Parker may have wanted to break free of the "harmonic limitations of the blues" and "the conservativism of jazz" (Toop's hypothesizing, 85)
there is some evidence that he wanted to work with Varèse
for a glimpse of what this might have been like if Parker had been successful, see "'Repetition,' the extended piece he recorded with arranger/bandleader Neil Hefti in 1948"
Toop: in this piece, Parker "plays a tumbling line, a long sculpted tendril of breath, intellect and apssion, folding back on itself, stretching, freezing, kinking into weird angles and then hanging in the air over a fading chord" (86)