DONNA LEE - Backing track. Drums and bass only

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A backing track for Charlie Parker's Donna Lee. The track has only bass and drums so it is ideal for practicing in a trio format.
"Donna Lee" is a bebop jazz standard originally attributed to Charlie Parker, although Miles Davis also claimed authorship. Written in A-flat, it is based on the chord changes of the jazz standard "(Back Home Again in) Indiana". Beginning with an unusual half-bar rest, "Donna Lee" is a very complex, fast-moving chart with a compositional style based on four-note groups over each change.
"Donna Lee" was originally attributed to Charlie Parker on the original 78-rpm recordings and was copyrighted under his name in 1947. Revelations in various interviews and publications have since shown that Miles Davis also claimed to be the composer. Among these is a statement Davis made in his autobiography:
"I wrote a tune for the album called 'Donna Lee,' which was the first tune of mine that was ever recorded. But when the record came out it listed Bird [Parker] as the composer. It wasn't Bird's fault, though. The record company just made a mistake."
"Donna Lee" was originally recorded by the Charlie Parker Quintet on May 8, 1947 for Savoy Records in New York City. Performers for the session were Charlie Parker (alto saxophone), Miles Davis (trumpet), Bud Powell (piano), Tommy Potter (bass), and Max Roach (drums). "Donna Lee" was the first of four tunes recorded during the session and was recorded over four full takes, the fourth being the master take.
Jazz bassist Jaco Pastorius recorded his interpretation of "Donna Lee," a solo electric bass rendition featuring Don Alias on congas, for his debut album Jaco Pastorius (1976). Of Pastorius's performance, peer and contemporary Pat Metheny said:
His solo on ‘Donna Lee,’ beyond being astounding for just the fact that it was played with a hornlike phrasing that was previously unknown to the bass guitar, is even more notable for being one of the freshest looks at how to play on a well traveled set of chord changes in recent jazz history-not to mention that it’s just about the hippest start to a debut album in the history of recorded music.”
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