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▄▓█████████▓▓█▀ ▀▀▀▓██▓▌
░ ▓█████████▓▓█▀ [ J U S T F U N . P R E S E N T S ] ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
░ ▓████▓▌ ░ Artist.......: Charlie Parker ▐▓▀▀
▓ ▐█████▓█ Album........: Complete Jazz At Massey Hall ▀ ░
▀█▄▓████▓▓▄█▀ Genre........: Jazz ░▓ ▌
▄▀██▓██▓▓▀ Language.....: English ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label........: Tha Jazz Factory ░▓░ █▓▌
▐█▓▓ ▀▓ Catnr........: n/a ░▓▓▓ ▐█▓▓
▓█▓▌ URL..........: n/a ▓░ ███▓▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
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░▓▓░ ▐█▓▓ ░ ░▓▓░ source......: CDDA ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ playtime....: 73:11 min ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ rip.date....: Sep-17-2004 ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ str.date....: 000-00-2004 ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ ripper......: JusT TeaM ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ grabber.....: EAC v.0.95 prebeta 4 ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ encoder.....: LAME v.3.90.3 Modified ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ size........: 67,3 MB ░▒░ ░▓░ ░
▐█▓▀ ░░ ▀█▓▌░ quality.....: VBR/44,1Hz/Joint-Stereo ░ ▒
█▀ ░▓▓▓▓░ ▀▓ ░ ░ ░
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░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ 01. Perdido 08:16 ▓▌
▓████▓▌ 02. Salt Peanuts 07:38 ▓▌
▓████▓▌ 03. All The Things You Are 07:14 ▓▌
▓████▓▌ 04. 52nd Street Theme 00:43 ▓▌
▓████▓▌ 05. Drum Conversation 04:38 ▓▌
▓████▓▌ 06. Cherokee 04:56 ▓▌
▓████▓▌ 07. Embracable You 04:25 ▓▌
▓████▓▌ 08. Hallelujah (Jubilee) 04:01 ▓▌
▓████▓▌ 09. Sure Thing 02:13 ▓▌
▓████▓▌ 10. Lullaby Of Birdland 02:34 ▓▌
▓████▓▌ 11. I've Got You Under My Skin 03:02 ▓▌
▓████▓▌ 12. Wee (Allen's Alley) 06:47 ▓▌
▓████▓▌ 13. Hot House 09:10 ▓▌
▓████▓▌ 14. A Night In Tunisia 07:34 ▓▌
▓████▓▌ ▓▌
▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓████▓▌ ▓▌
▓████▓▌ Biography : ▓▌
▓████▓▌ ▓▌
▓████▓▌ One of a handful of musicians who can be said to ▓▌
▓████▓▌ have permanently changed jazz, Charlie Parker was ▓▌
▓████▓▌ arguably the greatest saxophonist of all time. He ▓▌
▓████▓▌ could play remarkably fast lines that, if slowed ▓▌
▓████▓▌ down to half speed, would reveal that every note ▓▌
▓████▓▌ made sense. "Bird," along with his contemporaries ▓▌
▓████▓▌ Dizzy Gillespie and Bud Powell, is considered a ▓▌
▓████▓▌ founder of bebop; in reality he was an intuitive ▓▌
▓████▓▌ player who simply was expressing himself. Rather ▓▌
▓████▓▌ than basing his improvisations closely on the ▓▌
▓████▓▌ melody as was done in swing, he was a master of ▓▌
▓████▓▌ chordal improvising, creating new melodies that ▓▌
▓████▓▌ were based on the structure of a song. In fact, ▓▌
▓████▓▌ Bird wrote several future standards (such as ▓▌
▓████▓▌ "Anthropology," "Ornithology," "Scrapple From the ▓▌
▓████▓▌ Apple," and "Ko Ko," along with such blues numbers ▓▌
▓████▓▌ as "Now's the Time" and "Parker's Mood") that ▓▌
▓████▓▌ "borrowed" and modernized the chord structures of ▓▌
▓████▓▌ older tunes. Parker's remarkable technique, fairly ▓▌
▓████▓▌ original sound, and ability to come up with ▓▌
▓████▓▌ harmonically advanced phrases that could be both ▓▌
▓████▓▌ logical and whimsical were highly influential. By ▓▌
▓████▓▌ 1950, it was impossible to play "modern jazz" with ▓▌
▓████▓▌ credibility without closely studying Charlie ▓▌
▓████▓▌ Parker. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Born in Kansas City, KS, Charlie Parker grew up in ▓▌
▓████▓▌ Kansas City, MO. He first played baritone horn ▓▌
▓████▓▌ before switching to alto. Parker was so enamored of ▓▌
▓████▓▌ the rich Kansas City music scene that he dropped ▓▌
▓████▓▌ out of school when he was 14, even though his ▓▌
▓████▓▌ musicianship at that point was questionable (with ▓▌
