1946

Charlie Parker Chronology

 

 

 

Created by Leif Bo Petersen

Last updated: November 19, 2017.

 

Date

Event

 

References/Further Details

 

January

Dizzy Gillespie and his Orchestra

Dizzy Gillespie (tp); Charlie Parker (as); Lucky Thompson (ts); Milt Jackson (vib); Al Haig (p); Ray Brown (b); Stan Levey (d).

Billy Berg's Supper Club, Vine Street, Hollywood, CA.

Closing February 3, 1946.

 

R. Russell, Bird Lives (1988), 205: has closing Monday, February 4.

"Dizzy Gillespie Set for Billy Berg's 1st Hollywood Job," Billboard, November 24, 1946, 34:  opening December 10 for at least 8 weeks.

Since the opening date was a Monday, the closing day most plausible may have been Sunday, February 3.

 

January 24

Dizzy Gillespie and his Orchestra

Dizzy Gillespie (tp); Charlie Parker (as); Lucky Thompson (ts); Milt Jackson (vib); Al Haig (p); Ray Brown (b); Stan Levey (d).

NBC studio, Hollywood, CA.

7:30 p.m. (PST): NBC broadcast: "Villa Vallée" (Rudy Vallée Show).

Recording exists.

 

“Your Radio Today,” Los Angeles Times, January 24, 1946: KFI: 7:30 p.m.: Vallée Show.

“Tonight's Aces:” Wisconsin State Journal, January 24, 1946, 21: WIBA: 9:30 p.m.: Rudy Vallée (Guests: Jean Hersholt, actor, Dizzy Gillespie, trumpeter. (NBC show).

C. Woideck, Charlie Parker: His Music and Life (1996), 32, 248 note 120: Gibson tells about a visit of Parker and himself to Vallée’s home.

http://www.plosin.com/milesahead/BirdSessions.aspx?s=460124

 

January 28

Concert

Gene Krupa Trio

Charlie Ventura (ts); Ted Napoleon (p); Gene Krupa (d).

Helen Humes

Willie Smith

Mel Powell

Dizzy Gillespie

Charlie Parker

Howard McGhee

Arnold Ross

Lester Young

Al Killian (tp); Billy Hadnott (b); Lee Young (d).

Philharmonic Auditorium, Los Angeles, CA.

8.15 p.m.

Down Beat Magazine Award Winners Concert

Norman Granz and Down Beat (prod).

Nat King Cole and The Pied Pipers received their Down Beat Awards during the concert.

Concert recordings exist.

 

Ad in Los Angeles Tribune, January 19, 1946, 21: The ad has Anita O’Day, which apparently was replaced by Helen Humes at the concert.

“Norman Granz to offer another ‘Jam Session.’” Los Angeles Tribune, January 19, 1946, 18.

“Names Take Jazz Concert,” Pittsburgh Courier, February 9, 1946, 18: Review.

P. Pullman (ed.) booklet to CD set: The Complete Jazz at The Philharmonic on Verve 1944–1949 (1998), 25-27, 173.

http://www.plosin.com/milesahead/BirdSessions.aspx?s=460128a

http://www.plosin.com/milesahead/BirdSessions.aspx?s=460128b

 

 

February

Esquire's Jazz Poll 1945

Charlie Parker (as) New Star.

 

“Esquire's All-American Jazz Band, 1946,” Esquire, February 1946, 56–59

February

Clyde Hart's All-Stars

Release of Continental C-6013 (recorded January 4, 1945):

What's the Matter Now

That's the Blues

 

“Advance Record Releases,” Billboard, January 19, 1946, 80.

 

February 4

Jam Session

Dizzy Gillespie (tp); Charlie Parker (as); probably Lucky Thompson (ts); unidentified (p), Red Callender? (b), Harold "Doc" West? (d).

Freddie James' house, Los Angeles, CA.

Probably early morning after the closing night, February 3.

Lacquer (acetate) dubs of private recordings exist.

