Editing Charlie Parker (section)

== Career ==

=== 1936–1938: Jam sessions and woodshedding ===
Upon leaving high school, Parker began to play with local bands in jazz clubs around Kansas City and often ambitiously took part in [[Jam session|jam sessions]] with more experienced musicians. In early 1936, at one such jam session with the [[Count Basie Orchestra]], he lost track of the chord changes while improvising. This prompted [[Jo Jones]] to contemptuously remove a cymbal from his drum kit and throw it at his feet as a signal to leave the stage.{{Sfn|Priestley|1984|pp=|p=17}}{{sfn|Haddix|2013|p=21}}

[[File:Bird's sax NMAAHC-2019.jpg|thumb|upright|left|A King 'Super 20' alto saxophone, owned and used by Charlie Parker, now at the [[Smithsonian Institution]]]]
Rather than becoming discouraged, Parker vowed to practice harder. He mastered improvisation and, according to his comments in an interview with [[Paul Desmond]], spent the next three to four years practicing up to 15 hours a day.<ref>{{cite web |date=April 17, 2014 |title=Paul Desmond Interviews Charlie Parker (1954) |url=https://bobreynoldsmusic.com/paul-desmond-charlie-parker/ |access-date=December 11, 2019 |website=Bob Reynolds}}</ref><ref>{{cite web |title=Paul Desmond interviews Charlie Parker |url=http://www.puredesmond.ca/pdbird.htm |url-status=dead |archive-url=https://web.archive.org/web/20110706194036/http://www.puredesmond.ca/pdbird.htm |archive-date=July 6, 2011 |website=Puredesmond.ca}}</ref><ref>{{cite web |last=Fordham |first=John |date=June 16, 2011 |title=A teenage Charlie Parker has a cymbal thrown at him |url=https://www.theguardian.com/music/2011/jun/17/charlie-parker-cymbal-thrown |website=The Guardian}}</ref> Parker proposed to Rebecca Ruffin, his girlfriend four years his senior, and the two were married on July 25, 1936.<ref> Dixon, Anita. "Charlie Parker, 'I was his first, he was my first, it was all special", ''Pitch Weekly'' (KCMO), April 10, 1996.</ref> They had two children together before divorcing in 1939, in large part due to his growing drug addiction.<ref>{{Cite web |date=2020-08-31 |title=Charlie Parker - myth and mayhem - National Jazz Archive |url=https://nationaljazzarchive.org.uk/posts/articles/2020/08/charlie-parker---myth-and-mayhem |access-date=2024-08-17 |website=nationaljazzarchive.org.uk |language=en}}</ref><ref name=":0">{{Cite web |date=2020-09-02 |title=The short, troubled life of saxophone genius Charlie 'Bird' Parker |url=https://www.independent.co.uk/arts-entertainment/music/features/charlie-bird-parker-death-jazz-musician-saxophonist-miles-davis-a9689511.html |access-date=2024-08-17 |website=The Independent |language=en}}</ref>

In late 1936, Parker and a Kansas City band traveled to the [[Ozarks]] for the opening of Musser's Resort south of [[Eldon, Missouri]]. Along the way, the caravan of musicians had a car accident and Parker broke three ribs and fractured his spine.{{sfn|Haddix|2013|p=24}} Despite his near-death experience on the way to the Ozarks in 1936, Parker returned to the area in the summer of 1937, where he spent a great deal of time [[woodshedding]] and developing his sound.{{sfn|Haddix|2013}}{{sfn|Crouch|2013}} Working with two musicians on chordal instruments, a pianist and guitarist respectively, he was able to practice improvising over chord changes and began to develop the ability to solo fluently across chords and scales.{{Sfn|Priestley|1984|pp=|p=16}}

In 1938, Parker joined pianist [[Jay McShann]]'s [[territory band]].{{sfn|Woideck|1998|p=18}} His first gig with the band was during the summer or early fall at the Continental Club in Kansas City, where Parker worked as a substitute alto saxophonist for Edward "Popeye" Hale.{{sfn|Haddix|2013|pp=34–35}}<ref>{{Cite news |date=July 30, 1938 |title=Jay McShann band at Continental Club |work=[[Kansas City Journal-Post]] |pages=7}}</ref> In December, he joined [[Harlan Leonard]]'s Rockets; the band played at dances including a [[Christmas]] dance for which Parker was listed in a local newspaper as one of the Rockets' personnel.<ref>{{Cite news |date=December 23, 1938 |title=Harlan Leonard's band to give Dance Xmas Night |work=[[Kansas City Call]] |pages=9}}</ref>

