“Poor Butterfly” and "What Makes a Good Chart?" - Part 1

In this post, and the one to follow, I’ll toss around a few ideas on what qualities we should look for in a lead sheet, and how one might approach creating a good lead sheet, using the standard tune “Poor Butterfly” as an example. I’ve tried to do my homework on this tune, and have some opinions about what a chart should look like.

My friend Tom Simpson did some research on this song, and I did some more of my own (thanks, Tom!). I can’t say that we did an absolutely complete research job, but I think these posts will provide a fairly good model of how to do “due diligence.”

“Poor Butterfly” was written for a 1916 production at the New York Hippodrome called “The Big Show.” The composers were Raymond Hubbell (music) and John L. Golden (lyrics). The song was composed in an elephant pen in the basement of the Hippodrome (see this article on JazzStandards.com).

The song became popular almost immediately; several recordings were hits in 1917. It has remained a standard since then, with many recordings by jazz and popular artists over the decades. To name just a few: Red Nichols, Benny Goodman, Art Tatum, Erroll Garner, Arnett Cobb, Ahmad Jamal, Sarah Vaughn, Cannonball Adderley, Sonny Rollins, Count Basie and Oscar Peterson, Jim Hall and Paul Desmond (see this Wikipedia article for a more complete list of recordings).

If you don’t know the tune, first listen to Cannonball Adderley’s version, then to Sarah Vaughn’s very-close-to-the-original version (including the introductory "verse"), then to any of the others mentioned in these posts. I first became acquainted with “Poor Butterfly” when I was playing with a local big band in the ‘70s and ‘80s; we had a transcription of a great Les Elgart arrangement with a nice tenor spot.

So how would one come up with a good chart for this song? Just looking at print versions, we can find a number of different takes on the harmony. Listening to recordings by jazz artists, we find still more variations.

Following are the first print versions I consulted, with comments (more in the next post):


Original sheet music (1916)
Sheet music from musicnotes.com (2010) 

You can download the original sheet music here. It’s in the public domain, as it was copyrighted in 1916. It has a piano accompaniment, but no chord symbols. The sheet music from musicnotes.com is an almost exact re-engraving of the original, but with chord symbols added; these chord symbols reflect almost exactly the notes in the original piano accompaniment. Below is basically what these "original" charts show:

 
This chart would be OK if you were playing ukelele or guitar, reading the sheet music, accompanying a pianist and singer - as might have been the norm in, say, 1925. It may be the original, but this chart is not useful for jazz players. The harmony is too simple, and the chords move in ways that back up the melody, but are not improv-friendly (however, it’s interesting to note that the 1916 harmony does use dominant ninth and major ninth chords). Also, the chart needlessly shows a chord change whenever the melody moves from 9 to 1 or from #5 to 5 (e.g. mm 3-4, 5-6, 7-8). 

Hal Leonard Real Book vol. 3 (2006)
Jamey Aebersold vol. 80 (1997)

These more recent charts are aimed at jazz players, and they are fairly “vanilla” - that is, they keep the changes simple. Below is a common-denominator chart for this approach (I’m not reproducing the Hal Leonard or Aebersold charts in respect of copyright). I’ve called this “PB Basic” (PBB).

 
Comparing it to the “original,” note the insertion of Bbm7 chords to create II V progressions in bars 1, 15, 17, and 29; also note that the harmonic rhythm has generally been squared off so that the changes come either on beat 1, or on beats 1 and 3. Bar 26 uses the IVm chord for the full measure. If a ninth or other extension is in the melody, it is not notated into the chord; it’s expected that players will voice chords their own way, with or without 9ths, 11ths, or 13ths.

