First, Dean Benedetti recorded Bird at Los Angeles’ Hi-De-Ho located at the corner of 50th Street & Western Avenue, recording him nightly, or nearly nightly, from Saturday March 1, 1947 through Thursday, March 13, 1947. Then Benedetti recorded Charlie Parker at The Three Deuces located at 72 West 52nd Street in New York City on Wednesday, March 31, 1948. Finally, Dean Benedetti returned to the Big Apple’s legendary block of clubs when Bird’s band spent a week at The Onyx, 57 West 52nd Street, in July 1948. He recorded much if not all of that engagement as well as a rehearsal held one afternoon. Some of this can be dated precisely. Benedetti certainly recorded on Wednesday, July 7, 1948, Saturday, July 10, 1948, and Sunday, July 11, 1948.

The Hi-De-Ho gig was booked by Howard McGhee, who was the leader, but Parker did exert some influence in filling the bandstand. As he had done on his February 19, 1947 recording session for Dial, Bird insisted on Earl Coleman being hired. There is reason to believe Bird brought the young Hampton Hawes into the picture. Indeed, it is plausible that Bird picked the entire rhythm section, although I believe "Maggie" made the choice of Roy Porter to play drums. During this period Earl Coleman was encouraging a lot of younger musicians. (Earl brought Trane to the studio on 2/19/47 to meet Bird!). One of them was a hanging buddy, singer Danny Knight. Earl Coleman let Danny Knight sing in his place a number of times during the Hi-De-Ho stay.

Dean Benedetti first brought his new disc cutter to the Hi-De-Ho on Saturday March 1, 1947. He arranged to use a booth near the bandstand as his control room. The recording was sanctioned by Bird, yet surprisingly, he showed no interest in hearing playbacks. Dean spent as little money as possible at the Hi-De-Ho; whatever he had went toward recording supplies.

As an untrained amateur, Benedetti’s earliest discs didn’t come out well. Part of the problem was his supply of recording blanks, a mixed lot made up of mostly cheaper, inferior brands. His expertise would improve with time, but there were real problems that would remain throughout all his disc recordings which should be explained.

Dean’s machine was designed for home use. It only allowed him to cut from the outside toward the hole in the center. Originally disc cutting was done on cylinders with the cutting stylus having an equal push and pull for every revolution. When flat discs were introduced (as a manufacturing and storage boon, not as an audio improvement), the problem of torque emerged for both recording and playback. On playback, the inner grooves always sounded worse. A solution was a big label so the grooves never came too close to the center. As for recording onto disc, the machine is cutting into the disc. In cutting a record, there is a residue of powdered disc flying up all the time. These "chips" can interfere with the recording process. Early flat disc recording favored starting on the inside, near the hole and cutting towards the outside, the edge. The laws of physics thereby directed the chips to fall behind the cutting needle. Also by starting towards the center, a limit on inner groove distortion could be set. The problem with all this is that if a flat disc was playing unattended, the arm and needle would plunge over the edge, usually breaking the needle. If a disc is played the common way, then the worst that can happen to an unattended disc in play is that the needle will nuzzle up side-to-side with the center pole though not blunt its point. The compromise in the latter part of the 78 era became that professionals usually worked by cutting from the center, but commercially issued discs played from outside in.

Benedetti was probably unaware of all this. In any case, he didn’t have the option. Consequently, chips coming from the disc during the recording would often clog his needle, changing the recording speed and marring the audio quality. Dean learned that brushing the chips away while recording was helpful. At first, he did this himself, but eventually he trained Jimmy Knepper to be the brusher. There were many problems with blunting the needle, hurting a number of items. I believe that Dean Benedetti had run out of new needles by the last day of recording (3/13/47). He may also have been running low on blank discs towards the end.

There’s some question as to the precise dating of Howard McGhee’s Hi-De-Ho engagement. Benedetti left notes for the dates: March 1 & 2, 6-9, and 11-13, 1947. The missing dates and the unusual Saturday opening (3/1/47), Thursday closing (3/13/47) would make this a very odd nightclub engagement, yet Jimmy Knepper and Russ Freeman are sure that Dean recorded every night that Bird played the Hi-De-Ho. Most likely, the Mondays - 3/3 & 3/10/47 - were off nights; as to the other gaps, maybe Bird was a no-show. There are some undated discs in the Benedetti holdings which seem to have been cut early in the gig. These discs could come from the missing nights of Tuesday (3/4/47) & Wednesday (3/5/47), but after two years of study, it appears the unlabelled discs are from March 1 & 2, 1947. (See note for March 11, 1947 for further discussion.)

There’s also a question concerning who taught Dean how to record. Somebody filled this role. Dean probably listened to his earliest efforts and was dissatisfied. He went for help and received a lot. First of all, someone brought a second disc cutter to the Hi-De-Ho on Sunday March 2, 1947 and recorded the last set. (This material is on two 12" 78 discs which Dean’s machine could not handle.) Then came the best advice: use high quality recording blanks of the same make. The balance of the Hi-De-Ho recordings are done on 10" Soundcraft acetates. They were good then, and unlike most of the early discs used on March 1 & 2, 1947, the Soundcrafts have survived the 43 years in fair shape - most of them anyway. Dean started using Soundcraft acetates on Thursday, March 6. In general, his discs’ audios continue to improve from this point on.

Yet surprisingly, his first recordings for the next day offer the worst audio to date. The rest of March 7 sounds fine. Those first two March 7 discs are dubs. They were skillfully made, perhaps by Dean’s audio mentor. Dean’s dubs were made in a poor amateur fashion using a microphone held in front of a speaker. I believe Dean labelled these discs "casa", which means house in Italian, because the dubs were made at home. Most are earlier Hi-De-Ho performances.

Dates and personnel are listed in standard discographical form. The number of cuts (for disc) or parts (for tape) following a title indicates how many start-stop sections were used to record a piece. The number on the far right is the section number in which the piece has been placed in this booklet. There are three abbreviated designations that pertain to this discography:

DBck = Dean Benedetti check mark

Dean Benedetti placed a check mark next to some song titles. Their purpose is unclear, but the check-marked performances are usually lengthy and exceptional. See notes with Items #16 & #43.

DBd = Dean Benedetti dub

An original recording in the collection duplicated in a dub, or several dubs, made by Dean Benedetti.

NoHM = No audible Howard McGhee

Items on which McGhee is not audible, but on which it is likely he played on.

