A Quote by Gary Giddins
Charlie Parker was the greatest individual musician that ever lived. Every instrument in the band tried to copy Charlie Parker, and in the history of jazz there had never been one man who influenced all the instruments.
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[Charlie "Bird" Parker] would sit down and ask [Phil Wood], "What do you think about this whole secondary Viennese school with Schoenberg, Berg and Webern? Are you listening to that music and what do you feel about it?" These were the conversations that he was having. And he also said, what he learned from Charlie Parker was, not that he studied with him in the formal sense, is that the first thing that Charlie Parker would always ask was, "Did you eat today?".
Dizzy, Duke and Charlie Parker were the greatest jazz legends of all time.
I don't play the traditional Charlie Parker songs. But I do improvise and I do create with my instrument, and that to me is jazz. But there are people who use the word 'jazz' only in a traditional sense, and they would be offended by that, and that's fine.
I grew up listening to Ravel, Debussy, Bartok and jazz like Charlie Parker, Dizzy Gillespie, Cannonball Adderley, Charlie Christian and Django Reinhart. It was incredibly inspiring! And I was given a guitar and I said 'What the hell is this?!'
Charlie Parker said, 'Jazz comes from who you are, where you've been, what you've done. If you don't live it, it won't come out of your horn.' It's the same with the revolution.
I listened to classical music. I listened to jazz. I listened to everything. And I started becoming interested in the sounds of jazz. And I went to a concert of Jazz at the Philharmonic when we lived in Omaha, Nebraska, and I saw Charlie Parker play and Billie Holiday sing and Lester Young play, and that did it. I said, 'That's what I want to do.'
I think every writer of detective fiction writing today has been influenced by Mr. Parker. I'm of a generation that followed Robert Parker, and it was impossible to read the genre and not be influenced by him.
Charlie Parker lifted jazz music off the dance floor and into the stratosphere!
It was my band. I organized the band and Dizzy was in the band. Dizzy was the first musical director with the band. Charlie Parker was in the band. But, no, no, that was my band.
Jazz should be recognized as music of the people, based in a lot of accents and melodies. What is jazz but music that people danced to? Jazz has the dynamic thing. I don't think you have to be playing only Charlie Parker licks on your horn or whatever the new version of that is.
Charlie Parker is my greatest inspiration as a saxophone player - anything that involves him entails a large amount of respect.
A portrait of the young Charlie Parker with a degree of vivid detail never before approached. . . [Kansas City Lightning is] a deft, virtuosic panorama of early jazz. . . This is a mind-opening, and mind-filling, book.
I think cool originates with the jazz culture in the '40s. There was probably cool before that, but that's when people started talking about cool - Miles Davis and Charlie Parker and a bunch of other early, cool jazz folk.
Nothing surpasses my performances with small bands, especially with Charlie Parker. A small band doesn't forestall creativity.
When I heard Charlie Parker, I knew that that was going to be the new wave, the new way to play jazz. From that point on, I was sold with... the idea of bebop.
Ornette Coleman is doing the only really new thing in jazz since the innovations in the mid-forties of Dizzy Gillespie, Charlie Parker, and those of Thelonious Monk
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