The Hal Leonard chart (from this book) differs from “PBB” in a few ways:

mm 11-12: | Fm7 C7#5 | Fm7 | (possible)
m 15: Bbm7b5 (not to my taste)
m 26: | Dbm7 Gb7 | (possible)
mm 27-28: | Abmaj7 Db7#11 | Cm7 F7 | (OK, but not my choice) 

The chart in the Jamey Aebersold playalong vol. 80 (Mark Levine on piano) differs from PBB as follows: 

m11: | Gm7b5 C7#9 | (possible)
m26: Eb7 (not good, we lose the IVm sound)
however, the separate "solo changes" show mm26-29 as in the Hal Leonard chart:
| Dbm7 Gb7 | Abmaj7 Db7 | Cm7 F7 |

Old Real Book vol. 3 (bootleg, 1980s?)
songtrellis.com
Jamey Aebersold vol. 39 (1987)

Below is the chart from “Old RB3,” a bootleg from (I think) the 1980s. It works fine but seems to me a little fussy - too many changes, too many extensions shown. I prefer a chart to be more “vanilla” than this. But I do like the Abdim7 in bars 3 and 19 (see the Cannonball version in the post to follow).

The Bdim7 in bar 28 is meant to be on beat 4 of the measure (it’s a vestige from the original sheet music).

The chart from songtrellis.com seems to be cribbed from the old RB chart - the chords are identical, except for m28, where the Bdim7 has been mistakenly entered as on beats 3 and 4. Played on beat 3, it would make a brief clash with the melody - not awful, but not something the songwriters had in mind (and a nonprofessional moment).

The chart from the Jamey Aebersold playalong vol. 39 (Hal Galper on piano) is remarkably similar to the old RB chart, with these differences:

mm 1-2: | Bbm7 | Bbm7 Eb7 |
mm 27-28: | Cm | Bdim | (clash with melody on m28, beat 3.)
mm 31-32: | Ab Db7 | Cm7 F7 |
this chart also adds a coda

To be continued - in the next post I'll look at several more print and recorded sources.

Gig Story: Out There Orchestra at Stella Blue Tavern

The “Out There Orchestra” was a free-jazz group anchored by Cookie and Bob, who had a house in Belmont with a really nice music room/studio downstairs. The band members changed from time to time; I was part of the sessions for a few months. The musical ethic was, of course, “outness.”

“Out” meant unpredictable, intense, over the top. I don’t think that we ever had any specific tunes, as such, in the repertoire. The idea was to just improvise from the vibe. No groove lasted very long, because that would not have been out enough. We tried to go beyond any musical patterns as soon as they were set up. (See Cookie’s deeper description of the meaning of “out,” in the notes below this story.)

This was in about 1982. Cookie’s comments are in italics.

We’d meet in the evening. Bob would make some killer coffee, and then we’d head downstairs to play.

Beyond coffee, this was part of the ritual. Bob bought an $800 espresso machine from Italy, the equivalent of say a $5000 machine today. There was no Starbucks or Peet’s. One had to drive to North Beach to get a capuccino. From grinding the coffee to steamed half and half, Bob blasted out many well groomed cups for sessions. His technique included pouring the pulled espresso over the steamed half and half... an all important detail to note for historical purposes, of course.

Somehow, the Out There Orchestra got a gig at the Stella Blue Tavern, which was the kind of place that people today call a “dive bar,” down the hill in Belmont, by the tracks. I don’t know how we got the gig. I can’t imagine that anyone brought in a demo tape - although Cookie often did record our sessions. I’m sure that the management had no idea what kind of music we played. The place had a decent-size, raised stage.

I think I got the gig after walking in wondering "what is this place". I asked the owner if we could play here and he said "yes". No demo tape needed. He had no idea what was coming. :)

So we went over to Stella Blue on a Saturday night at 8:30, and set up our equipment. The musicians were: Cookie on keyboards, Bob on drums, Perry on bass, Terry on guitar, Ray on trumpet, and myself on tenor sax (and maybe bass clarinet). We also brought along Willie the Poet, who had made it to a few previous sessions, reading some of his truly “out” poetry, to which we would improvise an accompaniment. Willie’s poetry was dark, in a sort of neo-Bukowski style, with a little William Burroughs thrown in - not for the faint of heart, or for impressionable minors. Willie brought his own six-pack of beer (quarts). There were maybe 8 or 10 customers at the bar, plus the bartender and one other employee.

At 9:00 we started playing. By 9:30 we had driven out all the patrons, leaving only the bartender and employee.

One of the people in the audience was my oldest friend in the world, Amy Yamamoto. She hated the music and left. We had accomplished our job of emptying out the building of paying customers. 