MARCH 7, 1947 or earlier

JAM SESSION, probably proceeding the Hi-De-Ho gig. This is one of the ‘casa’ dubbed recordings. See text, see note before Items 82-86.

Parker (as), unknown (ts), unknown (elg), unknown (b), unknown (d), others?.

1. Blues In Bb - 3 cuts - 1:44 47

MARCH 1, 1947

Parker (as), Howard McGhee (tp), Hampton Hawes (p), Addison Farmer (b), Roy Porter (d), plus Earl Coleman (or possibly Danny Knight) (vo), on stardust.

2. September In The Rain - 2 cuts - 2:09 44a

3. Rose Room (DBd) - 2 cuts - 1:32 1c

Note: Disc damaged, a few notes by Bird remain unissued. Benedetti dubbed this item for his own purposes, but the disc was already damaged when he dubbed and his copy contains less than my 1988 transfer.

4. 52nd Street Theme (aka Berg’s Theme) 0:45 1e

5. All The Things You Are - 2 cuts - 2:21 1d

Note: This item known to collectors. It is listed in Koster & Bakker’s Charlie Parker Discography in Session #35.

6. Blue’ N’ Boogie 0:56 1a

7. I Surrender Dear (DBd) - 3 cuts - 0:58 44b

Note: 2nd cut too damaged for playback.

8. Stardust (NoHM) 1:12 1b

MARCH 2, 1947

Parker (as), Howard McGhee (tp), Hampton Hawes (p), Addison Farmer (b), Roy Porter (d), plus Earl Coleman (or possibly Danny Knight) (vo), on the very thought of you, i don’t stand a ghost of a chance, first version of i’m in the mood for love (item 15), & stardust.

9. Blues in F 0:22 46e

10. The Man I Love - 2 or more cuts - 1:59 2d

11. Cheers 0:36 46f

Note: Item is heavily edited as most of Bird’s solo is too damaged for playback.

12. Byas A Drink (DBd) - 3 cuts - 2:28 2e

Note: No Bird on 2nd (unissued) cut.

13. Ornithology - ? cuts -

Note: This disc was unsalvagable.

14. Past Due (aka Relaxin’ At Camarillo) - 2 cuts - 1:05 2c 15. I’m In The Mood For Love (NoHM) 1:05 3b

16. Yardbird Suite 1:20 3a

Note: Dean Benedetti placed a check mark next to his notation "Yardbird Suite" written on the acetate’s paper sleeve (once again mated to his unlabelled disc). Benedetti would also write a check mark next to song titles on the labels of acetates (the Red Nationals and Soundcrafts). The Dean Benedetti Check Mark obviously draws our attention and clearly indicates a special interest of his for a particular performance. A bit of Howard McGhee’s solo was recorded but remains unissued.

17. September In The Rain - 2 cuts - 0:39 38b

Note: No Bird on 1st (unissued) cut.

18. Sportsman’s Hop 0:52 45l

Note: Benedetti’s needle cut all the way into the disc’s base so this selection has been faded out and back in.

19. unknown tune

Note: Benedetti started cutter as Bird ceased playing, then stopped.

20. Night And Day 0:11 46b

21. The Very Thought Of You (NoHM) - 2 cuts - 0:28 46c

Note: The brief portion of Earl Coleman or Danny Knight’s vocal remains unissued.

22. Hot House (DBck) - 5 cuts - 1:58 2a

Note: First 3 pieces too damaged for playback.

23. Cheers - 2 cuts - 0:59 43a

Note: No Bird on 1st (unissued) cut.

24. I Don’t Stand A Ghost Of A Chance 1:10 2b

25. Big Noise (aka Wee) - 2 cuts - 1:02 3c

26. unknown tune possibly September In The Rain

Note: Too damaged for playback.

27. Bean Soup (DBd) - 2 cuts - 2:22 3e 28. Big Noise (aka Wee) 0:35 46g

29. I’m In The Mood For Love 0:43 37b

Note: This item is apparently an instrumental. Unlike the vocal versions of i’m in the mood for love which were performed in the key of C (more likely sung by Earl Coleman than by Danny Knight), this non-vocal performance plays in Bb. Charlie Parker recorded i’m in the mood for love twice in the calendar year 1950. Bird’s quartet version (Spring, ’50 with Hank Jones, Ray Brown, and Buddy Rich) plays in Db, while the Parker With Strings version (probably late Summer ’50) plays in Db modulating into Bb. So Bird is known to have played i’m in the mood for love in Bb, although his key of choice for this tune was apparently Db (The Onyx club version [Item 253] also plays in Db). Many listeners will find it difficult to believe that Item 29 is truly i’m in the mood for love, most doubters will opt for Item 29 as a Blues in Bb. I tried speed correcting this item into the key of C and Db, and found the sound untrue. The keys of A and B seemed illogical and so I left Item #29 in Bb which it naturally plays back in. Dean Benedetti labelled this cut i’m in the mood for love but noted no key signature.

30. possibly 52nd Street Theme 0:43 46l

31. Carvin’ The Bird 1:01 5c

Note: Known by Benedetti as "Howard’s Eb Blues".

32. Stardust (NoHM) 1:17 3d

33. Byas A Drink - 2 cuts - 1:56 7d

34. Groovin’ High 1:36 5b

Note: Waiter’s voice heard - "Last call for alcohol" - and also hassling Dean Benedetti and Jimmy Knepper for some money.

35. It’s The Talk Of The Town - 3 cuts - 1:47 5d

36. Body And Soul - No Bird -

37. Ornithology - 2 cuts - 0:11 46h

Note: Surviving audio heavily edited.

38. Perdido - 2 cuts - 0:59 46i

39. Sweet Georgia Brown (or a related tune in Ab) 0:53 5a

Note: Possibly Dean Benedetti’s voice heard saying "Go Bird!". I will occasionally try to identify voices heard during the recording. Despite my familiarity with the speaking voices of most participants, I can be wrong when I attribute words to a specific person. Jimmy Knepper says he can’t imagine himself - even at age 19 & even for Bird - acting as a cheerleader for these performances. Angelo Ascagni, a close friend who was with Dean & Jimmy Knepper at The Onyx including one full night in the basement with them states: "I don’t remember Dean Benedetti showing outward enthusiasm in taping Bird. At the Onyx, he’d tape from the basement under the bandstand - serious work."