 

K. Vail, Bird's Diary (1996), 17: Gives same date as the closing at Billy Berg’s: February 4 (no source given).

http://www.plosin.com/milesahead/BirdSessions.aspx?s=460204

http://www.plosin.com/milesahead/BirdSessions.aspx?s=450530

The conventional dating of the latter track (Sweet Georgia Brown) is Lincoln Square Garden, New York, NY, May 30, 1945. Don Byas is often credited as the tenor sax soloist.

For several reasons, I find this dating and credit wrong:

Charlie Parker was not on the bill at the jam session concert in Lincoln Square Garden on May 30 (ad in New York Amsterdam News, May 26, 1945, 7B).

The original source for this material is two lacquers (acetates) from the Bob Redcross collection, which now are in the Norman Saks collection. K. Vail (ed.), Charlie Parker & Jazz Club Memorabilia (2007), 20, has photos of one side of each lacquer. The printed label information tells that these records were made by Modern Recording Studio, Chicago, IL. The labels have typed information stating the titles, Lover Come Back to Me and Sweet Georgia Brown, and also telling that they are dubs made from home recordings. There are several handwritten notes on the labels, some of which have been revised or scratched out, for instance the name Freddie James on the Sweet Georgia Brown label.

D. Gillespie and A. Fraser, To Be or Not... to Bop (1979), 507: The discography here considers both tracks as being from February 1946, CA, and belonging to the Freddie James collection.

According to statements of Phil Schaap, radio WKCR, in Bird Flight broadcasts, Bob Redcross got these tracks from Freddie James, so there is no reason to think that one of them should be from New York on May 30, 1945. How should James have had opportunity to record such a performance?

Both labels have following handwritten inscription: Bird Diz Don West, which probably is the reason for crediting Don Byas for the ts solo on Sweet Georgia Brown. However, it should be noted that there is no tenor sax on Lover Come Back, so Don probably does not mean “Don Byas.” It may be the name of a pianist or bassist.

Listening to the music it is rather obvious that the tenor player on Sweet Georgia Brown is Lucky Thompson. At the ending of the choruses he several times plays a lick, which also can be heard on all takes of his solo on Ornithology with Parker from March 28, 1946.

 

February 5

Dizzy Gillespie Jazzmen

Dizzy Gillespie (tp); Charlie Parker (as); Lucky Thompson (ts); George Handy (p); Arvin Garrison (g); Ray Brown (b); Stan Levey (d).

Electro Broadcasting Studios, Glendale, CA.

Rehearsal for commercial recording date for Dial Records.

Ross Russell (prod).

George Handy supervised the rehearsal. Lester Young was supposed to participate but did not turn up.

One test track was recorded.

 

Ross Russell in R. Reisner, Bird: The Legend of Charlie Parker (1962), 196-97: Russell tells in detail about the rehearsal, which took place a few days before the final recording date.

R. Russell, Bird Lives (1988), 205: The rehearsal was on the night after the closing at Berg’s.

http://www.plosin.com/milesahead/BirdSessions.aspx?s=460205

 

February 7?

Dizzy Gillespie Jazzmen

Dizzy Gillespie (tp, voc); Lucky Thompson (ts, voc); Al Haig (p); Ray Brown (b, voc?); Stan Levey (d).

Electro Broadcasting Studios, Glendale, CA.

Commercial recording for Dial Records. Ross Russell (prod).

Charlie Parker, Lester Young, and George Handy did not show up.

After negotiations between Russell and Gillespie, Gillespie's band without Parker was recorded.

 

Ross Russell in R. Reisner, Bird: The Legend of Charlie Parker (1962), 197: Russell tells in detail about the session, which took place a few days after the rehearsal session.

R. Russell, Bird Lives (1988), 205: The recording session was on the night after the rehearsal.

K. Vail, Bird's Diary (1996), 17: Gives dating February 7, 9 p.m., for the planned recording session (no source given).

CD: Gillespie/Berman/Navarro on Dial. Spotlite SPJ (CD) 132: The liner notes here have February 6.

F. R. Hayde, Stan Levey - Jazz Heavyweight (2016), Kindle ed. loc.

1057: Stan Levey states that the recording session was some days before the band left California.

