P.m. 2015

Charlie Parker - Charlie Parker With Strings (2015) {2CD Set Verve Deluxe Edition B0022596-02 rec 1947-1952}
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© 1947-52, 2015 Verve / UMG | B0022596-02
Jazz / BeBop / Bop / Saxophone

Recorded between 1947 and 1952, the Charlie Parker With Strings albums showcased the legendary bebop saxophonist performing standards and ballads backed by a small classical string ensemble and jazz rhythm section. Although somewhat controversial when first released, the strings sessions are largely considered landmarks for orchestral jazz productions and rank among the best albums in Parker's discography.

Produced by Sandy Robertson, 1970's P.C. Kent featured all original material; Kent, Richards and Watson responsible for penning all eleven tracks. Musically the set's quite an early-1970s timepiece, bouncing all over the musical spectrum. As lead singer Kent had a likable and versatile voice, that displayed a bit more Cockney accent than normally encountered on Brit LPs. That Brit sense of humor was best displayed on the wild 'drunk driving' ode 'One for the Road'. In spite of the clumsy title 'Little Baby Won't You Please Come Home Honey Child Won't You Just Allow Me One More Chance, Please' started the set off on a commercial high note. A killer melody and performance would have made this a dandy single. Similarly, 'Sweet Suzie Brown Boots', 'I'm Hanging On' and 'After Dark' all had commercial potential…

Produced by Sandy Robertson, 1970's "P.C. Kent" featured all original material; Kent, Richards and Watson responsible for penning all eleven tracks. Musically the set's quite an early-1970s timepiece, bouncing all over the musical spectrum. As lead singer Kent had a likable and versatile voice, that displayed a bit more Cockney accent than normally encountered on Brit LPs. That Brit sense of humor was best displayed on the wild 'drunk driving' ode 'One for the Road'. In spite of the clumsy title 'Little Baby Won't You Please Come Home Honey Child Won't You Just Allow Me One More Chance, Please' started the set off on a commercial high note. A killer melody and performance would have made this a dandy single. Similarly, 'Sweet Suzie Brown Boots', 'I'm Hanging On' and 'After Dark' all had commercial potential.