Charlie Parker (alto sax), Howard McGhee (trumpet), Wardell Gray (tenor sax), Dodo Marmarosa (piano), Barney Kessel (guitar), Red Callender (bass), Don Lamond (drums). Session 6. Charlie Parker Quintet . Charlie Parker Sextet
Charlie Parker "Stupendous" Dodo Marmarosa Howard McGhee & Barney Kessel. Charlie Parker "Carving The Bird" on Dial 1013 Barney Kessel opens.
If jazz ever had a little boy genius lost, it was Dodo Marmarosa. One part classical music boy wonder, one part Art Tatum reincarnated in a tiny, hawk-nosed Italian kid, Marmarosa burst onto the jazz scene in the mid-'40s, playing his way through a spate of legendary bands and recording configurations before heading back to his native Pittsburgh and self-imposed obscurity ever since. Much of his legendary status derives from the fact that he was Charlie Parker's piano man of choice on all his legendary Dial sessions and, indeed, the young Marmarosa could keep up with Bird when Miles. feat: Howard McGhee Sextet. 5. Up in Dodo's Room.
Dodo Marmarosa - "Dodo's back!", 1961, Chicago (Full Album). Slim Gallard's Comic Performances and Laid Back Cooooool. Andy Milne "The Seasons of Being" - Sizzle Reel. The Moose - Dodo Marmarosa with Charlie Barnet Big Band. Charlie BARNET & His Orchestra "Cherokee" !!! Transcription. A tour of a few months in Charlie Spivak's band in 1953 preceded Marmarosa being drafted into the army the following year. This exacerbated his problems: several months in a Veteran Administration hospital preceded his discharge, at which point he was in a poor psychological condition. Back in Pittsburgh, where he played locally from March 1956, Marmarosa continued.
Erroll Garner - Trio, Pastel. Howard McGhee, trumpet; Charlie Parker, alto sax; Wardell Gray, tenor sax; Dodo Marmarosa, piano; Barney Kessel, guitar; Red Callender, bass; Don Lamond, drums. MacGregor Studios, Los Angeles, CA, February 26, 1947.
The musicians were Charlie Parker, Howard McGhee, Jimmy Bunn, Bob Kesterson, and Roy Porter McGhee continued to work as a sideman for Parker. Around this time, McGhee "was a central figure in the Los Angeles bebop world, taking part in numerous concerts, recording, and even running a night club for a time" Drug problems sidelined McGhee for much of the 1950s, but he resurfaced in the 1960s, appearing in many George Wein productions. His career sputtered again in the mid-1960s and he did not record again until 1976
Four CD Box Set featuring Most of Charlie Parker's Studio Recordings from 1944-51 for the Savoy, Dial and Verve Labels, Making this One of the Most Comprehensive Collections of his Work Ever Assembled.