{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/ng4gm8378v/manifest","type":"Manifest","label":{"en":["Charlie Parker and Lennie Tristano"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Eunmi Shim (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2009-05-29 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eCharlie Parker recorded “All of Me” in 1951 at Lennie Tristano’s studio in New York, with Tristano on the piano and Kenny Clarke playing on a phone book or a stack of newspaper. The recording is of special importance in two ways. First, it is the only recording of Parker’s performance of the tune, and second, it is in the key of A-flat major instead of the original C major; the former is the key in which Tristano routinely played “All of Me,” as evidenced by his recordings based on the harmonic progression, for example, “Line Up” and “Momentum” from the mid-1950s. Tristano (1919- 1978) was a jazz pianist who forged an original voice during a period when bebop was the predominant musical style in jazz history. He respected Parker as the progenitor of bebop and one of the greatest figures in jazz history. Tristano is also known for criticizing contemporary jazz musicians for imitating Parker’s music: he once stated, “If I were Bird, I’d have all the best boppers in the country thrown into jail!” In this recording of “All of Me,” Tristano only plays a supportive role but provides a harmonic background different from what bebop pianists did. Accordingly, Parker plays an exquisite solo displaying rhythmic displacement and chromaticism, which were musical elements that Tristano extended in his later recordings.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eCharlie Parker recorded \u0026ldquo;All of Me\u0026rdquo; in 1951 at Lennie Tristano\u0026rsquo;s studio in New York, with Tristano on the piano and Kenny Clarke playing on a phone book or a stack of newspaper. The recording is of special importance in two ways. First, it is the only recording of Parker\u0026rsquo;s performance of the tune, and second, it is in the key of A-flat major instead of the original C major; the former is the key in which Tristano routinely played \u0026ldquo;All of Me,\u0026rdquo; as evidenced by his recordings based on the harmonic progression, for example, \u0026ldquo;Line Up\u0026rdquo; and \u0026ldquo;Momentum\u0026rdquo; from the mid-1950s. Tristano (1919- 1978) was a jazz pianist who forged an original voice during a period when bebop was the predominant musical style in jazz history. He respected Parker as the progenitor of bebop and one of the greatest figures in jazz history. Tristano is also known for criticizing contemporary jazz musicians for imitating Parker\u0026rsquo;s music: he once stated, \u0026ldquo;If I were Bird, I\u0026rsquo;d have all the best boppers in the country thrown into jail!\u0026rdquo; In this recording of \u0026ldquo;All of Me,\u0026rdquo; Tristano only plays a supportive role but provides a harmonic background different from what bebop pianists did. Accordingly, Parker plays an exquisite solo displaying rhythmic displacement and chromaticism, which were musical elements that Tristano extended in his later recordings.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128466/file/240077","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2009_Shim_audio.mp3"]},"duration":1824.9745,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128466/file/240077/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128466/file/240077/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/240/077/original/ARSC_conf_2009_Shim_audio.mp3?1714698465","type":"Audio","format":"audio/mpeg","duration":1824.9745,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128466/file/240077","metadata":[]}]}],"annotations":[]}]}