2 comments about Charlie Parker and Thematic Improvisation.

1. This could be one of the most insightful books on Parker's style ever published. For all of you musicians who are Bach fanatics (if you aren't check him out), this is the book for you. Henry gives a fresh perspective to an widely emmulated saxophonic vocabulary using a Schenkerian approach(If you don't have Schenker's counterpoint book get it)by addressing Parker's profound "Bach-like" sense of voice leading. Being a noteworthy educator and composer (former student of Milton Babbit), Henry's abitlity to verbalize asthetics is simply astounding. Add this one to your music theory book collection. It's is worth a thousand more than what it costs.



2. It would be unfair to say that this book is worthless. It did get me to listen to more Charlie Parker. That was worth something. The author's ideas about different methods and modes of improvisation are interesting. But that's about it. The analysis in this book did nothing to enhance my appreciation of Charlie Parker's work.
   
   Why? This book is a perfect example of an academic manipulating the data to reflect their thesis. Martin's thesis is that Parker, who was known as more of a licks player than a thematic improvisor, refers to the themes of the tunes he's playing on while playing his licks. In order to prove this he manipulates the definition of "thematic improvising." In other words, the definition of thematic improvisation as is doesn't fit, so he changes it to prove his point. This is not a good sign.
   
   Furthermore, in his analysis, he awkwardly uses the wrong tool for the job: Schenkerian analysis. While Schenkerian theory might be a useful tool in analyzing the classical works that it was designed for, it really seems like the wrong tool for the job here.
   
   On "Red Cross" he argues that Parker's repeated statement of Bb is a reference to the theme, and that its rhythmic placement in the form has significance. While this *might* be true, it seems to me that the simplest explanation is the best: the tune is in the Key of Bb. Bb is the tonic. Of course he's gonna play some Bb's.
   
   While Martin observes that the head from Red Cross appears to have been modified in the studio, he ignores the elephant in the room: Red Cross is a "rhythm changes" tune, and it's very likely that the head on the tune was actually improvised right there in the studio. Parker and other musicians often did this in order to get paid. There's no such thing as a royalty for performance in the U.S., so improvisors would craft melodies for the simple purpose of collecting composer royalties. To assign such structural significance to a head that Parker likely improvised on the spot seems a little odd.
   
   And it strikes me as fascinating that Martin makes absolutely no note of the single most distinctive element in the "Red Cross" head: the very unusual arpeggio on the sixth bar of the A section. That seems the signature of the head. But Martin makes no note of it. Because it doesn't suit his thesis, as Parker makes no reference to that part of the theme in his improvisations. This is what I mean by Martin's manipulating the data to suit his thesis.
   
   Using Schenkerian analysis as his tool, he defines one of Parker's Motif's on "Shaw Nuff" as Parker's emphasis on the minor third interval from D to F. This oversimplification of Parker's brilliant motif is due to Martin's method: the Schenkerian analysis insists upon. This is what I mean about the wrong tool for the job. Reducing analysis of a theme to focusing on chord tones on a jazz tune (where the "out" notes are as important as the "in" ones) is patently absurd.
   
   What's more, once again there is a simpler explanation for the D - F interval that Martin observes: The tune is in Bb. Those two notes are the third and 5th of the key. The tonic chord. Of course they're gonna get some play.
   
   Because the author is an eminent scholar, and his work is quite respected, I think his work in this area has gotten undue attention and appreciation. I just happen to think he "got it wrong" here and that this book is a really specious argument.
   
   Most importantly, this work won't really enhance your understanding of Parker's musicianship.
   
   Listeners would do better to read other books to develop more of an appreciation of Parker. Players might do well to check out one of these:
   
   Charlie Parker for Guitar: Note-for-Note Transcriptions and Detailed Performance Notes for 18 Bebop Classics
   
   The Best of Charlie Parker: A Step-by-Step Breakdown of the Styles and Techniques of a Jazz Legend
   
   I'm sure there are other valuable books on the subject as well.

No comments about The Best of Charlie Parker: A Step-by-Step Breakdown of the Styles and Techniques of a Jazz Legend.

No comments about Bebop Guitar: Basic Theory and Practice for Jazz Guitar in the Style of Charlie Parker.

No comments about Mel Bay Essential Jazz Lines : Bb Edt. The Style Of Charlie Parker.

4 comments about Bird: The Legend of Charlie Parker (Da Capo Paperback).

1. this book was about an epic struggle of a jazz musician in a New York city life.Im 16 and i play a lot of jazz and parker was a geat influence on me and my playin i worship him as a mucican and a jazz ico



2. This book shows the life of Parker through the eyes of many of his collegues, friends, and family. Robert Riesner should be commmended for his work on this material because it's informitive and gives views of Parker through people that were in his life. This book is a must read for all "true" Bird fans.



3. This book is less acclaimed than Ross Russell's book, but is far better than the latter. Reisner knew Bird well and he interviewed most of his associates. It's Bird in the words of those who knew him. A great piece of work!