=== 1939–1944: Development of bebop ===
In 1939, Parker moved to New York City to pursue his musical career but worked part-time jobs to make a living. Among the more musically significant of these jobs was as a dishwasher for nine dollars a week at Jimmie's Chicken Shack, where pianist [[Art Tatum]] performed.<ref>See ''[[Jazz (TV series)|Jazz]]'', Episode 7: "Dedicated to Chaos: 1940–1945".</ref> Struggling with poverty, Parker went to the home of fellow alto saxophone player, [[Buster Smith]], to ask for help. Smith allowed Parker to live in his apartment for six months and gave him gigs in his band. Parker's playing at these gigs impressed several New York musicians including pianist and bandleader [[Earl Hines]].<ref name=":0" />

While living in New York, Parker achieved his musical breakthrough, developing a new improvisational vocabulary which later came to be known as "[[bebop]]". Playing "[[Cherokee (Ray Noble song)|Cherokee]]" in a practice session with guitarist William "Biddy" Fleet, he realized that the 12 semitones of the [[chromatic scale]] can lead melodically to any key, breaking some of the confines of simpler jazz soloing. Parker recalled: "I'd been getting bored with the stereotyped changes that were being used all the time at the time, and I kept thinking there's bound to be something else. I could hear it sometimes but I couldn't play it ... Well, that night I was working over 'Cherokee' and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing. I came alive."{{sfn|Giddins|1998|p=264}}
[[File:(52nd Street, New York, N.Y., ca. 1948) (LOC) (4976463491) (cropped).jpg|thumb|Sign advertising the names of Parker and [[Margie Hyams]] at the Three Deuces]]
In 1940, he returned to Kansas City to perform with Jay McShann and to attend the funeral of his father, Charles Sr. The younger Parker then spent the summer in McShann's band playing at [[Fairyland Park]] for all-white audiences; trumpet player [[Bernard Anderson (trumpeter)|Bernard Anderson]] introduced him to [[Dizzy Gillespie]].{{sfn|Haddix|2013}}{{sfn|Crouch|2013}} The band also toured nightclubs and other venues of the southwest, as well as [[Chicago]] and [[New York City]],<ref>{{cite web |title=pbs.org |url=https://www.pbs.org/jazz/biography/artist_id_parker_charlie.htm |access-date=March 10, 2011 |publisher=pbs.org}}</ref><ref>[http://amb.cult.bg/music/jazz/mp3/notes/CHARLI.htm amb.cult.bg] {{webarchive|url=https://web.archive.org/web/20071221093817/http://amb.cult.bg/music/jazz/mp3/notes/CHARLI.htm|date=December 21, 2007}}</ref> and Parker made his professional recording debut with McShann's band that year.<ref name=":1">{{Cite web |title=Charlie Parker Discography |url=https://www.jazzdisco.org/charlie-parker/discography/ |access-date=March 13, 2024 |website=www.jazzdisco.org}}</ref> When in New York, to experiment with his new musical ideas that went beyond the bounds of McShann's group, Parker joined a group of young musicians who played in after-hours clubs in [[Harlem]] venues including [[Clark Monroe's Uptown House]].  Fellow musicians at the venues included developing beboppers Gillespie, pianist [[Thelonious Monk]], guitarist [[Charlie Christian]], and drummer [[Kenny Clarke]]. A pianist and one of the pioneers of bebop, [[Mary Lou Williams]], offered a further explanation that the after-hours sessions were an opportunity "to challenge the practice of [[Lower Manhattan|downtown]] musicians coming uptown and 'stealing' the music."<ref>{{cite book |last=Kelley |first=Robin |author-link=Robin Kelley |title=Thelonious Monk: The Life and Times of an American Original |publisher=The Free Press |year=2009 |pages=118}}</ref> 

