Please check out charlieparkercentennial.com, a new website dedicated to the great alto saxophonist on the centennial of his birth in 1920. The site has information about his life and music, links to further information around the web, reviews of books, an informal calendar of centennial events taking place this year, a few transcribed solos & leadsheets, some photos, and other tidbits.
The site is maintained by 2 jazz alto saxophonists who have spent decades listening, learning, and debating Bird and his music. We’re not academics, we’re not marketers, we’re musicians who have gained so much from having Bird’s music in our lives and we want to share what we’ve learned. The site will evolve as the centennial year goes on; please check it out from time to time to see what’s new.
6 altos – truly a one-of-a-kind sound! Charts by Jay Brandford, Matt Hong, Chris Byars, Steve Slagle.
Duke Ellington in his own words from Duke Ellington’s America by Harvey Cohen 2010 University of Chicago Press
“Sometimes they’d tell me to write for current modes and not for myself. I’d get the feeling that maybe I ought to listen to them and then I sit down and talk with Billy [Strayhorn]. He’d convince me all over again that I ought to write what I felt. That’s what I’ve done.” 
“I know the only thing I do in music is listen, not the only thing maybe, but the big thing I do in music is listen. Before you can play anything, or before you can write it, you gotta hear it. If you can’t hear it, then it’s a mechanical thing. It has to do with the ear. Some of the prettiest things on paper come off drab.” [Early 1960s]
“I’m a hotel man; I like being alone, you know. I don’t know why.” 
“I wanted to get back to Europe for a while. It’s good for the morale. It gives you the kind of adjustment of mind you need in this business. Over there [in America] you get too used to the Hit Parade. You know it means nothing, and yet after a while, you start paying attention. That’s bad for your music.” [1948, in Europe]
This book is filled with information that gives us context for a richer understanding of Ellington’s life and musical achievements. Here’s a straightforward review.
A couple of
high points for me:
It’s helpful to know about the 1919 Washington DC
Race Riot, “a
flashpoint in American racial dynamics.” This event preceded a period
when Ellington and his hometown colleagues began visiting and eventually
settling in New York City. That violence, and the racial politics and activism
all around it HAD to have been a major part of the conversation as these young
African Americans pondered their future and their music. Years later, when
asked about why he left a comfortable career in DC (providing commercial music
for social events), Ellington’s elegant and inscrutable statement was simply, “It’s always more important to know
what’s happening than it is to make a living.” Is the riot and its aftermath in
the background behind those words? Ellington always leaves you thinking….
Cohen quotes extensively from unpublished essays in which Duke describes his vivid
vision for an extended musical work that would be a tone parallel to the
African American experience. That work eventually came together as “Black Brown
and Beige,” first performed in 1943, and Duke generally avoided public
descriptions of it or any of his other major works. The writings that Cohen has
unearthed are intense and moving; as you read you can imagine the words in Duke’s
voice, telling you what he wants to get across to listeners.
gives us painful details about business hassles that repeatedly dragged down
Ellington, even as he was creating masterpieces after masterpiece.
over again the best parts of the book are Ellington’s own words – from
correspondence, articles, and interviews. The simple statements at the top of
this post appealed to me; If you read this book, you’re sure to find messages
from Duke that are meant for you.
A priceless moment in the film “Big Ben: Ben Webster In Europe.” He demonstrates the old school strategy of playing along with a recording, in this case a Fats Waller LP. This film isn’t a performance documentary; it’s sketches of Mr. Webster’s daily life: going to the zoo, talking with his landlady, playing some stride piano, commuting to gigs, running a rehearsal (with Don Byas!), and so forth.
The range of up-and-coming talent on the jazz tenor saxophone scene is breathtaking. Bobby Malach, Bill Pierce, Bob Mintzer, Chico Freeman, Mike Brecker, Bob Berg, David Schnitter, Ricky Ford, David Murray, – and these are just the cats who were in their twenties at the time!
Roger Rosenberg was part of this community of vibrant and high energy musicians; here he is soloing on tenor with George Russell’s New York Big Band in 1978; it’s an Ernie Wilkins chart on “God Bless The Child” featuring vocalist Lee Genesis. Roger was a busy freelancer who worked with Tito Puente, Mongo Santamaria, Buddy Rich and many, many others during these years.
At this time he also began to focus on the baritone saxophone, the instrument he’s been associated with ever since, and you can hear a lot of tenor sax vocabulary and vitality when he plays the bigger horn. Roger was part of the Lee Konitz Nonet that performed at the first Chicago Jazz Festival in 1979, and the band’s performance was broadcast by NPR on Billy Taylor’s program “Jazz Alive.” Here’s a recording of Roger tearing it up on the Nonet’s set-closer, “Giant Steps.”
In the early eighties – soon after these recordings were made – Roger became a charter member of Bob Mintzer’s Big Band; he’s played on all the recordings and anchors the sax section of the band to this day. During those years he also worked in Chet Baker’s quintet, playing baritone and soprano. For more information about Roger, consult his biography at jazzbarisax.com, search for his performances and interviews on YouTube, and check out his recent studio projects Baritonality and Hang Time. Both albums contain many of his excellent original compositions.
In 2018 he’s still a busy creative musician around NYC, and on the road and in the studio with Steely Dan.