Glenn Zottola: Charlie Parker with Strings, Revisited

Charlie Parker has been referred to as the Mozart of Jazz. He had a tremendous love for Classical Music and In 1949 jazz history was made when Charlie Parker went into the studio and recorded an album with strings the first time any jazz player had recorded with strings. There were 2 sessions released on 10 inch LPs one in 1949 with 6 songs and another session in 1950 with 8 songs. These 9 songs are culled from both sessions. Much like my earlier Clifford Brown album this album is truly from my heart and what a joy to be able to re-visit this historic recording. These are all my own solos with Charlie Parkers “spirit” in mind using transcriptions of the original arrangements from those sessions in 1949 and 1950. I simply just wanted to see what it would of felt like had I walked in the studio that eventful day. Of course having Charlie Parker open the door and point the way is priceless. Another thing I loved about this album was how it displayed the romantic side of Charlie Parker and his aesthetic and melodic beauty and I wanted to attempt to get that across in my playing. I want to thank Irv Kratka the president of Classic Jazz records for giving me the opportunity to do this project and I hope you enjoy it as much as I enjoyed doing it.

- Glenn Zottola

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Just Friends, April In Paris, Summertime, East of the Sun, I Didn't Know What Time It Was, Laura, I'm In The Mood For Love, Everything Happens to Me, Dancing in the Dark

Additional Info

Additional Info

Format: CD Only
Soloist/Artist Glenn Zottola
Instruments All Instruments
Composer Various
Accompanist/ Conductor Various


Customer Reviews (1)

CJ32Review by Jazz Weekly
Glenn Zottola has had an impressive career serving as a sideman on trumpet, tenor and alto sax for artists ranging from Benny Goodman to Chick Corea. Here, he reaches into the heart of bebop founder Charlie Parker and focuses on the rarely appreciated side of the artist, that of a romantic. Zottola takes the original transcriptions of the historic 1949-50 recordings and breaths a fresh life into them. His sound is warmer and clearer than Bird’s, so that’s a major plus, while his solos and melodic statements are on a par with the originator.
The sweetness and freshness that mix between strings and horn are in abundance here. The lithe freedom of “April in Paris,” or pensive dreaminess of “I Didn’t Know What Time It Was” is captured perfectly by Zottola, while “Summertime” is a dramatic aria and “Laura” is fit for Dana Andrews. Zottola’s sound embraces you like a rippling wave foaming at the shore. If you don’t have the original, try this one instead for an intro to a sound that changed American recordings.
(Posted on 12/7/2015)

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