Parker left McShann's band in 1942 and played for one year with Hines, whose band also included Gillespie. However, this band's performances and therefore Parker's role in them are virtually undocumented due to [[1942–1944 musicians' strike|the strike of 1942–1944]] by the [[American Federation of Musicians]], during which time few professional recordings were made. In fact, much of bebop's critical early development was not captured for posterity due to the ban and the new genre gained limited radio exposure as a result.<ref>{{cite journal|title=Bebop and the Recording Industry: The 1942 AFM Recording Ban Reconsidered |journal=Journal of the American Musicological Society |date=Spring 1988 |volume=41 |first=Scott |last=DeVeaux |issue=1 |pages=126–165 |doi=10.2307/831753 |jstor=831753 }}</ref><ref>James Lincoln Collier, ''The Making of Jazz'', New York: Dell Publishing Co., 1978, p. 355.</ref> The few recordings in which Parker participated in 1943 took place in Chicago and included a jam session recording with Gillespie and bassist [[Oscar Pettiford]], another session with [[Billy Eckstine]] playing trumpet, some informally recorded practice sessions, and a duo with pianist [[Hazel Scott]].<ref name=":1" /> Parker's time with Hines' band and his traveling between New York and Chicago enabled him to model his style on, according to his own words, a "combination of the Midwestern beat and the fast New York tempos." Parker began writing compositions thanks to his growing friendship with Gillespie, who began notating Parker's solos as melodies. Among these early Parker compositions were "Koko", "[[Anthropology (composition)|Anthropology]]", and "[[Confirmation (composition)|Confirmation]]".{{Sfn|Priestley|1984|pp=26–27|p=}} 

Parker left Hines' band and formed a small group with Gillespie, pianist [[Al Haig]], bassist [[Curley Russell]], and drummer [[Stan Levey]]. The group stood out from its contemporaries, as it was racially integrated and it lacked a guitarist for rhythmic support. This new format enabled soloists to be freed from harmonic and rhythmic restrictions, and in late 1944 the group secured a gig at the Three Deuces club in New York. The group's name recognition spread along [[52nd Street (Manhattan)|52nd Street]] and its style was dubbed "bebop" for the first time. Musicians at other clubs came to hear bebop and reacted negatively to it because, according to bassist [[Charles Mingus]], they saw it as a threat to their existing style of jazz.{{Sfn|Priestley|1984|pp=27–28|p=}}[[File:Charlie Parker, Tommy Potter, Miles Davis, Duke Jordan, Max Roach (Gottlieb 06851).jpg|thumb|left|upright=1.2|Parker with (from left to right) [[Tommy Potter]], [[Max Roach]], [[Miles Davis]], and [[Duke Jordan]], at the Three Deuces, New York, circa 1945]]

=== 1945–1953: Solo career ===
It was not until 1945, after the AFM's recording ban was lifted, that Parker's collaborations with [[Dizzy Gillespie]], [[Max Roach]] and others had a substantial effect on the jazz world. One of their first small-group performances together was rediscovered in 2004 and released in 2005: a concert in New York's [[The Town Hall (New York City)|Town Hall]] on June 22, 1945. Bebop soon gained wider appeal among musicians and fans.<ref>{{Cite AV media notes |title=Town Hall, New York City, June 22, 1945 |first=Ira |last=Gitler |author-link=Ira Gitler |others=[[Charlie Parker]]; [[Dizzy Gillespie]] |date=2005 |publisher=Uptown |id=UPCD 27.51 |location=Whitehall, MI}}</ref><ref>{{Citation |title=Town Hall, New York City, June 22, 1945 - Dizz... {{!}} AllMusic |url=https://www.allmusic.com/album/town-hall-new-york-city-june-22-1945-mw0000649331 |access-date=2024-08-19 |language=en}}</ref>

On November 26, 1945, Parker led a record date for [[Savoy Records]], marketed as the "greatest Jazz session ever". Recording as Charlie Parker's Reboppers, Parker enlisted sidemen Gillespie and [[Miles Davis]] on trumpet, [[Curley Russell]] on bass and [[Max Roach]] on drums. The tracks recorded during this session include "[[Ko-Ko]]", "[[Billie's Bounce]]", and "[[Now's the Time (composition)|Now's the Time]]".<ref>{{cite AV media notes |title=The Charlie Parker Story |others=[[Charlie Parker]] |last=Mehegan |first=John |year=1956 |type=liner notes |publisher=[[Savoy Records]] |id=MG 12079}}</ref>

