Charlie Parker Interviewed by Paul Desmond (1954)

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• published: 17 Apr 2014
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Visit http://bobreynoldsmusic.com/bird for full 13-minute audio interview & transcript. Charlie Parker interviewed by Paul Desmond (Boston radio, early 1954) C.P.= Charlie Parker / P.D.= Paul Desmond / J.M.= John McLellan (Fitch) P.D.- that music because there's many good people playing in that record but the style of the alto is so different from anything else that's on the record or that went before. Did you realize at the time the effect you were going to have on Jazz-that you were going to change the entire scene in the next ten years? C.P. - well let's put it like this: no. I had no idea that it was that much different. J.M. - I'd like to stick in a question, if I may. I'd like to know why there was this violent change, after all - up until this time the way to play the alto sax was the way that Johnny Hodges and Benny Carter played alto, and this seems to be an entirely different conception, not only of how to play that particular horn, but of music in general. P.D. - yeah, how to play any horn. C.P. - yeah, that I don't think there's any answer to... P.D. - like the way you were speaking, John. C.P. - that's what I said when I first started talking, that's my first conception, man, that's the way I thought it should go, and I still do. I mean music can stand much improvement. Most likely in another 25, or maybe 50 years some youngster will come along and take the style and really do something with it, you know, but I mean ever since I've ever heard music I've thought it should be very clean, very precise - as clean as possible anyway - you know, and more or less to the people, you know, something they could understand, something that was beautiful, you know. There's definitely stories and stories and stories that can be told in the musical idiom, you know. You wouldn't say idiom but it's so hard to describe music other than the basic way to describe it - music is basically melody, harmony and rhythm - but I mean people can do much more with music than that. It can be very descriptive in all kinds of ways, you know, all walks of life. Don't you agree, Paul? P.D. - yeah, and you always do have a story to tell It's one of the most impressive things about everything I've ever heard of yours. C.P. - that's more or less the object. That's what I thought it should be. P.D. - another thing that's been a major factor in your playing is this fantastic technique, that nobody's quite equaled. I've always wondered about that, too - whether there was - whether that came behind practicing or whether that was just from playing, whether it evolved gradually. C.P. - well,you make it so hard for me to answer you, you know, I can't see where there's anything fantastic about it all. I put quite a bit of study into the horn, that's true. In fact the neighbors threatened to ask my mother to move once when we were living out West. She said I was driving them crazy with the horn. I used to put in at least 11 to 15 hours a day. P.D. - yes, that's what I wondered. C.P. - that's true, yes. I did that for over a period of 3 to 4 years. P.D. - Oh - yeah. I guess that's the answer. C.P. - that's the facts anyway. (chuckle) P.D. - I heard a record of yours a couple of months ago that somehow I've missed up to date, and I heard a little 2 bar quote from the Klose book that was like an echo from home... C.P. - yeah, yeah. Well that was all done with books, you know. Naturally, it wasn't done with mirrors, this time it was done with books. P.D. - well that's very reassuring to hear, because somehow I got the idea that you were just born with that technique, and you never had to worry too much about it, about keeping it working. J.M. - you know, I'm very glad that he's bringing up this point because I think that a lot of young musicians tend to think that... P.D. - yeah, they do. They just go out... J.M.- It isn't necessary to do this. P.D. - and make those sessions and live the life, but they don't put in those 11 hours a day with any of the books. C.P. - oh definitely, study is absolutely necessary, in all forms. It's just like any talent that's born within somebody, it's like a good pair of shoes when you put a shine on it, you know. Like schooling brings out the polish of any talent that happens anywhere in the world. Einstein had schooling, but he has a definite genius, you know, within himself, schooling is one of the most wonderful things there's ever been, you know. J.M. - I'm glad to hear you say this. C.P. - that's absolutely right. P.D. - yeah. C.P. - well? P.D. - what other record? C.P. - which one shall we take this time? J.M. - I want to skip a little while. We, Charlie, picked out "Night and Day", that's one of his records. This is with a band or with strings? C.P. - no, this is with the live band. I think there's about 19 pieces on this. Get the rest at http://bobreynoldsmusic.com/bird