▓████▓▌ his ideas coming out faster than his fingers could ▓▌
▓████▓▌ play them). After a few humiliations at jam ▓▌
▓████▓▌ sessions, Bird worked hard woodshedding over one ▓▌
▓████▓▌ summer, building up his technique and mastery of ▓▌
▓████▓▌ the fundamentals. By 1937, when he first joined Jay ▓▌
▓████▓▌ McShann's Orchestra, he was already a long way ▓▌
▓████▓▌ toward becoming a major player. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Charlie Parker, who was early on influenced by ▓▌
▓████▓▌ Lester Young and the sound of Buster Smith, visited ▓▌
▓████▓▌ New York for the first time in 1939, working as a ▓▌
▓████▓▌ dishwasher at one point so he could hear Art Tatum ▓▌
▓████▓▌ play on a nightly basis. He made his recording ▓▌
▓████▓▌ debut with Jay McShann in 1940, creating remarkable ▓▌
▓████▓▌ solos with a small group from McShann's orchestra ▓▌
▓████▓▌ on "Lady Be Good" and "Honeysuckle Rose." When the ▓▌
▓████▓▌ McShann big band arrived in New York in 1941, ▓▌
▓████▓▌ Parker had short solos on a few of their studio ▓▌
▓████▓▌ blues records, and his broadcasts with the ▓▌
▓████▓▌ orchestra greatly impressed (and sometimes scared) ▓▌
▓████▓▌ other musicians who had never heard his ideas ▓▌
▓████▓▌ before. Parker, who had met and jammed with Dizzy ▓▌
▓████▓▌ Gillespie for the first time in 1940, had a short ▓▌
▓████▓▌ stint with Noble Sissle's band in 1942, played ▓▌
▓████▓▌ tenor with Earl Hines' sadly unrecorded bop band of ▓▌
▓████▓▌ 1943, and spent a few months in 1944 with Billy ▓▌
▓████▓▌ Eckstine's orchestra, leaving before that group ▓▌
▓████▓▌ made their first records. Gillespie was also in the ▓▌
▓████▓▌ Hines and Eckstine big bands, and the duo became a ▓▌
▓████▓▌ team starting in late 1944. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Although Charlie Parker recorded with Tiny Grimes' ▓▌
▓████▓▌ combo in 1944, it was his collaborations with Dizzy ▓▌
▓████▓▌ Gillespie in 1945 that startled the jazz world. To ▓▌
▓████▓▌ hear the two virtuosos play rapid unisons on such ▓▌
▓████▓▌ new songs as "Groovin' High," "Dizzy Atmosphere," ▓▌
▓████▓▌ "Shaw 'Nuff," "Salt Peanuts," and "Hot House," and ▓▌
▓████▓▌ then launch into fiery and unpredictable solos ▓▌
▓████▓▌ could be an upsetting experience for listeners much ▓▌
▓████▓▌ more familiar with Glenn Miller and Benny Goodman. ▓▌
▓████▓▌ Although the new music was evolutionary rather than ▓▌
▓████▓▌ revolutionary, the recording strike of 1943-1944 ▓▌
▓████▓▌ resulted in bebop arriving fully formed on records, ▓▌
▓████▓▌ seemingly out of nowhere. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Unfortunately, Charlie Parker was a heroin addict ▓▌
▓████▓▌ ever since he was a teenager, and some other ▓▌
▓████▓▌ musicians who idolized Bird foolishly took up drugs ▓▌
▓████▓▌ in the hope that it would elevate their playing to ▓▌
▓████▓▌ his level. When Gillespie and Parker (known as "Diz ▓▌
▓████▓▌ & Bird") traveled to Los Angeles and were met with ▓▌
▓████▓▌ a mixture of hostility and indifference (except by ▓▌
▓████▓▌ younger musicians who listened closely), they ▓▌
▓████▓▌ decided to return to New York. Impulsively, Parker ▓▌
▓████▓▌ cashed in his ticket, ended up staying in L.A., ▓▌
▓████▓▌ and, after some recordings and performances ▓▌
▓████▓▌ (including a classic version of "Lady Be Good" with ▓▌
▓████▓▌ Jazz at the Philharmonic), the lack of drugs (which ▓▌
▓████▓▌ he combated by drinking an excess of liquor) ▓▌
▓████▓▌ resulted in a mental breakdown and six months of ▓▌
▓████▓▌ confinement at the Camarillo State Hospital. ▓▌
▓████▓▌ Released in January 1947, Parker soon headed back ▓▌
▓████▓▌ to New York and engaged in some of the most ▓▌
▓████▓▌ rewarding playing of his career, leading a quintet ▓▌
▓████▓▌ that included Miles Davis, Duke Jordan, Tommy ▓▌
▓████▓▌ Potter, and Max Roach. Parker, who recorded ▓▌
