The next item in my homage to Charlie Parker on the occasion of the centenary of his birth is one of his variations on the blues in F, called Now’s the Time. It’s definitely one of the bluesiest of Bird’s blues, and indeed it’s quite close to the usual 12-bar chord progression:
| F7| F7| F7 |F7 | B♭7| B♭7| F7| F 7|C7| B♭7| F7| F7|
In fact this goes something like
F7|B♭7|F7|Cm7 F7|B♭7|B♭7|
F7 D7#9| Gm7|C7|F7 D7|Gm7 F7|
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Here is another bit of music to celebrate the 100th anniversary of the birth of the great saxophonist Charlie Parker (“Bird”) on 29th August 1920.
I’ve written quite a few posts relating to Charlie Parker over the years but today has provided a good excuse to spend my lunchtime writing another one, this time featuring one of my favourite tracks from one of my favourite albums. First released in 1952 but in fact recorded in two separate sessions in 1949 and 1950, the album Bird and Diz was actually the last studio album made under the joint leadership of Charlie Parker and Dizzy Gillespie, the two main architects of the bebop revolution; the track I’ve picked has the added advantage of featuring another great musical genius on piano, Thelonious Monk.
The Charlie Parker composition Bloomdido is yet another of his variations on the blues, though this one is a bit less intricate than some of the others he wrote. Here are the chords for Bloomdido:
You can see that the progression is based around the standard three chords of a blues in B♭. The foundation is a “tonic” chord (T) based on the root note of whatever key it’s played in, in this case B♭. This sometimes a basic triad consisting of the first, third and five notes of a major scale starting on that note or, as in this example, including the dominant 7th so it’s B♭7. The next chord is the subdominant chord (S), shifting things up by a perfect fourth relative to the tonic, in this case an E♭7 and then finally we have the dominant (D) which brings us up by a fifth from the original root note, in this case F7.
The basic blues sequence in B♭ would be four bars of B♭7 (T), two of E♭7 (S), back to B♭7 (T) for two, then the characteristic bluesy cadence returning to two bars of B♭7 (T) via one bar each of F7 (D) and E♭7 (S). The sequence for Bloomdido has a few alterations, including a characteristic turnaround at the end, but is otherwise fairly recognizable. I guess the first part of the title is a play on the blues origin too, though I wonder if the second part suggests that some of the alterations are inspired by the A-section of the Juan Tizol standard Perdido?
Some people tell me they find Charlie Parker’s music “too technical” and that somehow if music “needs to be explained” it’s not good music. I don’t understand that attitude at all. I find this music so fascinating and exciting to listen to that I want to try to dig a little bit into it and find out what’s going underneath the surface. It’s particularly striking what a difference a few substitutions and passing chords can make to the overall harmonic “feel” of a piece like this compared to a standard blues sequence, for example. But you don’t need to study the chords to appreciate the sheer beauty of the music that Charlie Parker built on these harmonic foundations; his solo on this track, as on so many others he recorded in his short life, is just sublime even if you don’t realise how hard it is to play! I guess it all depends whether your way of enjoying a thing is to sit back and let it wash over you, or for it to inspire you to find out more. Many of the physicists I know are deeply interested in music. Perhaps that’s because they’re the sort of people who don’t just think “wow that’s beautiful”, they tend to think “wow that’s beautiful – how does it work?”.
Charlie Parker and Albert Einstein died in the same year, just over a month apart, the former in March 1955 and the latter in April. They were two very different geniuses but it’s as difficult to imagine physics without Einstein as jazz without Bird.
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Here’s another track to celebrate the centenary of the birth of the great Charlie Parker.
When I was at school most of my friends seemed to be into heavy metal, which I found completely tedious, so while they were out buying LPs by Hawkwind or Iron Maiden I was acquiring a secret collection of classic jazz records. Among my most prized purchases was a boxed set of six vinyl discs entitled The Legendary Dial Masters; they’re now available on CD, of course. I listened to these records over and over again and can easily understand why they’re regarded as some of the greatest musical performances of the twentieth century, not only in Jazz but in all music.
There’s a curious story about the Dial sessions, in that they took place in Hollywood California as part of an “exclusive” one-year contract (signed in 1946) between Dial records and Charlie Parker, who just happened to have signed another exclusive contract with the Savoy label based in New York. By this time in his life, Parker was already seriously addicted to heroin and this example of duplicity is consistent with other aspects of his behaviour: he regularly cheated and scrounged off friends and strangers in order to feed his habit and probably gave relatively little thought to the consequences of being found out. In this case, the clear breach of contract was pretty quickly rumbled, which could have led to a lawsuit, but it seems to have been settled amicably by the record labels, who agreed that both sets of recordings could be made commercially available.