40. Night In Tunisia (DBd) 0:59 7c

MARCH 1 or 2 (maybe 4 or 5), 1947

Note: 41 thru 53 come from two matched discs different from any others in the Benedetti holdings. They are Red Nationals, one is pictured here. They were certainly recorded the same evening: bean soup through groovin’ high on one disc and i don’t stand a ghost of a chance through big noise (aka wee) on the other.

41. Bean Soup (DBd) - 2 cuts - 1:06 40d

42. Stardust (NoHM) 1:05 30

43. Hot House (DBck) - 2 cuts - 1:22 6f

Note: The Dean Benedetti Check Mark appears here for the first time on the label of a disc instead of the disc’s paper sleeve. The check mark’s actual purpose is hard to determine. I believe the check mark indicates that the solo has been dubbed and/or transcribed rather than just a rave for the solo.

44. The Man I Love (DBck) 1:34 6e

45. 52nd Street Theme 1:02 40e

Note: It’s likely that Jimmy Knepper is encouraging Bird while it’s Dean Benedetti heard saying "Yeah-’m".

46. Groovin’ High 1:14 40c

47. I Don’t Stand A Ghost Of A Chance 1:08 6b

48. Prisoner Of Love (NoHM) 1:08 6d

49. Indiana (DBd) - 2 cuts - 0:58 6a

Note: No Bird in 1st (unissued) cut; the cut which contains the only audible Howard McGhee.

50. Disorder At The Border (DBck) 0:40 40b

51. Ornithology (DBck) 1:15 6c

52. September In The Rain 0:50 38c

53. Big Noise (aka Wee) - 2 cuts - 1:07 40a

Note: Item #53 is the last from the two matched discs.

54. Hot House (DBd) 0:58 41a

Note: McGhee says "Yeah!" during Bird’s solo.

55. Sportman’s Hop (DBd) 0:46 41b

Note: There’s a little bit more music on either side of Bird’s solo on the disc.

56. possibly Cool Blues (a Blues in C) (DBd, NoHM) 0:40 4c

Note: Bird told Benedetti that his title for cool blues was blues up and down. This same blues theme was used earlier by the John Kirby Sextet to take the ‘Biggest Band In The Land’ off the stand. Bird learned it by hearing the Kirby Sextet and through his friendship with Russell Procope, that group’s alto saxophonist. Bird recorded this line on 2/19/47 for Dial with Erroll Garner, Red Callender and Doc West. That same quartet gigged at Billy Berg’s on Sunday afternoons in February, 1947, conceivably playing this Blues In C, possibly using it in the same fashion of the John Kirby Sextet, with Dean Benedetti a likely member of the audience. (DBd, NoHM)

57. I’m In The Mood For Love (DBd, NoHM) 1:04 4b

Note: This disc begins with the very last of the vocal, followed immediately by Bird’s solo. Only Bird’s solo is issued.

58. Cheers 0:41 41c

59. The Man I Love 1:18 4a

Note: A few bars of Howard McGhee before Bird’s solo remains unissued.

60. Stuffy 0:43 7a

61. Night And Day (NoHM) 1:12 7b

Note: This Item, which includes singing, is in Bb. Some of the other night and days in this set, including Item 236, a vocal version with Earl Coleman, play in Eb. This is confusing. Bird preferred to play the tune in Bb, Earl Coleman sings it Eb; but Item 79 (another night and day) plays in Eb, yet we hear no singing. Maybe the singer here is Danny Knight or maybe Coleman is trying to sing it in the instrumentalist’s key. (See Items 79 & 128 for comparisons.)

62. probably Past Due (aka Relaxin’ At Camarillo) 0:42 46d

MARCH 6, 1947

63. Sportsman’s Hop (DBck) - 1 or 2 cuts - 1:37 8d

Note: Only the piece with Bird is issued.

64. Night In Tunisia (DBd) - 2 or 3 cuts - 0:59 46j

Note: The 2nd piece with Bird is the coda; it is highly damaged and remains unissued. The 3rd piece - also unissued - is a brief snippet of piano which may belong to 63, 64, or neither. Howard McGhee says "Yeah" early in Bird’s solo.

65. The Very Thought Of You (NoHM) 1:16 33

66. Perdido (NoHM) - 3 cuts - 0:55 36a

Note: Two pieces too damaged for playback.

67. Now’s The Time - 2 cuts - 0:53 46k

68. Big Noise (aka Wee) - 2 cuts - 2:15 34

69. Hot House (DBck) - 2 cuts - 2:07 31

Note: A bit of the melody and Bird’s last sounds in the 1st piece remain unissued.

70. Stuffy - 2 cuts - 0:13 46m

Note: There is no Bird in the second unissued piece; the only piece with audible Howard McGhee.

71. Body And Soul 0:34 46x

72. Ornithology (NoHM) 1:12 43b

Note: Not only is there a Dean Benedetti check mark, this solo was dubbed over and over onto his practice discs and tapes.

73. Sentimental Journey (NoHM) 0:26 8e

74. 52nd Street Theme - 2 pieces - 1:28 8f

Note: Items 73 & 74 are edited together in our collection, with a total time of 1:54.

75. Groovin’ High (NoHM) 0:16 43c

76. The Man I Love 1:41 35

77. I Don’t Stand A Ghost Of A Chance (NoHM) - 2 cuts - 1:08 43d

78. Past Due (aka Relaxin’ At Camarillo) (DBck) - 2 cuts - 1:38 8c

79. Night And Day (NoHM) 1:01 8b

Note: This version is in Eb. A bit of Bird before his solo remains unissued.

80. Moose The Mooch - 2 cuts - 2:10 8a

81. Cheers - 2 cuts - 1:07 43e

MARCH 7, 1947 or earlier

Hi-De-Ho set of ‘casa’ recordings.

Note: Dean Benedetti dubbed or had dubbed several of his early Hi-De-Ho recordings on 3/7/47. The originals are no longer among his holdings. I believe these dubbed ‘casa’ items relate to Benedetti’s disappointment with the audio quality of his earliest recordings and his approaching someone for help. This resulted in another disc cutter being introduced, a machine that was used to record the end of Sunday night March 2, 1947 on 12" 78 RPM acetate discs, the only discs of this diameter in the Benedetti holdings. Maybe there was more material recorded at that time - or on the unaccounted for dates of Tuesday, March 4 & Wednesday, March 5, 1947, or Thursday night, March 6, 1947 - on that second machine, again using 12" acetate discs. ‘Casa’, to me, represents a "post-production" situation occuring during the daytime on Friday, March 7, 1947. Benedetti met with his recording mentor, learned a bit more about disc cutting, and as part of this process dubbed recordings of Bird (most, if not all from the recent past at the Hi-De-Ho) from the non-matching 12" discs. For some reason the two 12" 78 RPM acetate discs containing the final portion of Sunday night, March 2, 1947 were not similarly transferred. Presumably any other originals on 12", now transferred, remained with Dean’s recording teacher who I believe was more likely a jazz buff with disc recording knowledge than a professional audio technician. The Hi-De-Ho set of ‘casa’ recordings is at the very least an anthology of Parker Hi-De-Ho items from March 1-7,1947, with the possible exception of hot house which may be by an augmented working band at the Hi-De-Ho or related to the jam session in Section 47 (see Item 1). (See text.)