 

February 9?

Charlie Parker

Dizzy Gillespie and his band leave California, while Charlie Parker stays. Gillespie had in vain tried to find Parker, who afterwards sold his flying-ticket.

 

Stan Levey in D. Gillespie and A. Fraser, To Be or Not... to Bop (1979), 249.

F. R. Hayde, Stan Levey - Jazz Heavyweight (2016), Kindle ed. loc.

1057: Gillespie sent Levey out to find Parker, but in vain. Levey left Parker’s flying ticket at the hotel desk.

K. Vail, Bird's Diary (1996), 17: Gives February 9 for the departure (no source given).

 

February early

Charlie Parker

Vernon Avenue, Los Angeles, CA.

Charlie Parker moves in with Teddy Edwards and Gene Montgomery.

 

Chan Parker (Richardson), My Life In E-Flat (1993), 24: Teddy Edwards, Gene Montgomery, and Charlie Parker were living together on Vernon Avenue, when she arrived at Los Angeles

“Teddy Edwards Interview” Cadence, April 1994, 10–11.

 

February mid

Charlie Parker's Ree Boppers

Release of Savoy 573 (recorded November 26, 1946)

Billie's Bounce 

Now's the Time

 

“Advance Record Releases,” Billboard, February 2, 1946, 30.

Review in Metronome, March 1946: Unfavorable review, especially concerning Miles Davis. Ratings: Now’s the Time: C+; Billie’s Bounce: C+.

 

 

February mid

Sir Charles Thompson and His All Stars

Buck Clayton (tp); Charlie Parker (as); Dexter Gordon (ts): Sir Charles Thompson (p); Danny Barker (g); Jimmy Butts (b); J. C. Heard (d).

Release of Apollo 757 (recorded September 4, 1945):

Takin' Off

If I Had You (no Parker participation).

 

Apollo ad in Billboard, February 9, 1946, 23.

“Advance Record Releases,” Billboard, February 16, 1948, 36.

 

February 26

Charlie Parker

Charlie Parker visits Ross Russell. He apologizes for his non-appearance in the recording session and suggests a new recording date inclusive Miles Davis, who is on his way to Los Angeles, and would arrive in a couple of weeks.

Charlie Parker gets $ 100 in advance and signs a formal one year exclusive contract with Dial Records some days later.

 

R. Russell, Bird Lives (1988), 208-09.

K. Vail, Bird's Diary (1996), 17: Gives dating February 26 for the contract (no source given).

 

 

February late

Charlie Parker

Chan Richardson arrives in California and takes contact to Charlie Parker. She is pregnant with another man. Parker wants her to abort, but she refuses this, and they do not start a relationship.

She stays in California until May.

 

R. Russell, Bird Lives (1988), 236-37: Letter from Chan Parker (Richardson) to Ross Russell.

Chan Parker (Richardson), My Life In E-Flat (1993), 24-26.

March 16

Erroll Garner Trio

Charlie Parker Quintet

Charlie Parker (as); Joe Albany (p); Addison Farmer (b); Chuck Thompson (d).

Miles Davis (tp) joins the band later on.

Finale Club, Los Angeles, CA.

Erroll Garner: 5:30–6:30 p.m. Charlie Parker: later

March 16–April early, 1946.

The Finale Club closed down probably early in April.

March late or April early.

Radio station KXLA broadcasted the shows every Saturday, Monday and Tuesday nights at 11:30–12 p.m.

Broadcast recording exist.

 

Ad in Los Angeles Sentinel, March 21, 1946, 5.

T. Gioia, West Coast Jazz. Modern Jazz in California 1945–60 (1998), 22: Gives opening date March 16. No source is given.

“In Short," Billboard, March 30, 1946, 43: “...Charlie Parker, tenor saxophonist, formerly with Dizzy Gillespie, now with own 5-piece combo at Finale Club, Los Angeles...”

Art Farmer in R. Reisner, Bird: The Legend of Charlie Parker (1962), 87: gives the personnel.

Ad in California Eagle, April 18, 1946, 2.