It would take scores of blog posts to do justice to these great tracks, so I’ll just make a few comments now. First thing to mention is that the LPs forming the boxed set don’t just include the final versions as released, but usually a number of incomplete or discarded takes. At the session in question, recorded on February 19th 1947, there are 13 takes in all for just four tunes. It’s fascinating listening to these alternative versions (which are often, in my view, just as good if not better than the “final” version), not least because they demonstrate the wonderful spontaneity of Charlie Parker’s playing. They also have an experimental feel to them. The track I heard last night, Bird’s Nest, is, on one level, yet another bebop composition based on the chord changes of the George Gershwin standard “I got rhythm”, but what’s very special about it is just how free his improvisation is, both rhythmically and harmonically. It is, of course, well known that Charlie Parker’s nickname was “Bird” (originally Yardbird), and this track in particularly demonstrates that his playing really was very like birdsong – agile, quirky and above all intensely beautiful. The main difference is that most birdsong is actually atonal, which Bird’s music was not.
Another thing worth mentioning about this track is the identity of the piano player. When I heard it last night it triggered a vague memory that Errol Garner made some records with Charlie Parker. Was this one of them? I honestly couldn’t remember, but became increasingly convinced when I heard the piano solo. Later on, a quick search through my discography revealed that I was right. It is indeed a young Errol Garner. Although he doesn’t play badly, he doesn’t sound to me either comfortable or convincing playing bebop. Nevertheless, this session gives an important glimpse into the musical development of a major artist. You could say the same thing about the other tracks made around the same time by Bird and the young Miles Davis.
But that’s enough words. The whole point about music is that it says something that can’t be said with words. Birds manage perfectly well without them too.
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My next choice to celebrate the music of Charlie Parker, on the occasion of the centenary of his birth, features him very early in his career, with the relatively unknown Efferge Ware on guitar and Little Phil Phillips on drums, playing the jazz standard Cherokee. This track was recorded in 1941 (when Parker was only 21 years old) in Bird’s home town of Kansas City. There is a gap in Charlie Parker’s discography between 1942 and 1944, which was when the American Musicians Union called a strike which led to a ban on all commercial recordings. When the ban game to an end Charlie Parker’s recordings with Dizzy Gillespie, Max Roach, Bud Powell and others unleashed the new harmonic language of bebop on the general public from New York City where it had been incubating during the strike. Parker’s style had evolved greatly in the intervening two years which no doubt made his playing sound all the more revolutionary when the ban was lifted. Although this version of Cherokee is to some extent a pre-bebop recording, you can hear the originality and beauty of Bird’s improvisation (complete with cheeky quotation from the “Popeye” theme) and it’s clear where he was heading.
The sophisticated and complex chord sequence of Cherokee (with its trademark ii-7–V7–I progressions) made it a firm favourite with bop musicians who tended to play it even faster than this earlier version.
In 1945, during what was arguably the first ever bebop recording session, Charlie Parker and Dizzy Gillespie decided to play a variation of Cherokee using the same chords but a different head. During the first take the musicians absent-mindedly played the theme from Cherokee at which point there was a cry of anguish from the control room uttered by a producer, who obviously had hoped that if they stayed off the actual tune he wouldn’t have to pay composer’s royalties. They started again, made another take, called it Ko-Ko, and it became one of the classics.
The 1941 version is valuable from a historical perspective but you don’t have to be interested in that to enjoy the wonderful fluidity and invention of Bird’s playing.
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For my next piece in celebration of the centenary of the birth of Charlie Parker I thought I’d pick a classic live performance from May 15th 1953 at Massey Hall in Toronto. Originally released as a vinyl LP with only 6 tracks on it, and called The Quintet of the Year, but subsequently re-released in various versions on CD, with various titles including Jazz at Massey Hall. The whole concert is available on Youtube here:
This concert was planned to unite the greatest stars of the bebop era who had performed together earlier in their careers but had gradually evolved different styles over the intervening years. The line-up is Charlie Parker on alto, Dizzy Gillespie on trumpet, Bud Powell on piano, Charles Mingus on bass and the great Max Roach on drums which is stellar by any criterion!
