By Chuck Haddix
With in-depth study into formerly ignored assets and illustrated with a number of never-before-seen photos, Bird: The lifestyles and song of Charlie Parker corrects a lot of the incorrect information and delusion approximately essentially the most influential musicians of the 20 th century.
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Extra info for Bird: The Life and Music of Charlie Parker
I wanted to holler. I wanted to jump up and down and holler. I made so much in tips I didn’t think I would be paid. ”29 In May 1938, McShann opened at Clair Martin’s. McShann assembled a small combo for the engagement. “I stayed at Wolf’s for another two weeks and then I went to work at Martin’s 210 on the Plaza,” McShann remembered. “Walter Bales got the gig for me. He and Martin went to school together. He told me a friend of mine might be needing a band. This was on Buster’s Tune • 35 the Plaza and they did not have any black bands there.
The program featured top local bands accompanying visiting musicians, comedians, dancers, gospel singers, blues shouters, whistlers, and entertainers of all stripes. Patrons lined up around the block to pay a dime to cheer on local entertainers performing on the broad stage of the Lincoln, a grand theater seating fifteen hundred patrons. The band’s radio broadcasts and increasingly prestigious engagements made Charlie a local celebrity. Charming and charismatic, Charlie attracted an entourage of young musicians and fans who followed him around town.
20 While leading the small ensemble at Lucille’s, Smith maintained his twelve-piece band for special occasions. Charlie played in both bands. That April, Smith’s big band opened for Count Basie’s triumphant homecoming. After leaving Kansas City, the Basie band rose to top ranking nationally on the strength of a series of hit recordings for the Decca label. Smith had coauthored one of the band’s biggest hits, “One O’Clock Jump,” with Basie and Eddie Durham while they were members of the Bennie Moten band.