“Finale Club Will Reopen,” California Eagle, April 18, 1946, 15: Finale re-opens April 18. Open every night at 11 p.m. There were no jazz groups on the bill at this point of time.

R. Russell, Bird Lives (1988), 206–07, 218-19.

http://bronzeville-la.ltsc.org/index.php?option=com_content&task=view&id=26&Itemid=2: About Finale club and broadcasts.

http://www.plosin.com/milesahead/Sessions.aspx?s=460300

 

March 19

Benny Carter Orchestra

Inclusive Miles Davis (tp); Al Grey (tb); Benny Carter (as, tp, arr, and dir); Bumps Meyer (ts).

Helen Humes

Harry the Hipster

Harris & Van

Orpheum Theater, Los Angeles, CA.

March 19—25.

Miles Davis arrives in California with the Benny Carter band.

 

Ad in California Eagle, March 14, 1946, 14: Opening March 19.

“Out of the Horn’s Mouth,” Variety (Daily), February 26, 1946, 6.

March 27

Charlie Parker Septet

Miles Davis (tp); Charlie Parker (as); Lucky Thompson (ts); Arvin Garrison (g); Dodo Marmarosa (p); Vic McMillan (b); Chuck Thompson (d).

Finale Club, Los Angeles, CA.

Rehearsal the night before the recording date.

 

R. Russell, Bird Lives (1988), 211.

 

March 28

Charlie Parker Septet

Miles Davis (tp); Charlie Parker (as); Lucky Thompson (ts); Arvin Garrison (g); Dodo Marmarosa (p); Vic McMillan (b); Chuck Thompson (d).

Radio Recorders Studios, Hollywood, LA.

Commercial recordings for Dial Records.

Ross Russell (prod).

 

Ross Russell in R. Reisner, Bird: The Legend of Charlie Parker (1962), 197-98: Session described in detail.

R. Russell, Bird Lives (1988), 209–13: Session described in detail.

http://www.plosin.com/milesahead/Sessions.aspx?s=460328

 

 

 

 

March late/April early

Miles Davis

The local AFM branch would not allow the Miles Davis have engagements with two bands at the same time. In consequence Davis left Carter in favor of the Parker engagement.

An announcement belonging to a broadcast from Streets of Paris on April 31 by a part of the Carter band, inclusive Miles Davis, shows that the Carter orchestra at this point of time had an engagement at Trianon Ballroom, Southgate, CA.

 

I. Carr, Miles Davis (1985), 36–37: Davis is fined by the AFM local for doubling. No source given.

http://www.plosin.com/milesahead/Sessions.aspx?s=460331:

“Benny Carter and his boys, of course, appear through the courtesy of the Trianon in Southgate, where their band currently appears.”

April early

Jazz at The Philharmonic

April early

Release of Disc 501 (recorded January 28, 1946). 

Jazz at the Philharmonic vol. 2

2 12" records album:

Blues for Norman I

Blues for Norman II

I Can't Get Started I

I Can't Get Started II

 

“Advance Record Releases,” Billboard, March 23, 1946, 32. 

“The New Recordings,” Saturday Review, May 5, 1946, 45: Friendly review, appreciating the improvisational setting. The main soloists are listed without any specific comments.

 

April early?

AFRS Jubilee Show 

Benny Carter Orchestra

Inclusive Miles Davis (tp).

Kay Starr

Nat King Cole Trio

Nat King Cole (p); Oscar Moore (g); Johnny Miller (b),

Lester Young

All Stars

Benny Carter, Charlie Parker, Willie Smith (as); Nat King Cole (p); Oscar Moore (g); Johnny Miller (b); Buddy Rich (d).

NBC studio, Hollywood, CA.

A Monday before April 29, 1946. 6:30—7:30 p.m.

Recording of show for AFRS Jubilee.

Ernie "Bubbles" Whitman (mc).

All tracks probably come from one session, edited into two Jubilee programs.

AFRS broadcast recordings exist.