Gatherings of star jazz players have often turned out to be disappointing, largely because very great musicians can sometimes interfere negatively rather than positively with each other, not necessarily consciously but because they can have ideas incompatible with one another. This evening, however, was a glorious exception to this rule, doubtless because all the musicians had worked together in the past, and their subsequent individual development had not taken them too far beyond their shared musical background. It is true that the ensemble passages are slight, but that doesn’t matter much because the solos are of such a remarkable and consistently high standard. Charlie Parker turns in some of the very best of his later recorded work, giving the lie to those who argue that his musical abilities were in decline at this time. He might not play as elegantly as he did on the classic Dial and Savoy sessions, but he is significantly more adventurous, with startling melodic contrasts in much of his work. At times this is a bit of a problem in that he seems to full of ideas that what comes out is a sequence of breathtaking fragments rather than a cohesive solo. This happens on A Night in Tunisia, for example, which never quite fulfills the promise of its magnificent opening break. On other tracks, though, especially Hot House his improvisations are just brilliant. It’s hard to imagine listening to this that in less than two years he would be dead.
Dizzy Gillespie matches Parker in superb fashion, betraying none of the offhandedness that often afflicted his later recorded performances, and the pyrotechnical quality of his playing is as exhilarating as it is instantly recognizable. Gillespie was an extrovert on stage and his frequent dancing around on the stage results in him going on and off mike from time to time, but it doesn’t detract from the performance once you realize why he’s fading in and out. It is, after all, a live performance and if you shut your eyes you can imagine Dizzy Gillespie the showman without any difficulty at all!
Most Jazz reviewers confine their comments on the rhythm section to a few kind words, but in this case that would be a travesty. The limitations of live recording technology in 1953 result in a rather unbalanced mix, but the flip side of that is that you can hear particularly well the pivotal importance of the bass playing of Charles Mingus. Between them Mingus and Max Roach lay down a relentlessly propulsive beat as well as taking gripping solos; the drum workouts in Wee and Salt Peanuts are astonishing in their interplay of rhythm and texture. Trumping even them, however, is the genius of Bud Powell who plays at a level consistently high even by his own standards.
Bud Powell is a fascinating musician for many reasons. Much less of a formalist than many Jazz pianists he nevertheless seems to generate a real sense of unity, more through the emotional drive underpinning his phrases than by imposing any set structure on his improvisations. His solo on Wee offers a fine example of this: moving inexorably towards a shattering climax as the right hand figures vary ceaselessly in their length and the chords punched out by the left hand grow more frequent and more percussive.
This album is another must-have for any serious collector of post-War jazz. The individual parts are all superb, but the whole is even greater than their sum.
PS. I had the pleasure of attending a concert at Massey Hall myself, when I was on sabbatical in Toronto in 2005/6.
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Second post today to mark the centenary of the great alto saxophonist Charlie Parker (“Bird”), undoubtedly one of the most influential musicians of the twentieth century. Together with trumpeter Dizzy Gillespie, Bird effectively created a revolution in Jazz after the end of World War II in the form of a new style called bebop.
Sadly, as with many Jazz legends, Charlie Parker died young as a result of chronic alcoholism and, especially in his case, drug addiction. He became hooked on heroin when he was a teenager and when he couldn’t get heroin he used anything else he could. The result was a body ravaged by abuse and a career frequently interrupted by illness. When he died, at the age of 35, the doctor who signed his death certificate estimated his age as “about 60”.
I remember, as a teenager, finding a Charlie Parker LP in a second-hand record shop and buying it for 50p. When I got home I put it straight on the record player and couldn’t believe my ears when I heard the staggering virtuosity of his playing. I just didn’t realise the alto sax could be played the way he played it. I’ve been a devout Charlie Parker fan ever since, although most of recorded output is quite difficult to get your hands on. In fact, the first record I bought as an LP has never been released on CD, which I think is a scandal.
Many people I know can’t really stand any Jazz that’s stylistically dated after about 1940. I have never really understood this attitude. To my mind the two tracks I’ve picked here, recorded in 1948, sound as fresh and exciting to me now as they did when I first heard them 30 years ago. They also seem to me firmly rooted in a wonderful tradition of music-making that reaches back to Louis Armstrong and King Oliver and forward to the likes of John Coltrane, Eric Dolphy and Ornette Coleman. Anyway, I’m not going to preach. I love this music and it’s up to you whether you agree or not.
Parker’s ideas didn’t just remain within jazz, and bebop had a huge cultural influence on post-war America. It never became as popular as pre-war Jazz, but had a devoted following on both sides of the Atlantic and breathed new creative life into a form that was in danger of becoming stale and commercialized.
The piece is called Ah Leu Cha and – as far as I’m aware – it is the only tune Bird ever wrote that involves any kind of counterpoint (provided by a very young Miles Davis on trumpet).
