The only child of Charles and Addie Parker, Charlie Parker was one of the most important and influential saxophonists and jazz players of the 1940’s.

When Parker was still a child, his family moved to Kansas City, Missouri, where jazz, blues and gospel music were flourishing. His first contact with music came from school, where he played baritone horn with the school’s band. When he was 15, he showed a great interest in music and a love for the alto saxophone. Soon, Parker was playing with local bands until 1935, when he left school to pursue a music career.

From 1935 to 1939, Parker worked in Kansas City with several local jazz and blues bands from which he developed his art. In 1939, Parker visited New York for the first time, and he stayed for nearly a year working as a professional musician and often participating in jam sessions. The New York atmosphere greatly influenced Parker's musical style.

In 1938, Parker joined the band of pianist Jay McShann, with whom he toured around Southwest Chicago and New York. A year later, Parker traveled to Chicago and was a regular performer at a club on 55th street. Parker soon moved to New York. He washed dishes at a local food place where he met guitarist Biddy Fleet, the man who taught him about instrumental harmony. Shortly afterwards, Parker returned to Kansas City to attend his father’s funeral. Once there, he joined Harlan Leonard’s Rockets and stayed for five months. In 1939, Yardbird rejoined McShann and was placed in charge of the reed section. Then, in 1940, Parker made his first recording with the McShann orchestra.

During the four years that Parker stayed with McShann's band, he got the opportunity to perform solo in several of their recordings, such as Hootie Blues, Sepian Bounce, and the 1941 hit Confessing the Blues. In 1942, while on tour with McShann, Parker performed in jam sessions at Monroe’s and Minton’s Playhouse in Harlem. There he caught the attention of up-and-coming jazz artists like Dizzy Gillespie and Thelonious Monk. Later that year, Parker broke with McShann and joined Earl Hines for eight months.

The year 1945 was extremely important for Parker. During that time he led his own group in New York and also worked with Gillespie in several ensembles. In December, Parker and Gillespie took their music to Hollywood on a six-week nightclub tour. Parker continued to perform in Los Angeles until June 1946, when he suffered a nervous breakdown and was confined at a state hospital. After his release in January 1947, Parker returned to New York and formed a quintet that performed some of his most famous tunes.

From 1947 to 1951, Parker worked in a number of nightclubs, radio studios, and other venues performing solo or with the accompaniment of other musicians. During this time, he visited Europe where he was cheered by devoted fans and did numerous recordings. March 5, 1955, was Parker’s last public engagement at Birdland, a nightclub in New York that was named in his honor. He died a week later in a friend’s apartment.

Charles "Yardbird" Parker was an amazing saxophonist who gained wide recognition for his brilliant solos and innovative improvisations. He was, without a doubt, one of the most influential and talented musicians in jazz history.