We were just getting warmed up, reaching our first peak of outness. After another half hour or so, the bartender and employee for some reason felt driven to participate in the extreme creativity that they were witnessing. They began to bring objects onto the stage. First several broken chairs, then a mop, then a garbage can. Terry (the guitar player) got into the garbage can and continued to play, then tried to close the lid on himself. The bartender and his friend kept bringing stuff onto the stage. They emptied out a closet and put the stuff on the stage - a moose head, a toilet, a kitchen sink.

The band was unfazed, playing with nonstop outness, periodically bringing the volume down for Willie to read his poetry.

LOL.. are you sure we brought the volume down for Willie? Just joking.

The bartender had given up on doing any business that night. He pushed the pool table over in front of the stage, put a couple of chairs on it, and drank while sitting in the chairs on top of the pool table.

When the gig was over, he invited us back for the next week.

Like breaking up with your spouse, the bartender went through the “Sad, Mad, Glad” phases...well, more like Horrified, Angry, "Nobody's going to believe this so I'm going to give them another gig" phases.

The next Saturday we showed up again. The bartender, impressed by how out we were, had invited a bunch of his friends. Cookie had enlisted a couple of her students, high school girls, as roadies. While we were setting up, the bartender found out that the girls were 16 and said they had to leave. He wouldn't budge. Cookie was ticked off, so we packed up before the gig started and invited everyone to the studio for our performance. We set up again at the studio, bringing along a few bar patrons, and had another great session.

Good times had by all! The assistants in questions were Ritie and Linda, my students. Ritie called me a few years ago having not spoken to her for about 30 years. She wanted to let us know that she turned out well adjusted, happy, and that we changed her life. She's now retired and playing the flute.

If any Bay Area readers remember Friday Night Music, a free-jazz institution that ran in Palo Alto for many years, I can tell you that the Out There Orchestra was similar, but more intense, and with less structure.

Actually, I think we had more structure, just less recognizable, which was the intention.

The house has become the HQ of OTR Studios, a very well-regarded recording studio run by Cookie, who has become a record producer of renown. I play a lot more “normally” these days. Willie is still a poet, more seriously out than ever.

Ray is a senior exec at Intel, Perry works at Stanford, Bob works for Visa and Terry was last seen riding his bicycle in San Francisco with guitar strapped to his back. I enjoy periods of "outness" through an alternate persona called "Blu Cube". Blu Cube was created to protect my career as a music producer. Blu does live dub remixes with electronics in the studio and has more than a dozen credits. I have no idea why.

Update!!! Les, the manager/bartender, has been living in Germany since 1993. He found this story on the web, and checked in with some comments - see below.

More Notes From Cookie

I don't think I would call outness "random". I call our form of out music "reactive listening and improvisation". Like Picasso, OTO had various periods of how we dealt with music. It was musical evolution through revolution. We were pushing ourselves to extremes.

Prior to performing with you and Willie the Poet, OTO had passed the "Miles Davis Funk in D" period, where the music was structured around key centers and repeated patterns. Prior to the "Funk in D" period were more traditional compositions, usually in odd meters similar to Mahavishnu Orchestra where improvisation took place over structured chord changes and meters. Miles, McLaughlin, Cecil Taylor, and ECM were influences along with modern composers like Takamitsu, Cage and Penderecki.

The period with you and Willie I call the "Games" period. Bored with traditional forms and charts, we created "Games". The Game when Willie came to the sessions was to be the musical soundtrack to his poetry. We added "The Drama".

I believe one of the musical games we played at Stella Blue was a little number called, "Everybody in the band pick a tune without telling the others in the band what you are playing and the tempo is equivalent to 1 beat every 30 seconds." At the end of the tune, we'd try to figure out what the others were playing. This piece had two public performances, I believe one was the first fateful night at Stella Blue.

Another tune was called "21 notes in three movements". Band members were trusted to play 21 notes and stop. Movements were Fast, Slow, and He Who Plays the Last Note Wins.

