condition (record/cover): NM / EX- (light foxing on back)

No obi.

Norman Granz's Jazz At The Philharmonic concerts put bop players in front of enormous audiences and encouraged them to compete, which produced a lot of grandstanding and, occasionally, something remarkable. Charlie Parker in this setting is an odd proposition: the format rewarded volume and stamina, neither of which was the point of his playing, and yet the sheer melodic invention comes through anyway. Carnegie Hall, a late-night bill, a crowd on its feet, and an alto player who could construct a solo of perfect internal logic while a hall full of people shouted at him.

Japanese Verve pressing. Parker live, in the circumstances he actually worked in most of the time.