É habitual encarar o Charlie Parker como um génio que... "nasceu com aquilo" e pronto...Uma bela forma de desvalorizar o talento... e trabalho do Parker. O senhor dava-lhe era muito. Olha a novidade.
Esta é a parte que tem a ver com práctica e estudo do instrumento:
"P.DESMOND. - another thing that's been a major factor in your playing is this fantastic technique, that nobody's quite equaled. I've always wondered about that, too - whether there was - whether that came behind practicing or whether that was just from playing, whether it evolved gradually.
C.PARKER. - well,you make it so hard for me to answer you, you know, I can't see where there's anything fantastic about it all. I put quite a bit of study into the horn, that's true. In fact the neighbors threatened to ask my mother to move once when we were living out West. She said I was driving them crazy with the horn. I used to put in at least 11 to 15 hours a day.
P.D. - yes, that's what I wondered.
C.P. - that's true, yes. I did that for over a period of 3 to 4 years.
P.D. - Oh - yeah. I guess that's the answer.
C.P. - that's the facts anyway. (chuckle)
P.D. - I heard a record of yours a couple of months ago that somehow I've missed up to date, and I heard a little 2 bar quote from the Klose book that was like an echo from home...
C.P. - yeah, yeah. Well that was all done with books, you know. Naturally, it wasn't done with mirrors, this time it was done with books.
P.D. - well that's very reassuring to hear, because somehow I got the idea that you were just born with that technique, and you never had to worry too much about it, about keeping it working.
J.M. - you know, I'm very glad that he's bringing up this point because I think that a lot of young musicians tend to think that...
P.D. - yeah, they do. They just go out...
J.M.- It isn't necessary to do this. "
A transcrição da entrevista inteira está aqui.
Esta é a parte que tem a ver com práctica e estudo do instrumento:
"P.DESMOND. - another thing that's been a major factor in your playing is this fantastic technique, that nobody's quite equaled. I've always wondered about that, too - whether there was - whether that came behind practicing or whether that was just from playing, whether it evolved gradually.
C.PARKER. - well,you make it so hard for me to answer you, you know, I can't see where there's anything fantastic about it all. I put quite a bit of study into the horn, that's true. In fact the neighbors threatened to ask my mother to move once when we were living out West. She said I was driving them crazy with the horn. I used to put in at least 11 to 15 hours a day.
P.D. - yes, that's what I wondered.
C.P. - that's true, yes. I did that for over a period of 3 to 4 years.
P.D. - Oh - yeah. I guess that's the answer.
C.P. - that's the facts anyway. (chuckle)
P.D. - I heard a record of yours a couple of months ago that somehow I've missed up to date, and I heard a little 2 bar quote from the Klose book that was like an echo from home...
C.P. - yeah, yeah. Well that was all done with books, you know. Naturally, it wasn't done with mirrors, this time it was done with books.
P.D. - well that's very reassuring to hear, because somehow I got the idea that you were just born with that technique, and you never had to worry too much about it, about keeping it working.
J.M. - you know, I'm very glad that he's bringing up this point because I think that a lot of young musicians tend to think that...
P.D. - yeah, they do. They just go out...
J.M.- It isn't necessary to do this. "
A transcrição da entrevista inteira está aqui.
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