This period of OTO Games ended with the last of my compositions called "One Note". (You may have been at this performance). All band members chose one note and only one note to play. You could repeat the note as many times as possible, play it long, interact to create music hockets with others, but you only had one note. The first performance lasted 45 minutes, was recorded and has kind of taken on a world of its own with radio airplay in the 90's-- still not sure why.

After the Game period, OTO evolved into SciFi, a band with no concept for pieces except musical trust and improvisational composition. After that, there was no place to go musically. The bands dissolved.

Whatever period we were in, OTO always had listening and trust as a key component. We trusted that what was played would be heard and the musicians’ own compositional sense would react and respond, whether it took the form of acknowledgement through repeating an idea audibly or consciously ignoring the musical thoughts of the musicians around you.

The name OTR Studios came from Out There Recording, a tribute to the band.

I became a recording engineer and producer with a career that includes 5 Grammy Noms and 2 Gold records. The degree of "outness" we shared positioned me to be fearless in the studio with form, composition and musicality. I'm forever grateful.

Cookie Marenco

www.bluecoastrecords.com 

www.dsd-guide.com 

www.otrstudios.com 

www.cookiemarenco.com 

www.downloadsnow.net

Mike and Tom Take a Lesson With Charles Lloyd

Here's another great story from Mike Morris, in his own words.

Approximately, I think it was around 1964, just before I went into the Army, Tom Harrell and I were living together, in the Los Gatos area. Tom and I went to see Cannonball Adderley’s sextet, the group he had at the time with Charles Lloyd. It was at the Jazz Workshop in San Francisco. We were very impressed by Charles Lloyd - he was doing all this new stuff, like Coltrane - he was coming out of Coltrane. He had his Conn tenor, it looked really cool - it was different, you know. He was using an old Otto Link mouthpiece. Probably the same setup he’s still using now, I think.

After the show was over, we approached Charles Lloyd, and told him that we were musicians, and we were interested in taking a lesson with him. He said “Oh yeah, sure,” and set up a time for us to come and see him. He was staying at the St. Francis. So we went to the hotel the next day. The musicians were all staying there, but Cannonball and his brother weren’t there, they were in another room.

So he takes us into one of the rooms, and says, “OK, it’s going to be 25 bucks each.” We thought well, that would be all right - this was in 1964, so it was a lot more money than it is now. But we thought, it was Charles Lloyd, it would be worth it.

Charles Lloyd said, “We’re going to do interpolation.” Tom and I looked at each other, wondering what was going on here. I mean, there were two of us, and we were not going to get separate lessons.

Musicians, girlfriends, and visitors were constantly coming and going, distracting him. 

“We’re going to learn interpolation. This is something that’s really good to know how to do.” He took out a piece of blank music paper and a marker pen. He said, “I’m just going to mark these things all over the place,” and started putting spots in random places all over the paper. Then he connected the spots with lines and stems, randomly making eighth notes and quarter notes, different rhythms. Then he added bar lines. Of course, it was completely nonsensical. He said, “This is great to practice, because it really opens your mind up to all kinds of stuff. I practice these things all the time.” He gave us the sheet to take home.

We had no idea how to use this. We had never even gotten our horns out for the lesson.

And then he said, “Here are some chords, that hardly anybody knows yet.” Then he gave us the changes to Coltrane’s “Countdown.” The record had just come out, and he had the changes. That was the best thing we got that day. Nobody else had those changes, and nobody else was playing them.

So that was it. Within an hour, we were out of there.

(Note: It seems to me that getting the changes to “Countdown” in 1964 probably had a significant effect on Mike's subsequent musical life. Mike kills on Coltrane changes. Tom Harrell, today, is one of the great jazz trumpeters of our time. If you are not familiar with his work, check out this Wikipedia entry, and then check out some of his albums.)

Mike Morris' Coltrane Story

Here's a story from my friend Mike Morris. Mike is a terrific tenor player, whose playing career has included work with Stan Kenton, Woody Herman, Blue Mitchell, Isaac Hayes, Tom Harrell, Manhattan Transfer,  and many more. This story is from around 1962, when Mike was a high school kid.