In December 1945, the Parker band traveled to an unsuccessful engagement at [[Billy Berg's]] club in [[Los Angeles]]. Most of the group returned to New York, but Parker remained in California, cashing in his return ticket to buy heroin. However, after Parker dedicated one of his compositions to local drug dealer "[[Moose the Mooche]]" at a studio session in the spring, the dealer was arrested, and without access to heroin, Parker turned to [[alcoholism|alcohol addiction]]. He suffered a physical and mental breakdown after a studio session in July 1946 for [[Dial Records (1946)|Dial Records]], and was briefly jailed after setting the bed sheets of his Los Angeles hotel room on fire and then running naked through the lobby while intoxicated, after which he was committed to the [[Camarillo State Mental Hospital]] for six months.<ref>{{cite book |editor-first=Michael |editor-last=Gray |title=The Dial Recordings of Charlie Parker: A Discography |publisher=[[Greenwood Press]] |publication-place=Greenwood, Connecticut, United States |first=Edward M. |last=Komara |via=[[Google Books]] |isbn=9780313291685 |series=Discographies series |volume=76 |url=https://books.google.com/books?id=m8NNXtuFeukC |chapter-url=https://books.google.com/books?id=m8NNXtuFeukC&pg=PA27 |page=27 |chapter=Historical Narrative |year=1998 |oclc=528877878 }}</ref><ref>{{cite book |chapter-url=https://books.google.com/books?id=2eUEAQAAQBAJ&pg=PA76 |publication-place=Baltimore, Maryland, United States |publisher=[[Johns Hopkins University Press]] |via=[[Google Books]] |title=Schizophrenia: A Brother Finds Answers in Biological Science |chapter=9. Two State Hospitals (1959—1960) |url=https://books.google.com/books?id=2eUEAQAAQBAJ |isbn=9781421410913 |first=Ronald |last=Chase |date=October 7, 2013 |oclc=827119755 |page=76 }}</ref>{{Sfn|Priestley|1984|pp=30–31|p=}}

When Parker received his discharge from the hospital, he was healthy and free from his drug habit. Before leaving California, he recorded "[[Relaxin' at Camarillo]]," in reference to his stay in the mental hospital, at one of two successful recording sessions. The first of these sessions took place with a septet while the second paired Parker with pianist [[Erroll Garner]]'s trio and vocalist [[Earl Coleman (singer)|Earl Coleman]]. Upon returning to New York in 1947, however, Parker resumed his heroin usage.{{Sfn|Priestley|1984|pp=31–33|p=}} He recorded dozens of sides for the Savoy and [[Dial Records (1946)|Dial]] labels, which remain some of the high points of his recorded output. Many of these were with his new quintet, including Davis and Roach.<ref>{{Cite book |title=The Spirit of Creativity: Basic Mechanisms of Creative Achievements |last=Guntern |first=Gottlieb |publisher=University Press of America |year=2010 |isbn=9780761850519 |location=Lanham, MD |page=245 |quote=In the late 1940s, Charlie Parker's classic quintet—including trumpeter Miles Davis, drummer Max Roach, bass player Tommy Potter, and pianist Bud Powell—produced a series of masterpieces that reached the top of the rating scales.}}</ref> Parker and Davis disagreed on who should be the quintet's pianist, with Parker originally hiring [[Bud Powell]] for a May 1947 recording session but later favoring Gillespie's arranger, [[John Lewis (pianist)|John Lewis]]; Davis preferred [[Duke Jordan]]. Ultimately the quintet used both pianists as Parker wanted to balance leadership of the group with mentoring younger musicians such as Davis.{{Sfn|Priestley|1984|pp=33–34|p=}}

