SKU: M7.AHW-308

As recounted by our dad, Charles Colin, he was first introduced to Miles in the mid '50's by Charlie Parker. Pop had already published Charlie Parker's, 'Yardbird Originals' under our other publishing company, 'New Sounds in Modern Music'. Miles had been away for a period and, now that he was back on the scene, Parker thought it would be worthwhile for Miles to meet his new publisher, with the hope of working out a similar arrangement. Parker brought Miles to the office, then on 48th Street to meet Pop. Pop was very happy to give it a go, whereupon he gave Miles a trumpet, a mouthpiece and tape recorder and asked him to lay down solos over some standard tunes. The original transcriptions which, I believe were done by Hank Edmonds, were given the 'cool' knick-names, Miles Away, Miles Cools Off, etc. rather than the names of actual standards. So, here we are decades later, and have decided to ask renowned arranger, David Berger, to identify the tunes and clarify some of the chord changes - for posterity!

SKU: KN.52085

This adaptation of the Charlie Parker classic features a fast swing tempo and the bop-style lines you'd expect, but it also pays tribute to Bird by casting selected horns in intimate, combo-like settings within the full ensemble format. The solo work goes to lead alto, and alternating sax and brass solis culminate in a shout that takes this chart out strong.

SKU: KN.52085S

This adaptation of the Charlie Parker classic features a fast swing tempo and the bop-style lines you'd expect, but it also pays tribute to Bird by casting selected horns in intimate, combo-like settings within the full ensemble format. The solo work goes to lead alto, and alternating sax and brass solis culminate in a shout that takes this chart out strong.

SKU: P2.30124

Composer Lori F. Ardovino says, Sessionography: A description of various musical sessions. This piece for solo bass clarinet is in three movements. The first movement, King Super 20, is inspired by the artistry of Charlie Parker. The fast improvisatory runs represent his virtuosic technique. A quasi 'walking bass' can be heard between the sudden bursts of notes. The title of this work is the brand of saxophone that Parker mainly played. Composition No. 2 is inspired by the free jazz style of Anthony Braxton. His music is free improvisation based and named by Braxton 'creative music'. Extended techniques such as flutter tonguing and singing while playing add to the creative process and the flavor of Braxton's style. The name comes from similar titles for works by Braxton. The final movement, Just Groovin', is what Miles Davis' composition Move was dubbed by jazz critics. This movement is inspired by the rhythmic style and free improvisation style of this bebop tune..