4. This is the only book that I have read about Parker. So I can't compare it to other works. BUT it is a very enjoyable read. As the cover states there are extensive interviews with people who knew him best, including various ex-wives. Various incidents that are in the movie are described here, so I assume Eastwood, or whoever wrote the script, probably consulted this book. But, what is interesting is that the Book states that Chan and 'Bird' were never legally married. Don't think that fact was in the Movie.

No comments about Vol. 26 - Charlie Parker: Jazz Play-Along Series.

2 comments about Charlie Parker for Guitar: Note-for-Note Transcriptions and Detailed Performance Notes for 18 Bebop Classics.

1. I probably own a ton of instructional jazz-guitar books and the difference between any other book and this one, is that here you get up and running directly.

   The author has really taken his time to figure out the optimum fingerings for the heads and solos. And to my suprise I hear my self running thru anthropology like a hot knife thru butter.

   Belive me I experimented with other fingerings, but I hitherto have found the authors suggestions to be optimized.

   Perhaps there are books that goes deeper into the theoretical aspect of Charlie Parkers music, but I personally think it's more fun to learn to play it first and only then analyse it.
   Otherwise it's easy to get stuck ( and bored).

   I cannot recommend this book enough. It's the best!
   I hope and pray that the author will follow up with another one, (why not a book with Dizzy solos the next time?). When it comes I will definetly buy it. Until then, this book provides for plenty of magical moments.

   Buy it and have fun.

   Klas




2. My review is simply this, in all true knowledge something can be gained from it, if one views it in a positive manner. This book has knowledge in it and is the reflection of a devoted Artist. Negative opinions are a waste of time and energy. No single source of knowledge of music or any other subject is all one will ever need, so.... in light of this truth one must seek out knowledge and learn continuously if mastery is to be attained.

2 comments about Charlie Parker Omnibook Bass-Clef.

1. What can I say? a necessity for all bassists!
   Great value, great to play through...the real jazz bible?! buy now and you wont be disappointed!



2. The book is an awesome transcription of Charlie Parker and his amazing solo and style. It is very accurate. It's a great way to enhance your improvisation library. The only problem that I had, was that the music is written down an octave than sounded by Charlie Parker. Obviously the tenor sax plays in a higher range. It's not really a problem, but you have to play an octave higher along with the recordings to try and match the timbre of the instruments. I guess it saves you from reading ledger lines or tener clef. Anyway, great book for a great price.

2 comments about Charlie Parker Omnibook: Transposed for B Flat Instruments.

1. Very accurate transcriptions--a great way to practice & play along with these great jazz tunes.



2. This book has long been known as the bible of bebop. However, I STRONGLY recommend that saxophone players buy the Eb edition. This Bb edition, transposed for obvious reasons, does not work well for tenor sax. It goes beyond the instrument's range, and it's just plain awkward to play. Unless you are a trumpet player or you are using this book in a group setting, DON'T buy this edition. Get this one: Charlie Parker Omnibook for E Flat Instruments : Recorded Solos

5 comments about Charlie Parker Omni Book C.

1. There's no denying this book is considered a classic, but it could use a few revisions. It appears not to have changed at all since its original appearance in 1976, including an annoying amount of tacky and out-of-date advertisements. In one instance, a half-page ad on the second page of "K.C. Blues" replaces what should have been Parker's second solo on that tune! Many of the songs are transcribed without key signatures - adding key signatures would make transposing tunes and riffs significantly easier. There are some rhythm errors in a few of the tunes ("K.C. Blues" has one measure with only three counts, "Ballade" also has a few rhythm mistakes and is nearly impossible to read the way it's written, with its overabundance of 32nd and 64th note runs). I'm not questioning the talent of Parker - some of the other "Omnibook" reviews here are based on Parker's playing abilities rather than the way his compositions are represented in these transcriptions. The simple addition of key signatures would be a huge improvement. For less experienced students, it'd also be nice to see a synopsis of the tune beneath the title describing the song's form or the origin of the chord changes. Simple things like that could make this book even more indispensable than it has become.
   Do we all have to buy this book? Despite its shortcomings, I'm afraid the answer is "yes". Surely, there's some ambitious grad student out there somewhere willing to enter the entire book into Finale or Sibelius so we can at least get key signatures and those few rhythm corrections. Please?



2. Man, if Bird was god, then this is sure is the bible. If you got a horn, this is all you need, the only way to learn fully is to play Birds solos. Buy it and you'll never put your horn down.



3. If you want to play great bebop lines, you immitate the master. If there is a better way to immitate the master than working this book on the metronome, I haven't encountered it yet. This book has become the standard for Bird transcriptions. If you're serious about playing bop, you won't be disappointed by this book.



4. Whether you are a saxophonist trying to follow bird' s steps or a pianist wnting to improve your reading and improvisational skills, this book is a true jewel.



5. The transcriptions are spot on and a huge time saver for anyone who wants to learn Bird's patterns and doesn't have the proper equipment or time to transcribe em' his/herself. I learn more and more through this book every day. It's absolutely worth transcribing pieces on your own sometimes but to get a collection of this magnitude, and accurate as it is, would be really time-consuming. This Eb version is a necessity for any serious jazz alto players - personally i think the some version of it should be in EVERY MUSICIAN'S library.