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Being there. Perhaps the quintessential element of jazz for the listener is being there, standing, bobbing, nodding one’s head, as the musicians create; and, certainly, being there at the live performance allows jazz to flourish in the crucible of spontaneity fed by an audience’s appreciation.
This CD, an hour-plus of never-before released concert recordings, epitomizes "being there" and captures a remarkable night of jazz. Producer Norman Granz’ Jazz at the Philharmonic was not a static group of musicians, but one that expanded with guests, and on this night the guest was Charlie Parker. In a series of three jams, Parker is meteoric on his own and as inspiration for fellow alto Sonny Criss; he is a remarkable counter to tenor Flip Phillips, a crowd-pleaser who is clearly prodded by Bird to more adventuresome licks; and a perfect sideman to trumpeter Fats Navarro. With lengthy performances (the average is over twelve minutes in length), this is not the concise Bird of the three minute recording or the taut arrangements of his collaborations with Diz, but a high-flying musician who transcends the limits of the soloist-following-soloist showcase of J.A.T.P.
Enhancing this CD is the change of front line. When the three reedmen left, they were replaced by a solitary figure, Coleman Hawkins. Bean is triumphant. Always articulate, his breathy emotive play is captivating, as he waxes eloquent on "Sophisticated Lady" and remakes this poetic work while never losing sight of the original melody. How many ways can the lady be sophisticated? Hawk knows and shows every one. On all four pieces where he is featured, Coleman Hawkins towers. Not a speedster like Parker (his "Rifftide" is bop-styled but at half of Bird’s frenzied pace), he muscles and thinks his way through each work, and stands as a giant.
Carnegie Hall, 1949 is historic and exceptional.
— Jules Epstein, February 2002
Release Date: 5 February 2002
Carnegie Hall 1949 (Pablo)
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last update 15 March 2002