Charlie began to play in many bands in nightclubs, such as Lincoln Hall, and other venues that were non-union. However, due to his use of marijuana, his membership in most of the bands were not permanent. Nevertheless, in the summer of 1935, Parker at age fourteen joined the band, “Ten Chords of Rhythm,” formed by his fellow classmate Lawrence Keye. Parker’s participation in the band helped to launch his career in music. The band made a lot of money playing in local venues, but in order to play at the premier halls and clubs, Key’s placed the band under the African American Musicians Protective Union. Unfortunately, the band broke up in December after members noticed that they were making less money than they did before joining the union.

Despite that, Parker continued to play in union-sponsored bands and take part in jam sessions. On one session at the Reno Club in 1936, Parker attempted to play “Honeysuckle Rose”, but he wavered while playing, and consequently, a cymbal was thrown at his feet by one of the drummers of William “Count” Basie’s band. As a result, Parker was determined to improve his musicality. After a year of playing in George E. Lee’s band in Ozark, Missouri, Parker had improved greatly and became high in demand. He was hired by Buster Smith who had begun a small ensemble that often performed at Lucille’s Paradise. Lucille’s Paradise became the site for radio broadcasting at night, and as a result, the band became very popular. Smith also had a big band that consisted of twelve members, in which Parker was also a part of. The band performed at the opening of the Vine Street Varieties, which was the first local broadcast that held an all African American variety show. The band’s frequent appearances on the broadcast, increased Parker’s popularity locally. The band soon collapsed after Smith moved to New York to find a greater opportunity for his big band.

Parker also left for New York in 1940 to search for greater opportunities and the hopes of collaborating with Smith again. He joined Banjo Burney Robinson’s band but ended up returning to Kansas after receiving news that his father was killed. Charlie soon reunited with Keye’s, joining his band, the “Deans of Swing”. The band participated in a band battle with Jay McShann’s band at a ballroom called Roseland Hall. After the battle, Parker, impressed by McShann’s band, was hired on spot after asking to join. The band had a recording session during the weekend of Thanksgiving at the Trocadero Club in Wichita, Kansas. Parker’s solos on songs “Body and Soul” and “Moten’s Swing” revealed his unconventional style and techniques, especially his use of triplets within the second measure and the end of the bridge. In addition, Parker received his nickname “Bird” from members of the McShann band because of his obsession for chicken. In April 1941, the band recorded for the Decca label in Dallas, Texas. On one of the songs on the recordings, called “Hootie Blues”, Parker creatively played a twelve-measured solo that amazed musicians who listened. In addition, the band’s performance at the Savoy Ballroom exposed Parker to audiences around the country. Impressed by Parker, Dizzy Gillespie sat in on the band’s sessions often. Parker and Gillespie soon began to play together in jam sessions along with Kenny Clarke, Thelonious Monk at Minton’s Playhouse. Parker, Gillespie, and Clarke joined Monk’s band, which served as the breeding ground for bebop where the musicians experimented various phrases and harmonics. Parker was eventually released from McShann’s band, but then joined Earl Hines band, where he learned and mastered the tenor saxophone. Hines was impressed by the ability of Parker to play music that was unknown to him from memory. While the band was on tour, Parker married Geraldine Marguerite Scott, a stage show dancer, in April 1943, while he was still legally married to Rebecca, his first wife at the time.