 

R. E. Lotz and U. Neuert, The AFRS “jubilee” Transcription Programs —An exploratory Discography (1985), No. 184: Dates May; No. 186: Dates June. This is not probable. The All Star-part is stated as coming from a JATP concert. I have not been to find such a concert, so I do not believe in this.

 “’Jubilee’ Continues to Rate Raves under Whitman,” California Eagle, May 2, 1946, 15: Jubilee shows were produced on Mondays from 6:30–7:30 p.m. Carter did a Jubilee show on Monday [April 29]. This is the one, which gave material to AFRS Jubilee nos. 191 and 193. The present show, giving material to AFRS Jubilee nos. 184 and 186 is probably earlier than the April 29 one.

The fact that Miles Davis is heard soloing in the Carter orchestra indicates that this is recorded before Davis left Carter, probably in the early part of April.

http://www.plosin.com/milesahead/BirdSessions.aspx?s=460400c

 

 

 

 

April 4

Charlie Parker

Charlie Parker signs a handwritten contract giving half of his future copyrights to Emery Byrd (Moose the Mooche)

 

R. Russell, Bird Lives (1988), 213-17: The contract is shown.

April 12

Concert

Herb Jeffries

Kay Starr

Nat King Cole Trio

Red Callender Trio

Benny Carter

Lester Young

Charlie Parker Orchestra

Miles Davis (tp); Britt Woodman (tb); Charlie Parker (as), Lucky Thompson (ts); Arvin Garrison (g); Red Callender (b); Perc White (d).

Royce Hall Auditorium, UCLA, Los Angeles, CA.

Benefit concert arranged by Carver Club.

Frances Kelly, Fran-tone Records, (prod.); Herb Jeffries, Exclusive Records (mc).

 

“Jazz Concert at UCLA Fri.” California Eagle, April 11, 1946, 9.

“Mixed Jazz for Tolerance,” Pittsburgh Courier, April 27, 1946, 19: Review.

K. Vail, Bird's Diary (1996), 18: Quotes from Metronome review.

 

April mid

Charlie Parker's Ri Bop Boys

Release of Savoy 597 (recorded November 26, 1945).

The A-side has material from an unrelated session):

How High the Moon (no Parker appearance)

Ko Ko

 

 Savoy ad in Billboard, April 6, 1946, 29.

“Advance Record Releases,” Billboard, April 13, 1946, 124.

Review in Metronome, May 1946: Review with some reservations. Rating: Ko Ko: B.

 

April 21

Jam session

Charlie Parker, Teddy Edwards, Miles Davis, and Roy Porter, Warren Brackett, and others.

Club Stockade, Los Angeles, CA.

Sunday matinee.

 

Ad in California Eagle, April 18, 1946, 15.

 

 

April 22

JATP Concert

Lester Young

Coleman Hawkins

Buck Clayton

Willie Smith

Charlie Parker

Shadow Wilson

Meade Lux Lewis

Helen Humes

Ken Kersey

Irving Ashby

Arnold Ross

Red Callender

Ray Linn (tp), Corky Corcoran (ts), Billy Hadnott (b), and Buddy Rich (dr).

Embassy Auditorium, Los Angeles, CA.

Norman Granz (prod and mc.)

Concert recorded live for Mercury Records.

 

Ad in California Eagle, April 18, 1946, 14.

“Norman Granz' Concert a Hit,” California Eagle, April 4, 1946, 15: Review. No Special mention of Charlie Parker.

“No Fooling,” California Eagle, May 9, 1946, 16: Review. Nothing about Parker. The article gives an explanation of why JATP moved away from Philharmonic Hall.

http://www.plosin.com/milesahead/BirdSessions.aspx?s=460422

R. Russell, Bird Lives (1988), 236-37: In letter from Chan Parker (Richardson) to Ross Russell, Chan Parker tells about a JATP concert where Parker is forced to leave the stage because of behavior. This could be the one. Parker is only heard soloing for three choruses on the opening blues. In the succeeding I Got Rhythm he also solos for three choruses, somewhat hesitating and not very convincing.