Parker (as), Howard McGhee (tp), Hampton Hawes (p), Addison Farmer (b), Roy Porter (d), possible unknown guitarist on hot house, conceivably a sixth man or in place of Hampton Hawes’ piano.

Note: All these ‘casa’ Items received the Dean Benedetti check mark. In fact, the disc itself was checked.

82. Hot House - 2 cuts - 2:16 42a

Note: Some will hear the chordal instrument on this poor sounding dubbed item as a guitar and not a piano. This raises the possibility that this hot house belongs in Section 47 with Blues In Bb (Item 1). I should point out that this hot house is on the same disc as the following four working band selections while the jam session Blues In Bb was on a separate disc. Furthermore, the presence of Howard McGhee and the general coherent bebop quintet feel of this hot house links it more to the other selections in Section 42 than to the jam session in Section 47.

83. The Man I Love (NoHM) 1:46 42b

84. unknown tune - too damaged for playback

85. Past Due (aka Relaxin’ At Camarillo) - 2 cuts - 2:33 42c

86. S’ Wonderful (or related tune in Eb) (DBd, NoHM) 1:48 42d

Note: Bird recorded Melvyn Broiles’ stupendous (based on s’ wonderful’s chord sequence) on 2/26/47 for Dial, with Maggie, who was Broiles’ teacher, on trumpet; so, it is quite likely that this Hi-De-Ho combo played stupendous.

MARCH 7, 1947

Note: The balance of the Hi-De-Ho discs were dated by Dean Benedetti but numbered by someone else (presumably much later). It is difficult to decide which side of a disc was recorded first or the proper order of the discs from a given date but there is much to justify my sequencing in this discography.

Parker (as), Howard McGhee (tp), Hampton Hawes (p), Addison Farmer (b), Roy Porter (d), plus Earl Coleman (or possibly Danny Knight) (vo), on both body and souls, i’m in the mood for love, all the things you are, stardust and conceivably on the unissued i don’t stand a ghost of a chance. (See note with Item 109.)

87. Rose Room (DBd) 1:34 11b

Note: Wow and speed problems as cutting needle hits the base of the disc.

88. Groovin’ High 1:34 46n

89. Big Noise (aka Wee) 1:41 39a

Note: Bird’s solo quotes my kinda of love. It sounds like Earl Coleman is offering encouragement.

90. Byas A Drink - 2 cuts - 1:42 10d

91. Body And Soul 1:12 10c

92. Hot House (DBck-cut 1) - 2 cuts - 1:09 10a

93. Cheers 1:06 43f

Note: Speed problems as needle hits base of the disc.

94. Night In Tunisia (DBd) - 3 cuts - 2:13 10b

95. Now’s The Time - 2 cuts - 1:52 10e

96. I’m In The Mood For Love (NoHM) 1:21 11c

97. September In The Rain - 2 cuts - 2:07 11d

98. I Surrender Dear (Dbd) - 2 cuts - 1:57 9c

99. Dee Dee’s Dance - 2 cuts - 2:18 9d

Note: Is Bird referring to Johnny Hodges’ solo from the Lionel Hampton Victor 78 of whoa babe?

100. Stuffy (DBd) 1:44 9b

101. Perdido 1:48 9a

102. Body And Soul 0:30 43a

103. Big Noise (aka Wee) 0:32 39d

104. All The Things You Are - 3 cuts - 1:08 12c

Note: Salvalged as best as possible.

105. Past Due (aka Relaxin’ At Camarillo) - 2 cuts - 1:36 12b

106. Sportsman’s Hop - 2 cuts - 2:07 11a

107. Dee Dee’s Dance - 3 cuts - 1:58 12d

108. Stardust - 3 cuts - 1:06 12a

109. I Don’t Stand A Ghost Of A Chance

Note: This item comes from material held by another relative who would not make it available to Mosaic. Information as read to us over the phone proved to me that this item - as well as the next three items for March 7, 1947 - do exist, and that the information provided could have been derived from the original acetate. Listing these unheard items in the discography presented the ultimate sequencing challenge for this project. Should these discs all be brought together someday, a cursory or even thorough examination of them will bring into question my numbering of these items.

Indeed, my series could be questioned for those discs in hand. I can only say that I have literally lived with Dean Benedetti’s recordings of Bird since 1988, consistently returning to the originals to answer all types of questions. In the process, I believe I’ve acquired a feel for Dean’s snap decisions made at the Hi-De-Ho as to where and when to cut on an acetate. Dean Benedetti was a very intelligent person; however quick he made his choices, there is a logic to them that involves more than I will give space to here. I am not listing the newly discovered items at the end of this date for expediency but because I truly believe the missing disc was the last one started that night.

110. Ornithology

111. The Man I Love

112. Bean Soup - 3 parts, 1 cut - 2:07 46a

Note: This bean soup was recorded by Dean in four cuts on two discs. Cut one is the end of the opening melody chorus and most of Bird’s solo. Cut two contains the end of Bird’s solo. Cut three is Bird & Howard McGhee exchanging four-bar passages. Cut four is the last chorus. Our Benedetti holdings contain dubs on paper-based tape of the first three cuts plus the original disc for the ending. These have been mated in the audio process to form Item 112. This is the only instance in this set of an item existing as part dub, part original. What makes this more troubling is my certainty that the original exists on the March 7, 1947 Hi-De-Ho disc in the possesion of another Benedetti relative who will not part with it. (See note with Item 109.)

MARCH 8, 1947

113. Sportsman’s Hop (DBck) 1:28 13a

114. Dee Dee’s Dance - 2 cuts - 2:11 13c

115. Stuffy 0:51 43h

Note: Benedetti dubbed this item before it developed a nasty skip at the start, but Dean’s dub has inferior sound.

