Personnel includes: Charlie Parker (alto saxophone), Flip Phillips (tenor saxophone), Al Porcino (trumpet), Joseph Singer (French horn), Mitch Miller (oboe), John LaPorta (clarinet), Zelly Smirnoff (violin), Isadore Zir (viola), Maurice Brown (cello), Verley Mills (harp), Al Haig, Lou Stein, Tony Aless, Bernie Leighton (piano), Art Ryerson (guitar), Ray Brown, Tommy Potter, Bob Haggart, Curly Russell (bass), Buddy Rich, Roy Haynes, Don Lamond, Shelly Manne (drums), Diego Iborra (percussion).
Compilation producer: Michael Lang.
Recorded in New York between December 1947 and 1952. Includes liner notes by Joe Goldberg and Norman Granz.
Personnel: Charlie Parker (alto saxophone); Manny Fidler, Bronislaw Gimpel, Harry Melnikoff, Sid Harris, Sylvan Shulman, Zelly Smirnoff, Ted Blume, Stan Karpenia, Howard Kay, Sam Caplan, Milton Lomask, Samuel Rand, Jack Zayde, Harry Katzman, Max Hollander, Gene Orloff (vocals); Art Ryerson (guitar); Myor Rosen, Verlye Mills, Wallace McManus (harp); Dave Uchitel, Nat Nathanson, Fred Ruzilla, Frank Brieff, Isadore Zir (viola); Frank Miller , Joe Benaventi, Maurice Brown (cello); John LaPorta (clarinet); Eddie Brown, Tommy Mace, Mitch Miller (oboe); Art Drelinger (woodwinds); Sonny Salad, Murray Williams, Nuncio "Toots" Mondello (alto saxophone); Flip Phillips, Hank Ross , Pete Mondello (tenor saxophone); Stanley Webb , Manny Albam (baritone saxophone); Chris Griffin , Al Porcino, Ray Wetzel, Doug Mettome, Bernie Privin (trumpet); Vinnie Jacobs, Joseph Singer (French horn); Will Bradley, Bill Harris (trombone); Bart Varsalona (bass trombone); Tony Aless, Al Haig, Lou Stein, Stan Freeman, Bernie Leighton (piano); Don Lamond, Roy Haynes, Shelly Manne, Buddy Rich (drums); Diego Iborra (percussion).
Liner Note Author: Joe Goldberg.
Recording information: Carnegie Hall, NYC
Director: Gordon H. Jee.
Editor: Peter Pullman.
Illustrator: David Stone Martin.
Arrangers: Joe Lipman; Jimmy Carroll.
This is an expanded version of the early-'50s album that broadened Charlie Parker's audience by focusing on the beautiful lyricism of his playing. These recordings feature Parker's alto saxophone over a gorgeous bed of strings, but perhaps an even more significant departure is the fact that he simplified his phrasing. His wondrously uncurling ribbons of notes are supplanted by the confident ease with which he embraces each of these melodies, dancing through and around them and never losing their essential character. On an album of back-to-back standouts, "April in Paris" is a towering beauty. Comprised primarily of what were--or have since become--standards, this is as fine a place as any to see exactly why Parker is perhaps the preeminent improviser in the history of jazz.