- Released: November 1, 1999
- Label: Polygram Records
- 2.Autumn In New York
- 4.Stella By Starlight
- 5.Dancing In The Dark
- 6.Night And Day
- 7.I Can't Get Started
- 8.What Is This Thing Called Love?
- 9.Almost Like Being In Love
- 11.In The Still Of The Night - (master take)
- 12.Old Folks - (master take)
- 13.If I Love Again
- 14.In The Still Of The Night - (alternate take)
- 15.In The Still Of The Night - (alternate take)
- 16.In The Still Of The Night - (alternate take)
- 17.Old Folks - (alternate take)
- 18.Old Folks - (alternate take)
- 19.Old Folks - (alternate take)
- 20.In The Still Of The Night / In The Still Of The Night - (false start, breakdown)
- 21.In The Still Of The Night - (false start)
- 22.Old Folks / Old Folks - (false start, breakdown)
- 23.Old Folks / Old Folks - (incomplete take, breakdown)
- 24.Old Folks - (breakdown)
Personnel includes: Charlie Parker (alto saxophone); Gil Evans, Joe Lipman (conductor); Dave Lambert Singers (vocals); Murray Williams (alto saxophone, woodwinds); Hank Ross (tenor saxophone, woodwinds); Flip Phillips (tenor saxophone); Danny Bank (baritone saxophone); Jimmy Maxwell, Carl Poole (trumpet); Will Bradley, Lou McGarity, Bart Varsalona (trombone); Junior Collins (French horn); Hal McKusick (clarinet); Tommy Mace (oboe); Manny Thaler (bassoon); Tony Aless, Bernie Leighton, Oscar Peterson, Lou Stein (piano); Freddie Green, Art Ryerson (guitar); Ray Brown, Bob Haggart, Charles Mingus (bass); Don Lamond, Buddy Rich, Max Roach (drums).
Producer: Norman Granz.
Reissue producer: Ben Young.
Recorded in New York, New York on July 5, 1950, January 22 & March 25, 1952 and May 25, 1953. Includes liner notes by Bill Kirchner and Norman Granz.
Digitally remastered using 24-bit technology by Kevin Reeves (Universal Music Studios-East).
This is part of the Verve Record Master Edition series.
Personnel: Charlie Parker (alto saxophone); Dave Lambert (vocals); Freddie Green, Art Ryerson (guitar); Verlye Mills (harp); Harry Melnikoff, Sylvan Shulman, Zelly Smirnoff, Howard Kay, Samuel Rand, Jack Zayde (violin); Isadore Zir (viola); Maurice Brown (cello); Stanley Webb (flute, oboe, baritone saxophone); Al Block (flute); Hal McKusick (clarinet); Tommy Mace (oboe); Manny Thaler (bassoon); Murray Williams, Nuncio "Toots" Mondello (woodwinds, alto saxophone); Art Drelinger, Hank Ross (woodwinds, tenor saxophone); Harry Terrill (alto saxophone); Flip Phillips (tenor saxophone); Danny Bank (baritone saxophone); Will Bradley (trumpet, trombone); Chris Griffin , Carl Poole, Bernie Pivin, Al Porcino, Jimmy Maxwell, Bernie Privin (trumpet); Joseph Singer, Junior Collins (French horn); Lou McGarity, Bill Harris (trombone); Tony Aless, Lou Stein, Oscar Peterson, Bernie Leighton (piano); Don Lamond, Max Roach, Buddy Rich (drums).
Liner Note Author: Bill Kirchner.
Recording information: Fulton Recording, NY (07/05/1950-05/25/1953); New York, NY (07/05/1950-05/25/1953); Reeves Sound Studio, NY (07/05/1950-05/25/1953).
Photographer: Herman Leonard.
Arrangers: Joe Lipman; Gil Evans.
Purists may bristle, but Norman Granz's carefully arranged and frankly commercial Charlie Parker projects--such as the famous CHARLIE PARKER WITH STRINGS--are as popular as ever, as evidenced by the release of BIG BAND on the Verve Master Edition series. This set features Parker backed by an ocean of musicians, including a full string session, singers, and a sizable rhythm and brass section with a surprising number of names hidden in it: Oscar Peterson, Freddie Green, Charles Mingus and Max Roach among them.
Arrangements by Gil Evans and Joe Lipman provide the large, dramatic, sonic canvas on which Bird paints his masterly phrases. Even given the somewhat alien context, Parker's alto speaks with characteristic eloquence, ranging from plaintive lyricism ("Stella By Starlight") to hard-swinging bop athleticism ("What Is This Thing Called Love?"), all the while supported by a colossal wall of precision, dynamic-jumping musicians. Alternate takes of "Old Folks" and "In The Still Of The Night" will please collectors, while the big band context will allow those adverse to the angular intensities of Parker's small group sessions to appreciate the artist in his finery.