Following the establishment of a regular quintet, Parker signed for [[Mercury Records]] with [[Jazz at the Philharmonic]] promoter [[Norman Granz]] as his producer. The partnership enabled Parker to work with musicians from other genres, such as [[Latin jazz]] percussionist and bandleader [[Machito]], and to appear in concerts at [[Carnegie Hall]] as part of the Jazz at the Philharmonic series.<ref name=":2">{{Cite web |last=Havers |first=Richard |date=2023-08-29 |title=A Bird's Life: How Charlie Parker Changed The Course Of Jazz History |url=https://www.udiscovermusic.com/stories/charlie-parker-jazz-history/ |access-date=2024-08-21 |website=uDiscover Music |language=en-US}}</ref> Further, Granz was able to fulfil a longstanding desire of Parker's to perform with a [[string section]]. He was a keen student of classical music, and contemporaries reported he was most interested in the music and formal innovations of [[Igor Stravinsky]] and longed to engage in a project akin to what later became known as [[Third Stream]], a new kind of music, incorporating both jazz and classical elements as opposed to merely incorporating a string section into performance of jazz standards. On November 30, 1949, [[Norman Granz]] arranged for Parker to record an album of ballads with a mixed group of jazz and [[Orchestra|chamber orchestra]] musicians.{{sfn|Russell|1973|p=273}} Six master takes from this session became the album ''[[Charlie Parker with Strings]]'': "[[Just Friends (1931 song)|Just Friends]]", "[[Everything Happens to Me (song)|Everything Happens to Me]]", "[[April in Paris (song)|April in Paris]]", "[[Summertime (George Gershwin song)|Summertime]]", "[[I Didn't Know What Time It Was]]", and "[[If I Should Lose You]]".<ref name=":1" />

[[File:Charlie Parker (cropped).jpg|thumb|left|upright=1.2|Parker performing in 1954]]
In 1950, Parker and Gillespie recorded ''[[Bird and Diz]]'', an album that proved to be among the few times Parker worked with bebop pianist [[Thelonious Monk]]; the music was released in 1952.<ref>{{cite web |title=Bird and Diz – Charlie Parker, Dizzy Gillespie |url=http://www.allmusic.com/album/bird-and-diz-mw0000188496 |website=AllMusic}}</ref> Meanwhile, Parker's regular group maintained popular success with a European tour in 1950<ref name=":2" /> and live gigs at New York nightclubs continued, leading to live albums ''[[One Night in Birdland]]'' (with [[Fats Navarro]] and Powell) and ''[[Summit Meeting at Birdland]]'' (with Gillespie and Powell). However, Parker became frustrated and disillusioned that, due to racial discrimination, he was reaching the limits of what he would be able to achieve in his career.{{Sfn|Priestley|1984|pp=39–44|p=}}

In 1953, Parker performed at [[Massey Hall]] in Toronto, joined by Gillespie, Mingus, Powell, and Roach.<ref name="Penguin9">{{cite book |last1=Cook |first1=Richard |author-link=Richard Cook (journalist) |title=The Penguin Guide to Jazz Recordings |title-link=The Penguin Guide to Jazz |last2=Morton |first2=Brian |author-link2=Brian Morton (Scottish writer) |publisher=[[Penguin Books|Penguin]] |year=2008 |isbn=978-0-141-03401-0 |edition=9th |pages=1019–1021, 1119}}</ref> The concert happened at the same time as a televised heavyweight boxing match between [[Rocky Marciano]] and [[Jersey Joe Walcott]], so the musical event was poorly attended.{{sfn|Haddix|2013|pp=149–152}} Mingus recorded the concert, which resulted in the album ''[[Jazz at Massey Hall]]''.{{sfn|Haddix|2013|pp=149–152}} At this concert, Parker played a plastic [[Grafton saxophone]].<ref>{{cite news |last=Fordham |first=John |date=October 23, 2009 |title=50 Great Moments in Jazz: The Quintet – Jazz at Massey Hall |url=https://www.theguardian.com/music/musicblog/2009/oct/23/quintet-jazz-at-massey-hall |work=The Guardian }}</ref>

Other live, and often [[Bootleg recording|bootleg]], recordings of Parker were made in the early 1950s, frequently with groups other than his usual quintet. Among the most notable of these recordings, particularly from the perspective of critics, were ''Charlie Parker in Sweden'' (recorded during his 1950 Sweden tour), ''[[Bird at St. Nick's]]'' (with Red Rodney), ''[[Inglewood Jam]]'' (recorded in 1952 with [[Chet Baker]]), ''[[Live at Rockland Palace]]'' (recorded live with his quintet and string accompaniment), ''Charlie Parker at Storyville'' (with [[Herb Pomeroy]] and [[Red Garland]]), and ''[[The Washington Concerts]]'' (recorded unrehearsed in 1953 with a big band).<ref name="Penguin9" />