116. Hot House (DBck) - 2 cuts - 1:05 46o

117. Perdido - 2 cuts - 1:32 36b

118. Disorder At The Border - 2 cuts - 1:58 28

119. possibly I Surrender Dear (NoHM) - 2 cuts - 0:07 46r-1

Note: The disc with 119 & 121 is extremely damaged. The brief playable snippets of a tune in C Major that is possibly i surrender dear seem to contain a reference by Bird to his troubled loverman recording of 7/29/46.

120. I’m In The Mood For Love (NoHM) 0:57 14c

121. Night And Day 0:03 46r-2

122. Bean Stalking - 3 cuts - 2:08 14a

Note: A damaged groove at the start of Bird’s first four- bar exchange contains a few unissued notes.

123. September In The Rain - 2 cuts - 2:22 14b

124. Now’s The Time (DBck) - 2 cuts - 1:33 14d

125. Big Noise (aka Wee) - 3 cuts - 2:16 14e

Note: Bird quotes an exercise from the Klose book, the same lick he uses in kc blues on 1/17/51.

126. Bean Soup (DBd) - 3 cuts - 2:31 15a

127. Body And Soul - 4 cuts - 0:48 15b

Note: The 2nd & 3rd pieces have no Bird (although he might be heard speaking) and remain unissued.

128. Night And Day 0:08 46t

129. Prisoner Of Love 0:21 43i

130. The Very Thought Of You 0:08 46s

Note: Severely damaged disc, some pieces too damaged for playback; another unusable snippet of the very thought of you was next to 116. It is conceivably from this performance.

131. Byas A Drink - 2 cuts - 2:20 15c

132. All The Things You Are - 2 cuts - 0:30 15d

Note: Bird’s dimly recorded notes in the coda are his only contribution on the 2nd unissued piece, the piece with the only audible Howard McGhee.

133. probably Stardust (NoHM) 0:05 46w-1

Note: More of this stardust may have been recorded but the disc is hopelessly damaged.

134. Night In Tunisia 1:06 32

Note: Benedetti dubbed this item before it developed a nasty skip, but his dub is in inferior sound.

135. Ornithology (DBck, NoHM) 1:49 13b

Note: We have reached the final set of the recordings of March 8, 1947. It was a Saturday night, the Hi-De-Ho was crowded and Benedetti was not given his usual booth close to the bandstand. Items 113-134 have a lesser balance, Bird is in the distance. Now with the place emptying out, Benedetti and his party (including at least Jimmy Knepper and possibly Russ Freeman) are allowed to move forward.

Encouragements are shouted at Bird, quite likely from Dean’s table. Their enthusiasms seem to spur Bird on to longer and better solos. This item as well as the next received check marks from Dean Benedetti. Unfortunately this final set is also a short one; or did Benedetti lose the opportunity to record some numbers while moving his equipment forward? Jimmy Knepper, after 43 years, cannot remember this specific instance; but he does concur with my reasoning and my sequencing of the tunes.

136. The Man I Love (DBck) 1:45 15e

Note: This outstanding item is known to collectors. It is listed in Koster & Bakker’s discography in Session 35 (see Item 5).

MARCH 9, 1947

Parker (as), Howard McGhee (tp), Hampton Hawes (p), Addison Farmer (b), Roy Porter (d), plus Earl Coleman (or possibly Danny Knight) (vo), on body and soul.

137. Perdido (DBd) - 4 cuts - 2:27 16b

138. Indiana 2:33 16c

139. Now’s The Time (DBck) - 2 cuts - 1:52 16a

140. Night In Tunisia (DBd) - 4 cuts - 1:47 19c

141. Sweet And Lovely - 4 cuts - 2:15 26

Note: The 4th - unissued - piece is the coda. Benedetti was expecting Bird, but the only horn heard in the coda is Howard McGhee’s.

142. Stardust 0:11 46u

143. possibly The Very Thought Of You - No Bird -

Note: On this same disc is a segment of music - also with no Bird - that may be a performance of a Spanish-tinged tune or, perhaps, a Latin inflection on a body and soul conceivably from Item 151 (this unissued snippet plays in Db).

144. Bean Soup (DBd) - 2 cuts - 2:59 17b

145. Perdido - 2 cuts - 2:13 18b

146. Moose The Mooch 1:22 19b

147. Hot House (DBck) - 3 cuts - 1:48 17c

148. Dee Dee’s Dance - 2 parts - 3:53 25

Note: This is a known and previously issued item lullaby in rhythm by Charlie Parker on Spotlite 107. Unlike the other previously discovered entries from Benedetti’s recordings of Charlie Parker, this item no longer exists in any form in the Benedetti holdings.

Explanations for Benedetti’s discarding of his original 78 RPM 10" acetate disc can create some speculation. Was Benedetti dissatisfied with it because it contained more than Bird’s improvisation or was it frustration over having become distracted, which may have caused the longer cut; or did someone want this disc from the many Dean had at the time because it was a fuller performance similar to a 10" commercially released record.

149. Bird Lore {Ornithology & How High The Moon} (DBck) 1:46 17a

Note: Dean Benedetti labelled his disc "Bird Lore" using Ross Russell’s special song title that denoted an alternate take of the 3/28/46 ornithology. On the label on the acetate, "Ornithology" was originally written. It was erased and "Bird Lore" was written in its place. Both the erased and extant entries are in Dean’s hand. Did Benedetti use "Bird Lore" to single out this unique item when this quintet used both melodies in the same performance? Or did he, noticing the frequency of ornithologys in this set and on the disc, use the title "Bird Lore" in the same fashion as Ross Russell, to denote an alternate performance? Notice please Items 152 & 155.

