In the liner notes for an upcoming Charlie Parker box set, jazz journalist Neil Tesser writes that one of Bird’s songs suggests a style of music that wouldn’t emerge for over a decade: “…the gravity-defying ‘Constellation,’ which, with its barely sketched melody and supersonic tempo, seems to anticipate the free-jazz energy solos of the 1960s.”

Charlie Parker is one of the most influential figures in jazz, though it’s safe to say that most don’t think of the alto saxophonist in relation to the avant-garde subgenre. While one can understand how his improvisational style generally inspired the foremost free jazz musicians, it’s another thing to come to that conclusion when listening to a particular Parker track.

“Constellation” was recorded by Parker’s quintet in 1948 and released on a single by Savoy Records. Written by Bird and credited to Charlie Parker’s All Stars, the group included a young Miles Davis. On “Constellation,” Parker’s soloing frequently sounds frantic and, at times, delightfully skronky—just like the best free jazz does.
 

 
Dangerous Minds has the premiere of the fantastic, freshly remastered “Constellation” from The Savoy 10-inch LP Collection:
 

 
In the early 1950s, Savoy placed “Constellation” and the other revolutionary bebop tracks Charlie Parker recorded for the label from 1944-48 on a succession of 10-inch LPs. The audio and artwork for the four records in the New Sounds in Modern Music series have been restored for The Savoy 10-inch LP Collection box, which also includes a booklet with photos and Neil Tesser’s insightful notes.
 

 
The Savoy 10-inch LP Collection will be released February 28th by Craft Recordings on vinyl and digital formats. Pre-order the set here or head directly to Amazon.
 

 
Pianist Hal Galper and his quintet covered “Constellation” on the 1999 album, Let’s Call This That, and their full-on free jazz interpretation of Bird’s groundbreaking piece is both logical and highly satisfying.
 

 
Canadian guitarist Bob Bell released a monster of a debut album, Necropolis, in 1978. This obscure private press LP is about to be reissued, so now is an opportune time to write about it on this here blog. Necropolis is a one-of-a-kind record—certainly worthy of wider exposure.

Released on Bob Bell’s own label, ISM Records, Necropolis is an experimental work that recalls the skronk of ‘70s Miles Davis, the heavy progressive rock of King Crimson, free-form krautrock, free jazz, and avant-garde classical. Bell leads his band through the instrumental pieces, playing guitar on the first four tracks (his guitar tone is positively filthy), before switching to alto saxophone for the side-long number on the second side. The results are mind-blowing. If you’ve never heard Necropolis, prepare to have your socks knocked clean off.

Bell has subsequently released records under a myriad of monikers. When playing live, his group usually goes by “Bob Bell,” or some variation, but has also frequently used the title of his stunning debut LP—which is Greek for “city of the dead.”
 

 
I interviewed Bob Bell via email.

How did you go about writing the music for Necropolis?

Bob Bell: I had some very specific ideas in mind for the entire project. The idea was to show where the music had been, where it was, where it could go, and try to make it new, fresh, and exciting. This included making up some new chords to start us off. A basic structure or framework and a choice of instruments would determine the rest.

Were they any artists or bands you would say influenced the material?

Bob Bell: Influences, inspirations, and transmissions from our ancestors all part of the vocabulary. Pushing the envelope was the order of the day. Avant-garde jazz and classical. Mosolov’s “Steel Foundry.” Being in the great jazz clubs night after night, and of course Fripp/Wetton/Bruford, who everyone, including George Clinton, were listening to.
 

Album opener, “Necropolis I.”

When/where was the LP recorded?

Bob Bell: August 2 and 10, 1978, at Pinewood Studios in Vancouver.

What sort of reactions did the album get at the time?

Bob Bell: Pretty enthusiastic. Side one did befuddle some of the jazz listeners.

How often did your band perform live during this period? What were the shows like?

Bob Bell: We played continually in clubs and concert halls, including some high profile opening spots and the Jazz Festival. We had a lot of dedicated and crazy fans.

What was your musical life like in the years following the LP’s release?

Bob Bell: Wild and busy, between playing, recording, working in high intensity record stores and being a Juno judge for ten years. It was non-stop until 2008.
 

Bob Bell and bassist Joe Hoar, circa 1987.

When did you realize the Necropolis LP had developed a cult following?

Bob Bell: Late 1990’s. We knew we were making futuristic music, just not how far. I hadn’t listened to or thought about the old days until then.

What are you up to currently?

Bob Bell: Working in the book biz and trying to figure out the best way to get all the amazing stuff I have on tape available. Especially the late ‘80’s early ‘90’s stuff, when we were writing very difficult and arranged tunes, and the live stuff with Boying Geronimo on percussion, after that.

                                                                *****

Necropolis will be made available again, in both vinyl and digital formats, on April 12. Pre-order the LP through Telephone Explosion or Amazon.

Here’s the premiere of the remastered “Necropolis II”:
 

Previously on Dangerous Minds:
Extreme Jazz: Miles Davis at the cutting edge of of the cutting edge, live in Vienna, 1973
A Heavy Metal MONSTER: Obscure German band Night Sun and their 1972 vinyl bombshell
Evil never sounded like so much fun: Magma’s magnificently menacing epic ‘De Futura’ live, 1977