{"id":6011,"date":"2014-08-29T21:12:04","date_gmt":"2014-08-30T04:12:04","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6011"},"modified":"2014-08-30T22:30:15","modified_gmt":"2014-08-31T05:30:15","slug":"happy-bird-day-to-you-2","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/08\/happy-bird-day-to-you-2\/","title":{"rendered":"Happy Bird Day To You"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;MpRSBB3bwtejbkrwYL73ejP8yt4e09uC&#8221;]<\/p>\n<p>Here it is Charlie Parker&#8217;s 94th birthday, and I&#8217;m just getting around to observing it. The photograph captures Bird in a moment of happiness. Such moments came fairly often in his troubled life, more frequently when he was at work than when he was pursuing, or pursued by, his problems.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/08\/Charlie-Parker-smiling-right.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-6009\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/08\/Charlie-Parker-smiling-right.jpg\" alt=\"Charlie Parker smiling right\" width=\"225\" height=\"225\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/08\/Charlie-Parker-smiling-right.jpg 225w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/08\/Charlie-Parker-smiling-right-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/08\/Charlie-Parker-smiling-right-100x100.jpg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/08\/Charlie-Parker-smiling-right-200x200.jpg 200w\" sizes=\"auto, (max-width: 225px) 100vw, 225px\" \/><\/a><\/p>\n<p>So, let&#8217;s listen to him at work. First, one of his magical transformations of George Gershwin&#8217;s &#8220;Embraceable You.&#8221; This is Take 2 of the tune from his Dial session of October 28, 1947. His quintet has Miles Davis, Duke Jordan, Tommy Potter and Max Roach.<\/p>\n<div style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/GeY5URDy5Y0?rel=0\" width=\"480\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<p>Of the dozens of blues Parker recorded, the <em>Rifftides<\/em> staff was unanimous in its vote for &#8220;KC Blues&#8221; from his Clef date of January 17, 1951. Davis and Roach are again present, with Walter Bishop, piano; and Teddy Kotick, bass. If you have heard this more than once before, you may be able to sing along with Bird&#8217;s solo. As melodic as something by Schubert, Chopin or Debussy, it is likely to find a home in your mind.<\/p>\n<div style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/Ubmw5jvRvZU?rel=0\" width=\"480\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<p><strong>Charlie Parker, 1920-1955. Thank you.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;MpRSBB3bwtejbkrwYL73ejP8yt4e09uC&#8221;] Here it is Charlie Parker&#8217;s 94th birthday, and I&#8217;m just getting around to observing it. The photograph captures Bird in a moment of happiness. Such moments came fairly often in his troubled life, more frequently when he was at work than when he was pursuing, or pursued by, his problems. &nbsp; &nbsp; &nbsp; [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":6009,"comment_status":"open","ping_status":"open","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-6011","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6011","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=6011"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6011\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/6009"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6011"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6011"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6011"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}