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Today marks the 100th anniversary of the birth of the great Charlie Parker, who was known to his friends as “Bird”. I’ve posted more than a few examples of Charlie Parker’s music over the years so I thought I’d celebrate the centenary with a bit of a flood.
I thought I’d start with this clip (inevitably without video I’m afraid) is in fact taken from the first ever Charlie Parker LP I bought when I was about 15 and which I still have. I bought it on impulse, not really knowing who Charlie Parker was, was this record that turned me onto his music and I’ve never turned off.
No information is provided on Youtube, but referring to the sleeve note reveals that the track was recorded from a radio broadcast live from Birdland in New York City on March 31st 1951 using a primitive disc recording machine by an amateur recording buff called Boris Rose. The sound quality isn’t great, but he deserves much greater recognition for capturing this and so many other classic performances and preserving them for posterity.
The personnels consist of Charlie Parker (alto saxophone), Dizzy Gillespie (trumpet), Bud Powell (piano), Tommy Potter (bass) and Roy Haynes (drums).
Here’s what the sleevenote (written by Gary Giddens) says about this track:
“Anthropology is an “I Got Rhythm” variation which originally appeared, in a slightly different form, as “Thriving on a Riff” on Parker’s first session as leader. The tempo is insanely fast; the performance is stunning. Bird has plenty of ideas in his first chorus, but he builds the second and third around a succession of quotations: “Tenderly”, “High Society”, “Temptation.” Gillespie’s second chorus is especially fine – only Fats Navarro had comparable control among the trumpeters who worked with Bird. His blazing high notes tend to set his lyrical phrases in bold relief. Bud, the ultimate bop pianist (and much more), jumps in for two note-gobbling choruses: no quotes, though, it’s all Powell. The four bar exchanges that follow demonstrate Hayne’s precision.
Spot on, but words aren’t really enough to describe this scintillating music, so listen!
Follow @telescoperI was rummaging around looking for some things related to a paper I’m struggling to finish before term starts and I found some vintage diagrams. They brought back a lot of memories of working on the textbook I wrote with Francesco Lucchin way back in the 1990s. In particular I remember how long it took to make these figures, when nowadays it would take a few minutes. In fact I’m thinking of setting this as a Computational Physics project for next year. These are not full computations either, just a simple fluid-based approach.
The curves show the evolution of fluctuations in both matter δm and radiation δr on a particular scale (i.e. a Fourier mode of given wavelength) defined as δm=δρm/ρm, etc. The x-axis shows the cosmic scale factor, which represents the expansion of the Universe and in both cases the universe is flat, i.e. it has a critical density. The first graph shows a universe with only baryonic matter:
Notice the strongly coupled oscillations in matter and radiation until a scale factor of around 10-3, corresponding to a redshift of a thousand or so, which is when matter and radiation decouple. The y-axis is logarithmic so the downward spikes represent zero points.
It is these oscillations which are responsible for the bumps and wiggles in the spectrum of the cosmic microwave background spectrum, as different Fourier modes arrive at the last scattering surface at a different phase of its oscillation. Of course going from the Figure above to the CMB fluctuation spectrum (see below) involves more calculations, and there is now a well-established machinery for doing these with full physical descriptions, but I think the above diagram makes the physical origin of these features clear.
The CMB power spectrum from Planck
The second diagram shows what happens if you add a third component called `X’ in the Figure below which we take to be cold non-baryonic matter. Because this stuff doesn’t interact directly with radiation (while baryons do) it doesn’t participate in the oscillations but the density perturbations just carry on growing:
Notice too that at late times (i.e. after the baryonic matter and radiation have decoupled) the baryonic component grows much more quickly than in the first Figure. This is because, when released from the effect of the photon background, baryons start to feel the gravitational pull of the dark matter perturbations.
There’s nothing new in this of course – these Figures are thirty years old and similar were produced even earlier than that – but I still think pictures like these are pedagogically useful,
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Just after 5pm yesterday I got a phone call from my solicitor telling me that all the formalities relating to my purchase of a house had been completed and the keys had been released. That gave me just enough time to finish what I was doing and head to the Estate Agent before they closed to get the keys. When I got there I found that a card and a bottle of wine were included, which was nice.
So now I own a house in Ireland, a rather lovely bungalow to be precise. It’s rather empty at the moment but I’ll be moving things in gradually over the next few days from my flat which I have until the end of the month. It will still be rather empty after I’ve done that because a lot of my stuff is still in Wales. I’ll have to figure out a plan to get over there and arrange to have it moved here to Ireland, though the timing of that is rather dependent on Covid-19 restrictions…
I have bought and sold properties in England (and Wales) a few times. The process here in Ireland as many similarities but also some differences. One big difference is the auction process. Estate agents here in Ireland are generally called auctioneers, actually. In order to register to bid you have to first show that you have the necessary funds and then you can place a bid online and then there’s a genuine auction, with bid and counter-bid. It’s easy in an auction to get drawn in so far that you end up spending more than you wanted to, so I decided on an absolutely upper limit on how high I would go. Fortunately on the house I ended up buying the bidding stopped well below that.
