramatic schmaltz with a flurry of crazy notes that bury Monk’s last chord. A special sound for this duo is when they play their unison melodies while Diz is using a mute, and you get that on both “An Oscar for Treadwell” and “Mohawk”.

Despite the criticisms of using Rich instead of the more bop savvy Max Roach, I still think this is one of the better jazz records in my less than extensive collection, but the potential buyer most be warned of one serious problem with this recording. The sound of the drums on here is pretty bad, and downright annoying sometimes. Apparently the recording engineer decided to channel most of the cymbal sounds through a very narrow eq setting and the result is that the cymbals sound like a faucet that was left running in a metal sink. How annoying this is depends on the listening medium, it seems worse in the car stereo than the home system, and I would say that it bothers me less and less over time.
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