Jam Session Vinyl Disc (180g farbiges Vinyl)

The Centennial Celebration collection 1920-2020 is dedicated to the 100th anniversary of Charlie Parker's birth.

Largely in keeping with his "Jazz at the Philharmonic" concerts, which recreate the magic of an impromptu jam session in front of a large audience, producer Norman Granz also gathered several world-class jazz soloists in the studio to create a "jam session". "albums.

The 1952 session presented here is the first in a series that includes nine other concerts and many other musicians. This 1952 session is the only one in the series featuring Charlie Parker. It was originally divided into two plates, the first with a yellow cover and the second with the same illustration by David Stone Martin, but with a red cover. Norman Shrdlu, listed as the composer of "Jam Blues", is a fictitious name that Granz often uses for blues performances created together.

The Jam Session is Charlie Parker's only recorded meeting with Charlie Shavers, Ben Webster or Johnny Hodges. He participated with Benny Carter (as well as with the third alto saxophonist Willie Smith) in the taped 1946 AFRS radio broadcast, which is their only other recording together. Byrd and Flip Phillips have a long history together, starting with Sarah Vaughan's session for the Continental label in 1945 and the recording of Red Norvo for the Comet label in the same year, as well as other studio dates and live JATP performances organized by Granz.

Barney Kessel recorded with Parker in 1947 during the Dial session where the famous "Relaxin'At Camarillo" was recorded. Byrd and Oscar Peterson recorded together on only one other occasion, at a big band session on March 25, 1952, which was also done by Norman Granz. During the recording of the jam session, Parker tried to stay away from heroin, but this increased his drunkenness, as shown in the photos at a time when he looked tired and gained a lot of weight. However, his performance was truly exceptional. For a medley of ballads, Byrd chose "Dearly Beloved". This is the only version of the tune in Parker's entire discography, both live and studio.

* 180 g of colored vinyl

* Digital multimeter mastering