There are a few other differences. One is that stamp duty is just 1% in Ireland (for properties up to €1M) whereas in England it is much more complicated but for a property in England of similar value to mine it would be 5%. Incidentally there is also a Local Property Tax (LPT) based on the value of your home – similar to the old system of rates in the UK. The amount payable however is much lower, which is why local councils have so little money in Ireland and many services are privately run. You have to pay a private refuse and recycling company to deal with your garbage, for example. Which reminds me that I have to organize that.
I have to say I found the business of getting a mortgage a bit painful. Banks in Ireland are still saddled with bad mortgage debt from the time of the Credit Crunch about a decade ago so they are extremely cautious. I had to supply a huge amount of paperwork – about my income, savings, previous residences, etc – before the bank agreed to lend me money. Then the Covid-19 lockdown intervened and by the time we got moving again, in June, I had to supply all that information again because the documents were then out of date.
You also have to take out mortgage protection insurance, a form of life insurance policy. For that I had to have a full medical examination – the second such I’ve had in three years. (The previous one was when I joined the staff here at Maynooth). There’s also buildings insurance. If I have one word of advice for anyone thinking of buying a house in Ireland it is to do with the insurance policies. Banks and other lenders tend to be tied agents of certain insurance companies so if you ask your mortgage lender to arrange the insurance they will go with one company. When I did that I found the policies were at least 50% more expensive than the market rate. Fortunately I was able to get some local advice and got mine sorted independently at a very much more reasonable cost than those offered by the bank itself.
Other than that the business of mortgages and valuations and surveys and Land Registry is all tediously familiar.
One of the good things about having lived in Maynooth for a while before buying a house is that I know people who can give local recommendations. The solicitor who did the conveyancing was very efficient and competent, though it was very strange doing everything by Zoom, including witnessing the signing of documents!
Once I’d had my offer accepted, the process of actually taking possession of the house took about two months. I’m told that is exceptionally fast as these things go in Ireland, but the vendor and I both wanted to move quickly – I really wanted to get everything sorted before the start of term – and we were both prepared to nag the various people involved to make it happen.
Now all I have to is to arrange with the various utilities companies to have accounts switched to my name, notify various changes of address, buy some bits and bobs, and finish the moving of my gear. Lots to do, but it’s a nice feeling to have my own place once again.
P.S. I bought a piano from the vendor, but it badly needs tuning!
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News that primary and secondary schools in Ireland are re-opening this week reminded me of this picture I saw a year ago:
I suppose the items on display there provide one way of dealing with the stress of worrying whether re-opening will result in a large increase in Covid-19 cases!
Meanwhile the Third Level sector is also preparing to re-open. Although we have another month to go before teaching is supposed to restart at Maynooth University, I’m already getting quite a few emails from students asking what things are going to be like when it resumes in September. All I can answer is what our plans are, but whether or not we can put those plans into practice depends crucially on things outside my control, including local factors (such as the number of students taking each module) and national factors (especially the restrictions intended to prevent the spread of Covid-19).
On the first matter we’ll have to wait until students register which, for first years will be very late in the day because of the delayed leaving certificate results this year. We will know a bit sooner about returning students, but even for them it will be a couple of weeks or so.
The national picture is even more uncertain. As of yesterday, the average number of new Covid-19 cases per day over the last 7 days was an uncomfortably high 103.6:
Over the next month will the local lockdown in Kildare carry on? What will be the impact of schools’ reopening? Will the national Covid-19 picture improve or deteriorate? Although at this stage we plan to resume (partly) campus-based teaching on September 28th, but we have to accept that if things take a turn for the worse we might not be able to do that and will instead have to go online. We’ll just have to wait and see.
That doesn’t help students, of course, because they have to make decisions about accommodation and travel. It’s a very awkward and stressful situation for them but I think the only way to approach the queries I’m getting is to tell the truth. Sometimes “I don’t know” is the only honest answer.
At least my own preparations are proceeding. I’ve just had my own tensor barrier put in. This is intended to deter people from wandering into my office and spreading their germs. I don’t think the installation is finished yet, however, as it doesn’t seem to be connected to the mains electricity.
In the Dark 