=== 1954–1955: Illness and death ===
[[Image:Charlie Parker Lincoln Cemetery.jpg|thumb|Parker's grave at Lincoln Cemetery]]
Since 1950, Parker had been living in New York City with his [[Common-law marriage|common-law wife]], [[Chan Parker|Chan Berg]], the mother of his son, Baird (1952–2014),<ref>[http://www.philly.com/philly/obituaries/20140330_Charles_Baird_Parker__61__son_of_jazz_great.html Charles Baird Parker 61 Son of Jazz Great]. ''[[Philly.com]]''. Retrieved June 29, 2016.</ref> and his daughter, Pree (who died at age 3).<ref name="Pree" /> He considered Chan his wife, although he never married her; nor did he divorce his previous wife, Doris, whom he had married in 1948.<ref name=":2" />

The death of Parker's daughter Pree from pneumonia in 1954 devastated him and, after being fired from Birdland in September of that year, he attempted to commit suicide. He was hospitalized and made a partial recovery by early 1955 before his health declined again in March.<ref name=":2" /> Parker's last gig on March 4 at Birdland ended when Powell refused to play in his group and the performance spiraled into an argument among the musicians. Parker became drunk and a few days later visited the suite of [[Pannonica de Koenigswarter|Baroness Pannonica]] at the [[Stanhope Hotel]] in New York City in ill health. He refused to go to hospital and died on March 12, 1955 while watching [[The Dorsey Brothers]]' ''[[Stage Show (TV series)|Stage Show]]'' on television. The official causes of death were [[lobar pneumonia]] and a [[perforated ulcer|bleeding ulcer]], but Parker also had advanced [[cirrhosis]] and had suffered a heart attack and a seizure. The coroner who performed his autopsy mistakenly estimated Parker's 34-year-old body to be between 50 and 60 years of age.{{sfn|Reisner|1977|p=133}}{{sfn|Gitler|1966|pp=52–54}}

The details surrounding Parker's death were controversial. Doris Parker claimed that she, Parker's mother, and [[Art Blakey]] were aware of Parker's death before March 14, when Pannonica claimed she first revealed the news on a phone call to Chan. Pannonica, however, visited a nightclub on March 13, the day after Parker died at her apartment but before she informed Chan of Parker's death. Further, newspapers incorrectly reported Parker's age as 53 when he died, and Parker's tombstone incorrectly claimed that he died on March 23.{{sfn|Gitler|1966|pp=|p=55}}

Parker's marital status complicated the settling of Parker's estate and ultimately frustrated his wish to be interred in New York City.{{sfn|Gitler|1966|pp=|p=55}} [[Dizzy Gillespie]] paid for the funeral arrangements,<ref>{{cite web|url=https://www.pbs.org/jazz/about/pdfs/Parker.pdf |title=Ken Burns interviews Chan Parker|website=Pbs.org |access-date=March 10, 2011}}</ref> which included a Harlem procession officiated by Congressman and Reverend [[Adam Clayton Powell Jr.]] at the Abyssinian Baptist Church{{sfn|Gitler|1966|pp=|p=55}} and a memorial concert. Parker's body was flown back to Missouri, in accordance with his mother's wishes. Chan criticized Doris and Parker's family for giving him a Christian funeral even though they knew he was an [[Atheism|atheist]].{{sfn|Russell|1973|p=361}} Parker was buried at Lincoln Cemetery in Missouri, in a hamlet known as [[Blue Summit, Missouri|Blue Summit]], located close to I-435 and East Truman Road.<ref>{{Cite news |last=Leadbeater |first=Chris |date=2016-02-04 |title=The death of Charlie Parker - and his New York afterlife |url=https://www.telegraph.co.uk/travel/destinations/north-america/united-states/new-york/articles/The-death-of-Charlie-Parker-and-his-New-York-afterlife/ |access-date=2024-08-21 |work=The Telegraph |language=en-GB |issn=0307-1235}}</ref>

Some amount of controversy continued after Parker's burial in the Kansas City area. His tomb was engraved with the image of a tenor saxophone, though Parker is primarily associated with the alto saxophone. Later, some people wanted to move Parker's remains to reinforce redevelopment of the historic 18th and Vine area.<ref>{{cite web |date=December 18, 1998 |title=Bird Brouhaha, or the Grave Situation of Charlie Parker |url=https://www.latimes.com/archives/la-xpm-1998-dec-18-ca-55128-story.html |access-date=December 24, 2020 |website=[[Los Angeles Times]]}}</ref>