Guernsey's Auction

Nothing new there, all we needed to know was how much, and who to. Nearly a quarter of a million dollars to an unnamed telephone bidder. Guesses are that it's gone to Japan. I hoped it had gone to Kansas like the Grafton, or some other publicly-based organisation, where people can see it and wonder at its gifted owner.

Other pieces include Parker's Buddha style incense burner and ashtray. Who knows why Chan kept these simple things and did not auction them with other items of similar or more interest in 1994? Cuff-links, a framed scrap of wallpaper from the New York apartment she shared with Parker, a pocket watch engraved 'CC', (Charlie Chan - a pseudonym Parker used to navigate contractual obligations), an unfinished painting by Parker (under Harvey Cropper's tutelage), of what appeared to be a naked, reclining Chan. All ridiculously simple keepsakes of a time spent with the world's greatest soloist. Obviously, these items must have had a very, very special place in Chan's life. It is rather sad that only five years after her death, the family decided to cash in on these family heirlooms. One thing not sold was the only finished painting by Parker (seen in Horne's documentary), of how he believed Pree would have looked like as an adult. (Not sure this was sold at Sotheby's?). This naive Modigliani-style picture is haunting and must have been draining for Parker to contemplate.

However, the items that had the 'Parkerites' were chomping at the bit were the Chan Parker tapes. Recordings of Parker made by Chan either at the concerts, or from the radio. There were many 'lots', each with there own special importance. Many included a second tape, a dub of the original, made later on better equipment. Chan had already released most of the recordings at various times but some were never issued and were the real 'Holy Grail' for most Parkerites. Not that being released previously lessened their value, as many of these were the source tapes, the 'masters', the actual tapes used to record Bird: almost as good as being there: crumbs from the Master's table.

As is usual with all Parker discography's, places and events are confused and accepted dates are questioned by Phil Schaap who was asked to analyse the digital versions of the tapes. (Schaap was the person who sorted out the Benedetti Recordings!!). There will be much discussion about accuracy, and even, answers to previously unanswerable questions. For instance, Lot 160a from either June 27th 1953 or 22nd May 1953 were rumoured to exist, but until this auction, no one was sure. There is the recording from Jirahr Zorthian's ranch party in California, where Bird played while he, and everyone else stripped! Or the original tapes from the Rockland benefit concert for members of the communist party. (Parker must surely have appeared in Hoover's FBI files for this!). It is believed that someone else also recorded this concert enabling technicians to produce the only stereo recording of Parker. However, other discographers say that Chan's recording is the only one; all others were from this source. Although Parker is on record as disapproving of bootlegs, Chan's recording of this concert was made on a machine he bought her for her birthday.

Then there's the Birdland tracks from 1950. No one can agree on when these 31 tracks were recorded but it is generally accepted that they were performed during the period 17-23 May. Perhaps now, with the public release of Chan's tapes, the dates can be agreed.

Some of the tapes were used by Clint Eastwood in the movie Bird, most notably where Parker is backed by Lennie Tristano playing with brushes on a piece of paper.

Although many questions will be answered by the release of these tapes, Schaap has also managed to introduce new issues into the debate. Some details in the catalogue are glaringly absent, suggesting either subterfuge, or more likely doubt as to accepted accuracy. For example, several of the tapes are recorded from the radio where Bird sat in with Woody Herman's Orchestra, but for some reason, this is not mentioned in the catalogue, it just states the location and the songs recorded, of which few are Parker standards. Also, stating 'unknown vocalist' at another concert, where it is generally accepted that the vocalist was Sarah Vaughn? I believe Schaap will be defending aspects his catalogue notes for years to come.

Some of the radio recordings capture life in the Parker household, Pree crying, Kim talking, Chan applauding a radio broadcast - did anyone ever applaud a radio concert from their living room? All intensely personal events captured for posterity, a moment in someone's life, although, there is a sense of trespass here.

One rather strange note about the King saxophone was hidden in the addendum to the catalogue. Having traced the serial number of the instrument, they were able to ascertain that it was made 'expressly' for Parker in 1947, yet the photographic evidence of Parker using it, only begins in 1949? So where was it for those two years? The saxophone survived in his possession for the rest of his life then into Chan's possession? So, in the end, Chan had two of his saxophones that were never 'lost', as the press seemed to suggest. However, that fact that the King survived in tact and in Parker's possession (for the most part) until his death, does not seem to sit well with the accepted belief of someone who habitually pawned his (and other's) instruments on a regular basis and who used other's saxophones because his was continually in the pawn shop? Perhaps there is yet another Charlie Parker story here??

A selected list of Parker Items in the catalogue and the amounts they raised.

The auction on Sunday, February 20th, 2005, was remarkable in that Jazz memorabilia rarely becomes available in such quantities and that there was so many Parker items made it the most important Parker auction since Sotheby's in 1994.