John Coltrane was appearing at the Jazz Workshop in San Francisco, and Mike went to hear him. (Note: I remember that club, on Broadway in SF. I used to stand outside on the sidewalk to listen, as a high school kid.)

Mike said that Coltrane practiced all through every break - he was playing continuously for 4 hours. After the show was over, Mike walked up to Coltrane.

Mike: "Mr. Coltrane, that was great. You play so many great ideas. But can I ask you a question?"

Coltrane: "Sure."

Mike: "Do you really know everything that you're doing?"

Coltrane (in a friendly manner): "Yes, I do."

Mike: "I play the alto."

Coltrane: "I used to play the alto, but I gave it up. Charlie Parker already did everything there was to do on the alto. Nobody has figured out a way to play the alto that's any better. But the tenor is wide open. There's so much you can do on the tenor."

Mike: "Then I guess everyone else is going to have to play baritone!"

Coltrane: (laughs)

"Easy Classics for Viola" and "Easy Classics for Cello"

Some years ago, when I was shopping for a publisher for my "Easy Classics" books, I received a favorable reply from Bill Bay at Mel Bay Publications. He was interested, but suggested a piano accompaniment, and also a version for violin. As it turns out, Bill made a very good call - Easy Classics for Violin has been by far the best-selling book in the series.

As I mentioned in a previous post, a project to produce compatible versions for viola and cello sat dormant for some years, but now has been finished. Easy Classics for Viola will be shipping to stores at the end of this month; Easy Classics for Cello will be released in May. Print music is not a huge market, and nobody is getting rich on this, but it's great to see the project completed!

A few words about the publications: There are now "Easy Classics" books for clarinet, alto sax, trumpet, flute, violin, viola, and cello (tenor sax is out of print). The arrangements are generally appropriate for second-year players. All of the books are set up to be played in any of the following ways: solo, duet, solo with piano accompaniment, duet with piano accompaniment, or mixed ensemble.

All of these books are available both as print music and as ebooks.

The clarinet, alto sax, trumpet, and flute books are in keys friendly for wind instruments, and are mutually compatible - that is, they can be played in mix-and-match combinations as duets, or in ensembles. The violin, viola, and cello books are likewise mutually compatible, and are in string-friendly keys. There are separate piano accompaniments for strings and for wind instruments.

The new viola and cello books will make it possible for string teachers to use these arrangements in string ensembles.

If one wishes to play the pieces with mixed string and wind instruments, there is a way around the "key" problem, in some cases: Concert-key, treble-clef instruments can play from the piano part, using the cue notes in the upper staff. That is, a violin can play with wind instruments by reading from the "wind" piano part, or a flute can play with strings by reading from the "string" piano part.

Thanks to all the students and colleagues who have helped develop these books, and thanks to Collin Bay at Mel Bay Publications.

An Analysis of Charlie Parker's "Anthropology" Solo

In this post I'll discuss the "Anthropology" solo that is printed in the Charlie Parker Omnibook. According to Lawrence Koch's biography of Parker, this solo was recorded on March 31, 1951 at Birdland in NYC, with a band that included Parker, Dizzy Gillespie, Bud Powell, Tommy Potter, and Roy Haynes. Parker was in great form, and the solo is a tour de force.

I will be using the Eb version of the Omnibook as a reference. I am not reproducing the transcription here, due to copyright considerations. If you are a sax player, you should own the "Omnibook" anyway.

The recording is posted on Youtube here. The pitch seems a bit high.

Following is my best effort at figuring out Bird's musical thinking on this solo.


Head

"Anthropology" is a melody in AABA form, written over "Rhythm changes." Parker used this harmonic framework for quite a few of his tunes. For more about this chord progression, see this article.

Authorship is usually credited jointly to both Parker and Gillespie, although Carl Woideck cites a 1949 article that paraphrases Parker as saying that he (Parker) was the sole composer. Certainly there are Parkerisms throughout this melody: the "Moose the Mooche" rhythm (noted by Koch) in measure 2, the turnaround pattern in mm7-8, the "Ornithology" lick in m17, another "Ornithology" lick in mm23-24. If Dizzy wrote any of it, it would be interesting to know which parts.

