My interest in reading about music as a practice has led me from Eunmi Shim's book about Lennie Tristano to the more "classic" book by Ira Gitler, Jazz Masters of the Forties (which was, of course, one of Shim's sources). This book begins, as, by all rights it should, with a chapter entitled "Charlie Parker and the Alto and Baritone Saxophonists." One of the things that Tristano and Parker had in common was an extraordinarily acute skill at listening to performances and internalizing those listening experiences into performance practice. Thus, both of them were tapping into what Stravinsky would later get at in his remarks about good listening. It was therefore no surprise for me to discover that Parker though a lot of Stravinsky.
Leonard Feather use to arrange "blindfold tests," where the subject had to identify performers on the basis of sound alone. When Parker took the test, Feather included classical music. Gitler documented the results as follows:
Feather also played some classical music for Parker. Bird readily identified Stravinsky and said: "That’s music at its best. I like all of Stravinsky—and Prokofiev, Hindemith, Ravel, Debussy and of course Wagner and Bach." Several years later he named Bartok as his favorite. In the forties, at the Roost, he would play the opening phrases of Hindemith’s Kleine Kammermusik as a call to let his sidemen know that it was time for the next set. In the fifties, according to Bill Coss, "He never listened to jazz in his home. For that matter, he seldom listened to jazz anywhere unless he happened to be on a job. His main interest was in classical music, mostly the moderns."
I suspect that, had Stravinsky been aware of these remarks and practices, he would have approved!