The genius of Charlie Parker's studio recordings with strings in 1949, 1950 and 1952 for the Mercury and Clef labels produced by Norman wasn't the merging of bop and fiddles. In Parker's case, the unification was something of a happy accident when he turned up at a Carnegie Hall, Granz-produced recording session at the tail end of 1947 asking to solo ov…
Keep reading with a 7-day free trial
Subscribe to JazzWax to keep reading this post and get 7 days of free access to the full post archives.