See P. Pullman (ed), Booklet to The Complete Jazz at the Philharmonic on Verve 1944–49, Verve 314 523 893-2 (1998), 27–30, for details of all the recordings from this concert.

 

 

 

April 26

JATP Concert

Buck Clayton (tp), Charlie Parker (as)?, Coleman Hawkins, Lester Young (ts), Kenny Kersey, Meade Lux Lewis (p), Charles Drayton (b), Shadow Wilson (d), Helen Humes (voc). 

Oakland Auditorium Theater, Oakland, CA.

April 26, 1946. 8:30 p.m.

Parker’s presence here is probably a mistake.

 

 Ad in Oakland Tribune, April 25, 23: Parker is not mentioned in the ad.

T. Hershorn, Norman Granz: The Man Who Used Jazz for Justice (2011) kindle ed. loc. 92–93: Mentions Parker's participation observed by Clint Eastwood.  States that it is in Shrine Auditorium Oakland. There seems to be a mistake here. Shrine is in Los Angeles. I doubt that it is the present concert that Eastwood attended. It was rather a 1948 concert.

 

April late

Dizzy Gillespie and His All Star Quintette

Release of Musicraft 354 (recorded May 11, 1945).

Reissue of Guild 1002 by a new record company.

Lover Man

Shaw ‘Nuff

 

"Advance Record Releases," Billboard, April 13, 1946, 124.

 

 

May?

Charlie Parker

In the period after the closing of the Finale Club Charlie Parker disappeared. His connection, Emry Byrd, had been arrested. Howard McGhee finds Parker in a garage at McKinley Avenue. McGhee installs Parker in his home.

 

R. Russell, Bird Lives (1988), 218–20.

 

May

Charlie Parker Septet

Release of Dial 1002 (recorded March 28, 1946):

A Night in Tunisia

Ornithology

“Record Reviews,” Billboard, May 18, 1946, 137: Review: Positive, characterized as a collector’s item.

Review in Down Beat, July 15, 1946, Rating: 2 stars / 3 stars; Here quoted from reprint in F. Alkyer, E. Enright, and, Koransky (eds.), The Miles Davis Reader-  Interviews and Features from Down Beat Magazine, (2007), 183.

 

May late

Rubberlegs Williams with Clyde Hart's All-Stars

Release of Continental C-6020 (recorded January 4, 1945):

I Want Every Bit of It

4-F Blues

 

“Advance Record Releases,” Billboard, May 18, 1946, 82.

 

May late

Slim Gaillard Orchestra

Release of Bel-tone recordings (recorded December 17, 1945).

(material from an unrelated March 1946 session appear on B-sides of 758 761).

Bel-tone BT 753:

Dizzy Boogie

Popity Pop

Bel-tone BT 758:

Flat Foot Floogie

School Kid's Hop (No Gillespie-Parker appearance)

Bel-tone BT 751:

Santa Monica Jump (No Gillespie-Parker appearance)

Slim's Jam

 

Bel-Tone ad in Billboard, May 18, 1946, 38.

 

 

 

May late

Charlie Parker

Release of Savoy 541 (recorded September 15, 1944)

Reissue of Savoy 532-B and (526-B) with a new series number:

Red Cross

Tiny's Tempo

 

“Advance Record Releases,” Billboard, May 18, 1946, 136.

 

 

June?

Charlie Parker Septet 

Released summer/autumn 1946, judging from the series numbers.

Dial 1003 and Dial 1004 in different combinations:

Recorded February 5, 1946:

Diggin' Diz

Recorded February 7, 1946

Tempo Jazz Men (no Parker participation):

Diggin' Diz (Diggin' for Diz)

'Round about Midnight

Confirmation

Recorded March 28, 1946:

Charlie Parker Septet:

Yardbird Suite

Moose the Mooche

 

"Advance Record Releases," Billboard, November 9, 1946, 33 and 102, mentions the release of Dial 1005 (Diggin’ for Diz and Trumpet at Tempo).

Dial's releases of these tracks are a rather messy affair, having different track combinations on the same series number and same track combinations on different series numbers. Some of these releases may be from 1947 or later.