很久没有这样感动过了，这感动来自音乐。

自从到了学校，我对音乐似乎有些厌恶，室友对音乐的感觉和我不太一样，虽然宿舍整

天都放着音乐，但那些对我来说也只能是一点点嘈杂。他们不听那些老歌，比如一些校

园民谣，不听没有歌词的东西，比如KennyG的萨克斯风，就更不要谈古典音乐。

今天，我感到很愉悦，一种心灵深处的愉悦。同学给我一盘磁带，是他爸爸在十几年前

录的，叫我帮她转成Cd。一开始听到第一个音，我的眼泪真的好像要夺眶而出，很久很

久没有这种感觉，这种感觉来自远方，来自从前，来自心的共鸣。

我反反复复听了很多遍，听着唱着的歌倾注着多少练习时的汗水，饱含着多少对心上人

的深情，我仿佛也坐在了他的身边，听着他静静的吟唱。音乐勾起了我的沉思，我的回

忆，但这回忆是那么的飘渺，似乎不曾有过事实。这可能就是音乐的魅力吧，不管过了

多少时间，不过跨越了多少距离，只要你听得到它其中的声音，你总能感觉到点什么，

感觉的或者是演奏者内心的世界，也可能，是你内心深处暗藏的那片小小的天地。今天

，我感觉到了，似乎很清楚，也似乎很模糊。

我现在感谢我的那个朋友，感谢她把这盘磁带一直保留到了现在，感谢他能让我听到，

这是一种回忆，我想这种感动将一直埋藏在我的心里~~~

2、没有任何东西能取代每日练习，他必须透彻并且全面

3、“练习产生完美“的观念是不对的，只有正确的练习才能产生完美

4、正确地认识它就会忘却它

5、当纠正一个问题的时候，从问题的核心着手

6、一些地方比其他部分需要更多的练习

7、能从没有意义的事中区别出有意义的事是很重要的

8、慢有时就是快

9、有选择的倾听

10、坏的开始=坏的节奏

11、你应该有足够的技术以至于你不用去考虑他们

12、“差不多“能奏一部分是不够的

13、努力最终将变成轻松

14、每次练习的时候你是一个演奏本体

15、谨慎考虑、小心计划、系统执行

16、把你的注意力集中在你想要的部分和结果上

17、没有限制般的练习，完全入境般的表演

18、当你演奏时，像游戏一样
[看明白并运动到实际演奏中，那你将是最优秀的演奏者。]

Lee Konitz

Alto Saxophone

Born on Oct. 13, 1927 in Chicago, alto saxophonist, Lee Konitz first made his mark, playing saxophone in Claude Thornhill's orchestra in 1947. A year later, when he was only 20, he participated in the historic Miles Davis-Gil Evans "Birth of the Cool" nonet and worked with the influential pianist Lennie Tristano. His partnership with Tristano and the iconoclastic tenor saxophonist Warne Marsh had a profound influence on Konitz. Early in the 1950s he broke away from the cool style and found his own way, first in Europe in 1951, later as a member of Stan Kenton's band until 1954. He also recorded his own sessions as a leader such as an impressive Verve date with Elvin Jones, entitled Motion. He then went into a period of semi-retirement in the early '60s, only to come back with his monumental "Duets" album in 1967 for the Milestones label. Konitz would sometimes reunite with March, and sometimes he would find new ground such as in the late 70s when he returned to the nonet form of the Birth of the Cool days. From the '70s to the '90s, Konitz has led a variety of ensembles. Lee Konitz is a player with a deep, clean, somewhat detached style, who manages to find airy and cliché-free lines in his music. He definitely is one of those musicians who are difficult to pigeonhole into any particular style or era.

SELMER
这是每一个古典单簧管演奏家梦寐以求的品牌。音色和控制力都没话说，当然要花很多银子，我目前买不起!

待续

高尔基论JAZZ：“恰象一块污泥丢到透明的水中，发出野蛮的叫嚣，呲呲声.隆隆声.咆哮声.辟啪声，怪异的声音回突然闯进来，使人联想到马嘶声，又有蠢猪的呼噜声.驴叫声.青蛙求爱的咯咯声，这些疯狂般的声音形成一片混乱。而以一种几乎无法捉摸的演奏表达出来，这样的哀叫声如果听上一.二分种，能会以为这是一个疯子乐队在演奏。”`

Benny Goodman received rudimentary musical training in 1919 at the Kehelah Jacob Synagogue and the next year joined the boys club band at Jane Addams's Hull House, where he received lessons from the director James Sylvester. Also important during this period were his two years of instruction from the classically trained clarinetist Franz Schoepp.

Goodman made his professional debut in 1921 at the Central Park Theater in Chicago with an imitation of Ted Lewis. After entering Harrison High School in 1922, he played occasionally with the so-called Austin High School Gang (Bud Freeman, Jimmy McPartland, Frank Teschemacher, Dave Tough, and others), who modeled their music after the New Orleans Rhythm Kings; the clarinetist with the Rhythm Kings, Leon Roppolo, was an early influence on Goodman. During these formative years, he also absorbed the music of New Orleans musicians such as King Oliver and Louis Armstrong, and especially the clarinetists Johnny Dodds, Jimmie Noone, Buster Bailey, Albert Nicholas, and Barney Bigard.