A few more comments about the head:

m1: Although the Rhythm changes progression is often played with an Em7 (VI) or E7 (V of II) on beats 3 and 4, the melody does not imply this.

m3, beats 3-4: Em7 is implied here, not E7 as the Omnibook has it.

m6, beats 3-4: Cm is implied here for beats 3 and 4 by the Eb note - a common way to play Rhythm changes.

Solo Chorus 1 (Omnibook lines 8-15)

m1: This scalewise run occurs twice more, later in the solo. Bird used it in the 1945 recording of "Thrivin' On a Riff," which is just "Anthropology" with another title. He is quoting himself.

mm3-4: Parker seems to be outlining Gmaj7 in m3 with a characteristic pickup/triplet figure, contrary to the chords shown in the Omnibook. Beat 4 begins an Am7 arpeggio (starting early on an upcoming chord, or "playing into" the change, is a characteristic Parker device).

m5: Parker likes to use an F natural note in this spot to define the G7 (V of IV). Here he carries the chord forward into the first two beats of m6; this scalewise shape, with the Gb passing tone, is an example of what David Baker would later dub the "bebop scale."

m6, beats 3-4: The outlined Am7 is a "substitution by third" for Cmaj or Cmaj6.

m7: A Cm arpeggio is superimposed here, that would normally occur in the previous measure. But perhaps Parker is hearing it also as Am7b5, preparing an implied D7 in beats 3-4, resolving to G in m8. 

mm9-11: A Gmaj arpeggio in m9 is changed into G+ in m10, perhaps reflecting the shape played in m7. Measure 11 is an obvious II V (Am7 D7). This is another Parkerism: outlining a progression that makes sense in itself, but that does not coincide with the chords that are being played by the rhythm section.

m14: F natural note, delayed from its usual placement in m13, indicating a temporary key of C.

m15: Suggestion of D7 in beats 3-4.

(bridge) mm17-24: A beautifully conceived and executed harmonic game, perhaps mapped out to some extent in advance. The standard "Rhythm" bridge follows the circle of fourths (B7 E7 A7 D7), each 2-measure dominant chord resolving into the next. In m17 Parker uses the notes of an E major scale (B7 is V in the key of E) for one measure (think B mixolydian if you like), then outlines an Am7b5 chord over the second bar of the B7. The notes in the Am7b5, played against the B7, come across as b7 (A), b9 (C), 3 (Eb=D#), and #5 or b13 (G). Adding these tensions serves to propel the B7 more strongly into the resolution to E7 that follows. It's not too different from the way Bird often treats bar 4 of a blues (see this article).

In a general sense, this "game" consists of building a m7b5 chord from the seventh of a dominant chord, resulting in the tension notes mentioned above. You might equally well look at the m7b5 shape as the 3-5-7-9 of a tritone substitution - in the case above, Am7b5 is F9 (sub V for B7) minus the root note F. Parker may have been thinking of it either way, or both ways.

mm19-20: He repeats this game with pickups into m19, through beats 1-3, using diatonic A major notes over the E7, followed by an arpeggiated Dm7b5 on beat 4, extended into m20. The pickups into m19 and into m20 again reflect his common practice of "playing into" an upcoming chord change.

mm21-22: Parker plays 6 beats of diatonic D major notes over the A7; in m22, beats 3-4, he plays a shape very close to Gm7b5 - the same game, adding tensions right before the resolution.

mm23-24: This time he uses a different approach, suggesting a II V (Am7 D7). Note the embedded chromatic line A-G#-G-F# (see the Billie's Bounce post for more examples of this type of II V).

m27: Quotes "Blue Champagne."

mm28-29: Parker repeats the lick that began his first solo chorus, and plays the three "Blue Champagne" notes again.

Solo Chorus 2 (Omnibook lines 16-23)

mm1-4: Quotes the song "Honey."

m5: "Bebop scale," leading to the F natural note on beat 4.

mm8-10: A pattern probably lifted from an exercise book, that embellishes a G triad with approach notes (scale tones from above, chromatic neighbors from below). This is a spot where Parker seems to have simply thought in G major, without strict reference to the chords. The Omnibook rhythm is not quite right - Bird starts the pattern with three pickup notes, then slides into the notated rhythm.

mm11-12: In contrast to the "just play in G" approach, here Parker plays a turnaround pattern that outlines the chords meticulously.

m13: Characteristic pickup/triplet figure outlining Gmaj7 from third to ninth. As the scale descends in beats 3-4 he hits the F natural that defines the chord as G7.

m14: The note Eb defines a Cm chord in its normal position.

