{"id":392,"date":"2006-03-13T00:59:00","date_gmt":"2006-03-13T08:59:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=392"},"modified":"2006-03-13T00:59:00","modified_gmt":"2006-03-13T08:59:00","slug":"birdshot","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/03\/birdshot\/","title":{"rendered":"Birdshot"},"content":{"rendered":"<p>The <a href=\"http:\/\/www.artsjournal.com\/rifftides\/archives\/2006\/03\/charlie_parker_1.html\"target=\"_blank\">Charlie Parker posting<\/a> has elicited a number of interesting responses, including this one from <em>Rifftides<\/em> reader Dave Lull.<\/p>\n<blockquote><p>The late Esther Bubley  took photographs of Charlie Parker and others at a jam session.  There are a few of them posted at a <a href=\"http:\/\/www.estherbubley.com\/cparker_frame_set.htm\"target=\"_blank\">web site<\/a> devoted to Ms Bubley, and <a href=\"http:\/\/birdlives.co.uk\/zoom\/Itemid,80\/\"target=\"_blank\">more posted here<\/a>.<br \/>\nFrom the Esther Bubley Gallery forward:<br \/>\n&#8220;Esther Bubley was the photographer at the <a href=\"http:\/\/www.amazon.com\/exec\/obidos\/redirect?link_code=ur2&#038;tag=rifftidougram-20&#038;camp=1789&#038;creative=9325&#038;path=http%3A%2F%2Fwww.amazon.com%2Fgp%2Fproduct%2FB000004768%2Fqid%3D1142230714%2Fsr%3D11-1%2Fref%3Dsr_11_1%3Fn%3D5174\"target=\"_blank\">Norman Granz <em>Jam Session<\/em><\/a> recording in 1952. What is really remarkable about this series of photographs is that they show Charlie in a variety of moods: attentive, jovial, exhausted, nervous, and most of all, respectful towards Johnny Hodges and Benny Carter, both of whom were Charlie&#8217;s idols. Barney Kessel said, &#8220;The odd thing, I felt more warmth and receptivity from Charlie Parker towards the others than they did to him. [&#8230;] He was younger and he learned from them. They didn&#8217;t learn from him, they&#8217;d already left him a legacy; they were already established people before he&#8217;d even picked up a horn. He openly admired them&#8221;. Esther Bubley&#8217;s document of this session is genuinely unique for the photographs not only capture Charlie in the creative process, but are linked to one moment in time.&#8221;<br \/>\nThese photographs are available in <a href=\"http:\/\/www.jazzspot.com\/jazzspot\/books\/charlie_parker.htm\"target=\"_blank\">her book Charlie Parker<\/a>, published in France by Editions Fillipacci, 1995.<br \/>\nCordially,<br \/>\nDave Lull<\/p><\/blockquote>\n<p>During my New Orleans years, Charlie Parker&#8217;s two-chorus solo on &#8220;Funky Blues&#8221; from the <em>Jam Session<\/em> album was the theme song of a radio program, <em>Jazz Review<\/em>, that I did on WDSU. When Cannonball Adderley was a guest one night, the theme came up and he vocalised it in perfect unison with Bird. If only I had cued the engineer to open Cannon&#8217;s microphone, we&#8217;d have had a classic duet recording.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Charlie Parker posting has elicited a number of interesting responses, including this one from Rifftides reader Dave Lull. The late Esther Bubley took photographs of Charlie Parker and others at a jam session. There are a few of them posted at a web site devoted to Ms Bubley, and more posted here. From the [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-392","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/392","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=392"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/392\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=392"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=392"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=392"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}