 

June mid

Sir Charles Thompson and His All Stars

Release of Apollo 759 (recorded September 4, 1945):

20th Century Blues

The Street Beat

 

“Advance Record Releases: Hot Jazz,” Billboard, June 8, 1946, 31.

 

June 24

Concert

Calvin Jackson and symphony artists.

Erroll Garner, Charlie Shavers, Charlie Parker, Red Callender Trio, Lucky Thompson, Howard McGhee, Tommy Todd Trio, and others.

Embassy Auditorium, Los Angeles, CA.

Fran-tone Swingposium

Stan Kenton (mc).

 

Ad in California Eagle, June 20, 1946, 14.

Swingposium to Attract Crowd at Embassy Auditorium,” California Eagle, June 20, 1946, 14.

 

June 28

Howard McGhee Band

Probably: Howard McGhee (tp); Charlie Parker, Sonny Criss (as); Teddy Edwards, Gene Montgomery (ts); Joe Albany or unidentified (p): Bob Kesterson (b); Roy Porter (d).

Finale Club, Los Angeles, CA.

June 28–July 17.

11:45 p.m.–dawn.

 

“Howard McGhee at Finale Club,” California Eagle, June 27, 1946, 15.

Sonny Criss in I. Gitler, Swing to Bop (1987), 171: Gives personnel including “sometimes Joe Albany.”

 

July 18

Howard McGhee Band

Howard McGhee (tp); Charlie Parker, Sonny Criss (as); Teddy Edwards, Gene Montgomery (ts); Earl Ecklund (p): Bob Kesterson (b); Roy Porter (d); Billy Renault (a.k.a. Bill Jones) (voc).

Tina Dixon

Princess Starletta and Her All-Star Native Dancers

Finale Club, Los Angeles, CA.

July 18–?

Prince Spencer mc.

 

"Finale Books Tina Dixon," California Eagle, July 18, 1946, 13.

Ads in California Eagle, July 18, 1946, 15, and July 25, 1946, 13.

“Teddy Edwards Interview” Cadence, April 1994, 11: Edwards gives the full personnel of the McGhee band that Parker played in at the time of his breakdown.

July 29

Charlie Parker Quintet

Howard McGhee (tp); Charlie Parker (as); Jimmy Bunn (p); Bob Kesterson (b); Roy Porter (d).

C. P. MacGregor's Studio, Hollywood, CA.

Charlie Parker has a breakdown during the session and is sent to his hotel in a taxi.

 

http://www.plosin.com/milesahead/BirdSessions.aspx?s=460729

R. Russell, Bird Lives (1988), 221–24: tells in detail about the recording session and Parker’s breakdown.

 

July 30

Charlie Parker

Charlie Parker is arrested at the Civic Hotel, where he is living.

Later on, he is sentenced to a treatment at the Camarillo State Hospital.

R. Russell, Bird Lives (1988), 224-226: Tells in detail about the arrest of Parker, at which he claims to be present.

“Teddy Edwards Interview” Cadence, April 1994, 11: Teddy Edwards gives a slightly differing and detailed account of the breakdown and arrest.

 

August–December

Charlie Parker

Teddy Edwards and other musicians pay regular visits to Camarillo and are allowed to take Parker to the beach for jamming.

 

“Teddy Edwards Interview” Cadence, April 1994, 11.

August mid

Red Norvo And His Selected Sextet

Release of Black & White Comet T1 recorded June 6, 1945).

Reissue of Comet T 6 and T 7 by a new record company in a 2 12" records album

Hallelujah

Slam Slam Blues

Get Happy

Congo Blues

 

“Advance Record Releases,” Billboard, August 3, 1946, 30.

 

September

Charlie Parker

Doris Sydnor moves to California. She works as a waitress and takes contact to Charlie Parker. She stays in California and leaves with Parker in April 1947.

 

Doris Sydnor in R. Reisner, Bird: The Legend of Charlie Parker (1962), 177.