(bridge) mm17-19: Quotes the song "Tenderly" (Omnibook rhythmic interpretation doesn't quite convey this). 

mm20-21: Parker plays a scale/fall, landing on a low B. The Omnibook shows only some cryptic noteheads here - perhaps this was a preliminary sketch by the transcriber that the copyist mistakenly inked into the final copy.

mm21-22: Pickup/triplet figure, followed by a Parker signature double-time lick beginning on the alto's high D (see the Omnibook transcriptions of solos on "Now's the Time" and "Billie's Bounce"). The lick is not played in double time here, just in very fast swing beat. It outlines Em7 A7.

m25: The same lick that began this solo in chorus 1, m1.

m29: F natural over the G7.

m30: The Omnibook suggests a C#dim chord here. Parker may or may not be suggesting C#dim; the E natural suggests that in any case he is not suggesting Cm, as he had previously done in the head and solo choruses. Either Cm6 or C#dim7 would be standard in this part of the progression.

Solo chorus 3 (Omnibook lines 24-32)

mm1-4: Quotes the clarinet solo from the dixieland tune "High Society." As in chorus 2, mm17-18, he seems to be reducing his harmonic concept to "just play in G major," although the notes do fall nicely on the chords. 

m6: Plays the F natural that more often comes in m5.

m8: A nice II V suggesting Am7 D+7.

mm9-10: In m9 Bird plays a scale-tone thirds pattern (D-B-C-A) in G major that is embellished with chromatic passing tones, then in m10 moves the phrase up a half step, to Ab major - a mildly "outside" sound.

m13: F natural over G7.

m14: The Omnibook authors suggest a Gmaj7 chord here, perhaps thinking of of Parker's characteristic major seventh to major ninth lick. However, I could just as easily hear these notes as suggesting D7, which one might expect here.

I should note that the Omnibook seems inconsistent in the the criteria used to decide which chord changes to print. Sometimes the choice seems to be made on the basis of the notes that Parker is employing; at other times the chords may reflect what the rhythm section is playing, or what the authors think of as "common practice." In addition, there are some disparities in chords between the Eb, Bb, and C editions. It would be good to compare the notated chords with the actual piano chording; unfortunately, in this recording the sound is not clear enough for me to discern exactly what Bud Powell is playing. But going by my impression from other Parker recordings, it seems likely that each person in the band was simply thinking, "It's Rhythm changes," and playing his part with whatever variations he pleased.

(bridge) m18, beats 3-4: Same trick as in the bridge of the first solo chorus - adding tension notes in m18 by superimposing an Am7b5 arpeggio on the B7 chord.

mm19-20: An A major scale with some chromatic passing tones.

mm 21-22: The signature "double-time" lick, as in solo chorus 2, mm21-22.

mm23-24: 6 beats of suggested Am9, then 2 beats of suggested Ab7 (tritone substitution for D7).

mm25-32: Quotes the song "Temptation." The quote suggests Ab chords (tritone sub for D7) falling nicely over "Rhythm" II V chords.

mm31-32, spilling into the next chorus: A lick similar to one he often used to begin solos on "Cherokee." The notes do not seem to coincide with the chords, suggesting rather something like | D7 G | Am7 D7 | Gmaj9 |. It sounds OK, though.

Some readers may think it unlikely that Parker was really conscious of all these things, especially given the very rapid tempo of this performance. But consider that "Rhythm changes" tunes were a staple of the day (almost always in this key, concert Bb), and that Parker had played and heard many, many thousands of choruses over these changes by the time this performance was recorded. Consider also that he was a truly gifted musician, and was working in an extremely competitive environment. The thought processes that I am suggesting would have been well-practiced for him, to the point of being reflexive.

I hope some readers have found this useful!