150. Past Due (aka Relaxin’ At Camarillo) (DBck) - 2 cuts - 1:14 19a

151. Body And Soul - 3 cuts - 1:26 18d

152. Ornithology (DBck) 1:18 19d

153. The Man I Love (DBck) - 2 cuts - 1:48 18a

154. Stuffy (DBd, NoHM) 1:15 43j

155. Ornithology (DBck) 1:57 18c

MARCH 11, 1947

Note: Tuesday, March 11,1947 begins a new week for Howard McGhee’s combo featuring Bird at the Hi-De-Ho. Dean Benedetti’s disc cutter would document three consecutive nights of music, 3/11-13/47. We should note some differences. There are fewer recorded performances. Was Dean becoming more selective? There seems to be less of Earl Coleman’s and/or Danny Knight’s presence. Does Dean Benedetti passing on recording the vocal numbers denote the arrival of Knight? Or is Dean changing, and not recording vocals? Or is Howard McGhee featuring the singing less? Is Bird coming late? Is Benedetti leaving early or also arriving late, perhaps with Bird? Is Benedetti out of money and already rationing discs? This theory is furthered by the recordings ending on Thursday, March 13, 1947. It is an unlikely closing date for McGhee’s band, one would think they probably played through the weekend. But who knows? Maybe the gig truly ran March 1-13, 1947 or March 1&2, 6-9, 11-13, 1947. Maybe Friday night was opening night at the Hi-De-Ho and Maggie’s unit opened there Friday, February 28, 1947 for a two-week run to close on Thursday, March 13, 1947. If so, then it’s plausible that Benedetti heard of this opening too late to record the opening evening - or maybe he cleared the idea of recording this band with the musicians and/or the management on the Friday and came back with his equipment the next evening, Saturday, March 1, 1947. My speculations, right or wrong, do not account for the lack of any discs specifically dated March 4, 1947 or March 5, 1947 (presumably Mondays March 3, 1947 & March 10, 1947 were off nights). The theory of Benedetti’s rationing discs, or running out before the gigs ended does not account for missing discs. We know that one of the March 9, 1947 discs left his possession (see Item 148). Items 82-86 were dubbed from disc(s) no longer in the Benedetti holdings. We also know that a missing disc for March 7, 1947 and one for March 12 & 13, 1947 are in the possession of a relative (see Item 109). I believe there are more discs missing; furthermore, I don’t see Dean Benedetti panicking on Tuesday about running out of blank discs on Wednesday or Thursday, but I could be wrong. Another theory for the cessation of recording could be the management of the Hi-De-Ho. They may have told the veritable deadbeats - Benedetti, Knepper, & probably Russ Freeman - that space would not be available to them on the weekend nights (March 14, 1947 was a Friday, March 15, 1947, a Saturday). You can create many plausible scenarios. I have discussed them all with Jimmy Knepper but he does not remember specifics and can only offer his blessing to my logic as I try to sequence events against the evidence. Russ Freeman remembers no details at all.

156. S’ Wonderful (or a related tune in Eb) (DBck, DBd) 1:27 20a

157. probably Disorder At The Border (DBck) 1:00 20b

158. September In The Rain 0:51 38a

159. Now’s The Time (DBck) 1:02 20d

160. I’m In The Mood For Love (NoHM) 0:50 37a

Note: Although this item has no check mark next to it, Benedetti did write on the sleeve - now mated to the proper disc - "Done Mood". I believe this indicates that Benedetti had transcribed the solo or perhaps dubbed it or both.

161. Rifftide (aka Hackensack) (DBd) - 2 cuts - 1:25 20e

162. Dee Dee’s Dance 1:03 43k

163. Orinthology (DBck) 1:43 29

164. Cheers - 2 or 3 cuts - 1:06 43l

Note: There are three extant but extremely short recordings on this disc that are otherwise undocumented. Following dee dee’s dance is a bit of Hampton Hawes’ piano. I have tried to match this snippet to any of the other performances from March 11,1947 without success but my guess would be that it comes from the very thought of you (Item 168). This may indicate that another tune was performed. The other two short snatches follow cheers. The first contains a bit of Howard McGhee. I believe it is part of this cheers but it could be from the following perdido or even from a third otherwise undocumented performance. The surviving 3rd snippet has a bit of audible Bird and will therefore be issued. I believe, however, that it comes from later in the night when Dean Benedetti was backtracking on his discs and looking for space. It is the coda of a ballad, possibly stardust, Item 169. Also Note: As the Hi-De-Ho recordings draw to a close, Dean Benedetti lists cheers as "Howard’s Tune". Up until this point, Dean had used a hastily sketched lick with a triplet - a notation of the beginning of cheers - to denote the recording of cheers.

165. Perdido (DBd, NoHM) - 1 or 2 cuts - 1:27 20c

166. Byas A Drink - 2 cuts - 1:56 43m

167. Big Noise (aka Wee) 1:06 39b

Note: Voices are heard during this recording. One of them says "Mop, Mop" early on in Bird’s solo. It is likely to be Dean Benedetti’s voice and his saying "Mop, Mop" is a habit that will carry over into the 1948 52nd Street recordings.

168. The Very Thought Of You (NoHM) 0:46 43n

169. possibly Stardust 0:06 46v

170. Bean Soup (DBd) 1:27 27

MARCH 12, 1947

Note: On these March 12, 1947 recordings either Bird is moving around a lot (see Jimmy Knepper’s quote in the Dean Benedetti biography) or Dean is changing his microphone position. Bird’s sound, according to his perceived distance from the mic, had a bit to do with my sequencing of the surviving recordings from this date.

171. Blues in Bb (DBck) 1:04 22d

172. ending of unidentified tune 0:05 46p

Note: This might be in the key of F. See tune chart in Jim Patrick’s portion of the booklet for possible candidates.

173. Sweet And Lovely 1:01 21b

174. Perdido - 2 cuts - 1:46 22a

175. Cheers 0:15 43o

176. Sportsman’s Hop - 2 cuts - 1:09 45a

Note: Lead-in lick to Bird’s solo does not track well and remains unissued.

177. Big Noise (aka Wee) 0:20 39c

178. Stuffy (DBd) 0:56 21c

179. Hot House (DBck) 0:45 21d

180. Ornithology (DBck) - 2 cuts - 0:50 22c

181. Dee Dee’s Dance - 2 cuts - 1:26 45b

182. The Man I Love (DBck) - 3 cuts - 2:10 21e

183. September In The Rain - 2 cuts - 0:18 38d

Note: No Bird in first unissued piece.

184. I’m In The Mood For Love - 2 cuts - 0:56 37c

185. Groovin’ High - 3 cuts - 2:10 22e

186. Cheers 0:53 45c

187. Byas A Drink - 3 cuts - 1:30 45d

188. probably Prisoner Of Love 0:06 46q

189. Stardust (NoHM) 0:53 22b

190. Now’s The Time (DBck, NoHM) 0:39 45e

191. Hot House - 2 cuts

Note: Bird heard only for a note or two on melody in 1st cut. The disc has substandard sound and this item remains unissued.

192. coda of an unindentified tune 0:03 46w-2

Note: This snippet seems to be in Db and could be stardust.

193. coda of unknown ballad

Note: Very little music was recorded and even less of Bird. The groove with his 3 or 4 notes is broken and this item remains unissued.