▓████▓▌ simultaneously for the Savoy and Dial labels, was ▓▌
▓████▓▌ in peak form during the 1947-1951 period, visiting ▓▌
▓████▓▌ Europe in 1949 and 1950, and realizing a lifelong ▓▌
▓████▓▌ dream to record with strings starting in 1949 when ▓▌
▓████▓▌ he switched to Norman Granz's Verve label. ▓▌
▓████▓▌ ▓▌
▓████▓▌ But Charlie Parker, due to his drug addiction and ▓▌
▓████▓▌ chance-taking personality, enjoyed playing with ▓▌
▓████▓▌ fire too much. In 1951, his cabaret license was ▓▌
▓████▓▌ revoked in New York (making it difficult for him to ▓▌
▓████▓▌ play in clubs) and he became increasingly ▓▌
▓████▓▌ unreliable. Although he could still play at his ▓▌
▓████▓▌ best when he was inspired (such as at the 1953 ▓▌
▓████▓▌ Massey Hall concert with Gillespie), Bird was ▓▌
▓████▓▌ heading downhill. In 1954, he twice attempted ▓▌
▓████▓▌ suicide before spending time in Bellevue. His ▓▌
▓████▓▌ health, shaken by a very full if brief life of ▓▌
▓████▓▌ excesses, gradually declined, and when he died in ▓▌
▓████▓▌ March 1955 at the age of 34, he could have passed ▓▌
▓████▓▌ for 64. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Charlie Parker, who was a legendary figure during ▓▌
▓████▓▌ his lifetime, has if anything grown in stature ▓▌
▓████▓▌ since his death. Virtually all of his studio ▓▌
▓████▓▌ recordings are available on CD along with a ▓▌
▓████▓▌ countless number of radio broadcasts and club ▓▌
▓████▓▌ appearances. Clint Eastwood put together a ▓▌
▓████▓▌ well-intentioned if simplified movie about aspects ▓▌
▓████▓▌ of his life (Bird). Parker's influence, after the ▓▌
▓████▓▌ rise of John Coltrane, has become more indirect ▓▌
▓████▓▌ than direct, but jazz would sound a great deal ▓▌
▓████▓▌ different if Charlie Parker had not existed. The ▓▌
▓████▓▌ phrase "Bird Lives" (which was scrawled as graffiti ▓▌
▓████▓▌ after his death) is still very true. ▓▌
▓████▓▌ ▓▌
▓████▓▌ *************************************************** ▓▌
▓████▓▌ ▓▌
▓████▓▌ Rec Massey Hall, Toronto, Canada, May 15, 1953. ▓▌
▓████▓▌ Featuring Dizzy Gillespie (tr), Bud Powell (p), ▓▌
▓████▓▌ Charles Mingus(b) and Max Roach (dr). This release ▓▌
▓████▓▌ represents the only edition of the Massey Hall ▓▌
▓████▓▌ recordings in existence. ▓▌
▓████▓▌ It preserves the exact order in which the songs ▓▌
▓████▓▌ occured during the concert. High Resolution 24-Bit ▓▌
▓████▓▌ Edition. SNS Noise Shaping. ▓▌
▓████▓▌ ▓▌
░ ▓████▓▌ ▓▌
▓ ▐█████▓█ [ A B O U T . U S ] ▓▌
▀█▄▓████▓▓▄█▀ ▓▌
▀██▓██▓▓▀ Our group consists of many rippers who are music enthu- ▓▌
▀█▓▓▓▀ siasts. Justfun is releasing different kind of music like ▓▌
▀▓ indie rock, trip-hop, ethnic, jazz, french, brazilian ▓▌
░ electro and many more ... We will bring you the music ▓▌
░ we like and share it with the rest of the under- ▄ ▓▌
░ ground scene. If you have, like us, a passion for ▄▄█▌ ▓▌
░ music, don't hesitate to contact us ! ▄████▓▌ ▓▌
░ █████▀▀▀▀ ▓▌
░ GREETinGs : NuHS . Hit2000 . DGN . KSi . SEQ . CHR ░███ ▓▌
░ Om . rH . Fuffens . Remix . FMF . SB ██▌ ▓▌
Kw . LOGOS . iTs . i . ATM . aAF . ... ▓██ ▓▌
░ and all ppl who share music with us ! ▄▄▄██▌ ▓▌
▐▓ ▐░▓▓▓▓▌ ░ ░▌
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▄█▒████████▓▓▀ ▀▀▀▀▀ ▀▓██▓███▓▄
▄▓██▓██████▓▓█▀ [ C O N T A C T ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ We're currently looking for : ██▓▓█▀▀
▓████▓▌ ░ - music enthusiast ppl buying cds on a regular basis. ▐▓▀▀
▓████▓▌ - ppl who can get promos or advanced rls. ▀ ░▌
░ ▓████▓▌ - Siteop who can provide at least 10mbits and ▓▌
▓ ▐█████▓█ 50gb++ for our archive. ▄ ▓▌
▀█▄▓████▓▓▄█▀ - People with skill and experience ▄▄█▌ ▓▌
▀██▓██▓▓▀ ... and everyone who wants to help in a ▄████▓▌ ▓▌
▀█▓▓▓▀ pleasant atmosphere our Just family. █████▀▀▀▀ ▓▌
▀▓ ░███ ▓▌
░ Share your forces with us ! ██▌ ▓▌
▌ ▓██ ▌ ▓▌
░ ▐▓ Email : jfun@hushmail.com ▄▄▄██▌ ▐▓ ▓▌
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