C. Woideck, Charlie Parker: His Music and Life (1996), 35, 248 notes 130–32.

 

Autumn

Tiny Grimes Quintette

Charlie Parker (as); Clyde Hart (p); Tiny Grimes (g, voc), Jimmy Butts (b); Harold Doc West (d).

Release of Savoy 613 (recorded September 15, 1944)

Reissue of Savoy 526-A and (532-A) 567-A with a new series number:

Romance without Finance

I’ll Always Love You Just the Same

 

The release date is not identified.

Probably autumn 1946, judging from the series number.

 

Autumn

Charlie Parker

Ross Russell starts working for a release of Charlie Parker in his custody.

 

R. Russell, Bird Lives (1988), 232–33.

 

 

 

October early

Jazz at the Philharmonic

Release of Disc 503 (recorded January 28, 1946).

Jazz at the Philharmonic Vol. 3

2 12" records album:

Crazy Rhythm I (No Parker participation)

Crazy Rhythm II No Parker participation)

Sweet Georgia Brown I

Sweet Georgia Brown II

 

“Advance Record Releases,” Billboard, September 26, 1946, 34.

 

October late

Slim Gaillard and his Orchestra

Release of Majestic 9002 and 9003 (recorded December 17, 1945)

Reissue of Bel-Tone BT 753-B and BT 761-B by a new record company:

Popity Pop

Slim's Jam

Reissue of Bel-Tone BT 753-A and BT 758-A by a new record company:

Dizzy Boogie

Flat Foot Floogie

 

The Release date is not identified, probably October late, judging from the series number.

 

November

Charlie Parker (Septet)

Probably released in November, judging from the series numbers.

Release of Dial 1006 and 1007.

Dial 1006:

Recorded September 21, 1946 (Sonny Berman's Big Eight. No Parker participation):

Curbstone Shuffle

Charlie Parker Septet (Recorded September 21, 1946):

Bird Lore (Ornithology alt. take)

Dial 1007:

Charlie Parker (recorded July 28, 1946):

Bebop

Lover Man

 

“Advance Record Releases,” Billboard, November 9, 1946, 33 and 102, mentions Dial 1005 (Diggin’ for Diz and Trumpet at Tempo).

Review in Metronome, November 1946: Dial 1007: Acknowledges that the recording was made just before Parker’s breakdown. Rating: No stars. Here quoted from a reprint in W. Woideck, The Charlie Parker Companion, 1998, 239—40.

 

November 25

Concert

Erroll Garner Trio,

Al Killian and His Orchestra

Howard McGhee and His Orchestra

Russell Jacquet, Red Callender, Ray Linn, Benny Carter, Barney Kessel, Herbie Steward, Lucky Thompson, Artie Shapiro, Winni Beatty, Earl Spencer, and others.

Club Royale, Los Angeles, CA.

Charlie Emgee, Los Angeles Down Beat department (prod), Gene Norman (mc).

Benefit for Charlie Parker.

Ross Russell also mentions himself, Eddie Laguna, Maynard Sloate, and June Poole (Orr) as involved in arranging the event.

 

“Charlie Parker Benefit at Club Royale,” California Eagle, November 21, 1945, 19.

“Charley Parker Benefit Success,” Pittsburgh Courier, December 7, 1946, 19: Review. Net total of §500.

“Billy Rowe’s Note Book,” California Eagle, December 14, 1946, 18: The benefit gave §600.

Ross Russell in R. Reisner, Bird: The Legend of Charlie Parker (1962), 200, 239: Dates December.

R. Russell, Bird Lives (1988), 233.

 

 

December 1

Charlie Parker

In a letter Charlie Parker asks Ross Russell to get him out of Camarillo at once.

 

R. Russell, Bird Lives (1988), 234.

C. Woideck, Charlie Parker: His Music and Life (1996), 35–36, 248 note 133.

December 24

Charlie Parker

In a letter the Superintendent of Camarillo, Thomas W. Haggerty, tells that a release at the present time is not considered in the interest of Charlie Parker.

 

R. Russell, Bird Lives (1988), 234.

C. Haddix, Bird -The Life and Music of Charlie Parker (2013), 101 note 42: Letter in Russell Collection.