194. Big Noise (aka Wee) 1:14 21a

195. Moose The Mooch

Note: This item comes from the second Hi-De-Ho disc held by another Benedetti relative who would not make it available to Mosaic (see: note for March 11, 1947 and notes with Items 109 & 112). This Soundcraft acetate is labelled March 12, 1947 on one side, and March 13, 1947 on the other. I believe it was the last one started on Wednesday, March 12, 1947 and then was used for short cuts in the later part of March 13, 1947. In fact, a bridge for byas a drink (Item 212) from 3/13/47 is the last thing listed on the March 12th side. This follows a pattern of Benedetti’s of backtracking, sometimes to a previous evening’s disc, to record scraps of numbers or ballad codas towards the end of a night.

196. Past Due (aka Relaxin’ At Camarillo)

Note: From the same unheard disc mentioned in note with Item 195.

MARCH 13, 1947

Parker (as), Howard McGhee (tp), Hampton Hawes (p), Addison Farmer (b), Roy Porter (d), plus Danny Knight (vo), on these foolish things; Earl Coleman (or possibly Danny Knight) (vo), on body and soul.

197. Groovin’ High (NoHM) 0:43 45i

198. September In The Rain - 2 cuts - 1:11 24e

199. Big Noise (aka Wee) - 3 cuts - 1:22 23b

200. Rifftide (aka Hackensack) (DBd) - 2 cuts - 0:43 24d

Note: The first cut will remain unissued. That cut is in poor sound, Bird is heard only briefly playing the melody.

201. Perdido - 2 cuts - 1:07 24a

Note: The second, unheard cut is a bridge from either the opening or final chorus. It is listed on the March 12 & 13, 1947 disc that Dean recorded Hi-De-Ho Soundcraft acetate in the possession of Dean’s relative (see notes with Items 109 & 195). That disc lists "Perdido bridge"; I feel certain it is part of the solo we have in hand.

202. These Foolish Things 0:54 46y

Note: This is the only vocal item for which both Earl Coleman & Danny Knight are certain that the vocalist is Knight. I found this item in dubbed form on one of Benedetti’s reels of paper-based tape. It is the only instance of this tune being performed at the Hi-De-Ho engagement. The unavailable Benedetti acetate for 3/12 & 13/47 (see notes with Items 109, 112, 195 & 201, note for March 11, 1947) contains a these foolish things listed next to its "Perdido bridge"; if heard, then I believe it will match the one I found dubbed on a reel of paper-based tape, there might be more on the original disc. I am led to believe that Danny Knight entered the picture towards the end of the Hi-De-Ho engagement.

203. Body And Soul - 2 cuts - 0:22 45j

204. probably Disorder At The Border (NoHM) 0:30 45k

205. Hot House (DBck) - 2 cuts with fades - 1:12 45f

Note: Ironically, on the final day of Dean’s location recording of Bird at the Hi-De-Ho, Benedetti learns an important recording technique - fades. Up to this point, all of Dean Benedetti’s disc cutting ended abruptly, almost as if going over a cliff. Dean meant well, but in his efforts to save space on his recording blanks he would grab the cutting head when Bird’s solo ended and the recording would cease with the music disappearing at full volume, leaving an abrupt ending; again, as if going over a cliff. It really didn’t save him any space on the blank portion of his acetate disc for Benedetti - or for that matter a mastering engineer - could never put the cutting head back down so precisely that cutting a new recording would begin precisely where the last one ended. Benedetti had probably listened to some of his Bird recordings by this time and realized how unsettling the abrupt endings were and that they probably added no recording time potential to a disc, so he tried to fade his volume up and down as he started and ended his recording. The results are far from professional but many may wish he had learned, then used this technique much sooner.

206. Moose The Mooch - with fade - 0:47 23d

207. Sportsman’s Hop 0:34 45g

208. Blues in Bb (NoHM) 0:39 45h

Note: Bird quotes my kinda love.

209. Ornithology (DBck, NoHM) 1:30 23c

210. Stuffy 0:48 24b

211. Night In Tunisia - 2 cuts - 1:20 24c

212. Byas A Drink - 2 cuts - 0:51 23a

Note: The second, unheard cut is a bridge. It is listed on one of the Benedetti recorded Hi-De-Ho Soundcraft acetates held by a relative of Benedetti (see notes with Items 109, 195 & 201). The solo which we have in hand is labelled part one, so presumably this bridge would be from the last chorus. NoHM on our piece.

213. Indiana - 2 cuts - 1:27 23e

Did Dean Benedetti purchase his Brush Sound Mirror reel-to-reel recorder with the intention of capturing more Charlie Parker? Or did he get it to make copies of his easily worn out 78 acetate discs? The latter. In the Spring and Summer of 1947, Dean Benedetti and Jimmy Knepper were busy notating the solos recorded in March at the Hi-De-Ho. Transferring Bird’s licks to music paper is not easy - ask Jim Patrick and Phil Sims who did the work for this booklet. The process requires multiple listenings. Benedetti soon learned that playing a solo enough to transcribe it wore out the original disc. He knew he would have to make copies. At first he used a regular record player. Dean would play his original on it, hold his microphone by the speaker, and cut a copy on his disc cutter. But there were problems. The dubs sounded awful. Worse, Dean wore out the copies quickly and had to make others. With over two hundred solos from the Hi-De-Ho, this was going to be a very expensive process. The solution was a tape recorder, which allows multiple plays without damage. Just as important, after a solo was transcribed, another solo could be recorded over the previous copy. One reel of tape could take the place of hundreds of acetate discs. So Dean Benedetti bought the first home use reel-to-reel tape recorder that came out, the Brush Sound Mirror.

Switching to tape was not a panacea. Benedetti’s tape recordings have their own technical problems. First, Dean’s use of tape predates the kind that has plastic backing. The backing gives a foundation to the oxide particles which hold the message of any analogue tape recording, cassettes included. Dean’s tapes were - get ready - paper based. If you are familar with paper leader in reel-to-reel recordings, now imagine all of the reel being paper. The oxide was adhered to the paper with a tar-like substance. Very, very, very fragile. And that’s when it was new. Tar, iron oxide, and paper do not age or dry out at the same rate. After 40 years, I found these reels to be in nearly hopeless condition. (Getting any play out of them was one of the more satisfying moments in my personal career as an audio engineer.) One thing I will say in favor of paper-based tape, however, there is no tape hiss.

That next opportunity was at 52nd Street’s The Three Deuces. The Deuces was Bird’s base of operations in New York City following his return from California. The Three Deuces housed Bird’s Big Apple homecoming gig in addition to most, if not all, of the early work by Parker’s "golden era quintet". Following that initial work at The Three Deuces, Bird’s quintet went on the road from December, 1947 into March, 1948. When the Parker unit returned to New York City, they went right back to The Three Deuces.

Contemporary advertisements plus Dean’s tape box labelled "March 31, 1948" lead me to suggest a Tuesday, March 30, 1948 opening. The gig probably went at least two weeks, possibly closing on Sunday, April 11, 1948. New Yorker magazine listings are unclear, but could be interpreted as saying the job ended on Wednesday, April 14 or even Sunday, April 18, 1948.

Whatever the precise dates of this engagement, Dean Benedetti came to The Three Deuces on Wednesday, March 31, 1948. There he tried to replicate the arrangement he had enjoyed with the Hi-De-Ho management. When, after allowing Dean to tape two sets, the Deuces staff realized Benedetti wasn’t going to spend any money, they extended the ultimate New York discourtesy: the bum’s rush. So Dean found himself and his equipment out on the street on The Street.

MARCH 31, 1948

Parker (as), Miles Davis (tp), Duke Jordan (p), Tommy Potter (b), Max Roach (d), plus Kenny "Pancho" Hagood (vo), on all the things you are.

214. 52nd Street Theme - 2 parts - 3:44 49a

215. Big Foot - 2 parts - 4:24 49b

(aka Air Conditioning, Drifting On A Reed, & Giant Swing)

Note: big foot is Bird’s title for this well known bebop blues and is the more commonly used name for the song. The other titles descend from Dial Records’ activities following the studio recording of the song on 10/28/47: air conditioning for copyrighting, drifting on a reed from the original take sheets, and giant swing was a retitling attached to an alternate take. Some of the melody chorus and a small part before the fours is missing on the Spotlite issue.

216. Dizzy Atmosphere - 3 parts - 2:56 49c

Note: Bird quotes the Klose exercise. A small part before the fours is missing on the Spotlite issue.

217. My Old Flame 0:26 49d

218. 52nd Street Theme - 2 parts - 2:36 49e

Note: Bird is heard announcing the club, The Three Deuces, and the next attraction, Margie Hyams’ combo.

219. Half Nelson - 2 parts - 4:36 50a

Note: Piano solo and out chorus missing on Spotlite issue.

220. All The Things You Are 4:50 50b

Note: Jimmy Knepper agreed heartily when Angelo Ascagni warned me not to attribute the oral comments heard during these recordings to Dean Benedetti (see note with Item 39). But Jimmy added that he recalled Dean Benedetti’s voice saying "both of them" in the midst of an all the things you are. This is that item. Dean told Jimmy the ‘both of them’ referred to Bird having played two key phrases from his pet licks in one all the things you are. Also Note: Much of the vocal chorus missing on Spotlite issue.

221. 52nd Street Theme 1:21 50c

Charlie Parker next returned to 52nd Street for a one-week booking at The Onyx on The Street’s north side. My research allows a close to exact dating of the engagement. Bird’s quintet played The Onyx the second week of July 1948. They probably opened on Tuesday, July 6, 1948, possibly as late as Wednesday the 7th, then played through Sunday, July 11, 1948.

Dean Benedetti had to find a way to avoid the humiliating fiasco of his visit to The Three Deuces. In one of his few known personal encounters with Charlie Parker, Dean approached Bird to help facilitate the recording. Dean’s little clique had reassembled in the Big Apple. Dean and Jimmy were living at Harriet Bloom’s, Russ Freeman was in Brooklyn, Roy Hall was in town, as was Joe Albany, and Angelo Ascagni had joined the group. Not even Charlie Parker could negotiate a large number of freebies from The Onyx management so a compromise was worked out. Benedetti was allowed to use the storage room underneath The Onyx’ bandstand as his control room. This compromise made the recording possible but it unfortunately doomed the audio quality.

Dean and Jimmy worked in a horrible, hot, humid hole. The place where they actually set up was not strictly underneath the bandstand. They set up the Brush Sound Mirror in the only spot that would accomodate it, then ran the microphone cable through the crawl space underneath the stage. The cable’s run just made it. At that place, Benedetti and Knepper drilled a hole in the bandstand for the sound to come down. That spot was closer to Max Roach’s drums and Tommy Potter’s bass than it was to center stage where Bird was playing alto. The balance is bad, and the boomy, bass-heavy recording is further marred because the stage itself vibrated against the mic.

Nevertheless, they were free to record the whole week. Jimmy Knepper thinks they recorded everything, and the recording of a rehearsal substantiates Jimmy’s recollection, but not enough survives to account for five or six nights worth of recording. Guessing at what’s missing is difficult because Benedetti’s tape boxes and their reels have been shuffled. And I don’t think that this mixing up of tape reels is the only scrambling of the situation.

Whatever your opinion of the sound quality of the discs, they, themselves, were not reusuable (although a desperate Dean needing disc space as a Bird solo headed for overtime tried it a couple of times and I’m sure his tone arm went flying). When Benedetti switched to tape, he discovered he could record over his originals. I don’t believe Dean Benedetti erased any of his original reel-to-reel location recordings; I do believe he consolidated them by dubbing. One reason he did this was because tape was expensive. Brush Sound Mirror tape sold for $3.50 a reel. Benedetti’s total income for his 8 - 10 months in New York City could have been as little as $20. Dean was looking to save tape and he made the common error of most home tapists. That error comes in making a dub of convenience: consolidating two, even three original reels by dubbing onto a single reel, then recording over your originals. You’ve saved some tape but your originals had better sound.

Once we get into re-recording, we meet the problem of non-virgin tape. The ghost of what was once on the reel is often audible. Dean also created problems with his primitive editing. What we commonly call scotch tape - cellophane adhesive tape - does not make a clean splice. But sometimes Dean shocked me with his audio skills. Somewhere along the way he learned overdubbing: dig his voice saying "Goddamm C sharp" at the same time he is playing the broken note on his alto saxophone (Section 48).

JULY 6-11, 1948 probably early in that week, possibly opening night

Parker (as), Miles Davis (tp), Duke Jordan (p), Tommy Potter (b), Max Roach (d). Bird did not play on the first two unsequenced/x-numbered selections. (See note two)

xx1. What’s New

Note: Only a few notes survive. See note two above.

xx2. 52nd Street Theme 1:31 62a