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| Live at the 1965 Monterey Jazz Festival [ ÉLŐ ] |
| Dizzy Gillespie |
| első megjelenés éve: 1965 |
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| (2007)
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CD |
| 5.529 Ft
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| 1. | Introduction
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| 2. | Trinidad Goodbye
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| 3. | Day After
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| 4. | Poor Joe
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| 5. | Dizzy's Comedy Sketch
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| 6. | Night In Tunisia
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| 7. | Band Introduction
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| 8. | Ungawa
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| 9. | Chega De Saudade
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Jazz
Dizzy Gillespie - Trumpet, Vocals
Kenny Barron - Piano
Rudy Collins - Drums
This previously unreleased live album features Dizzy Gillespie on trumpet, James Moody playing flute & tenor saxophone, Kenny Barron on piano, Christopher White groovin' the bass, Rudy Collins playing drums and Big Black jammin' on congas. Produced by Jimmy Lyons, this album was recorded live at the Monterey Jazz Festival on September 19, 1965.
* Ben Conrad - Project Assistant
* Chris Clough - Production Assistant
* Glen Barros - Series Executive Producer
* Greg Allen - Art Direction, Design
* Jason Koransky - Liner Notes
* Jason Olaine - A&R, Author, Digital Editing, Release Production
* Jesse Nichols - Project Assistant
* Jimmy Lyons - Concert Producer
* Joe Tarantino - Mastering
* Larissa Collins - Art Direction, Design
* Mary Hogan - Project Assistant
* Nick Phillips - Release Production
* Randy Rood - Project Assistant
* Rikka Arnold - Editorial
* Shawn Anderson - Project Assistant
* Simone Giuliani - A&R Assistance, Digital Editing
* Stuart Kremsky - Project Assistant
* Tim "T-Bone" Jackson - Author, Series Executive Producer
Dizzy Gillespie was a regular at the Monterey Jazz Festival, but the audience at the 1965 edition was witness to one very special performance. By this time Gillespie and the core members of his current band had already been together for a few years, and while they had jelled to a point that all bands hope to reach, where their interactions become wholly intuitive, they were also open to new innovation. From the first notes of "Trinidad, Goodbye," written by pianist Kenny Barron, the Gillespie group is locked into high gear, with the bandmembers feeding off one another's cues swiftly and creatively. Gillespie's trumpet plays tag with James Moody's blistering saxophone, and Barron keeps the sprightly melody moving atop the proceedings. "A Night in Tunisia," a highlight of any Gillespie set, is modernistic in its funky rhythm, Moody (on flute here), bassist Christopher White, and drummer Rudy Collins opening things up wide enough for Diz to jump in and take over, which he does in a freewheeling, jovial way. Over the course of its nearly 11 minutes, everyone gets a chance to shine, but in the end the piece belongs to the rhythm section. Speaking of which, not everything is taken at NASCAR speed here; there's plenty of breathing space, and in fact virtually all of the 11-plus-minute "Ungawa" is given over to guest conga player Big Black, a virtuoso on that instrument if ever there were one. Gillespie peeks in for a few moments, but even he must have wanted to stand by and watch, because he soon disappears and lets the drummer do what he's gotta do. The ballad "Day After" is a smooth respite following the fiery "Trinidad, Goodbye" opener, a shining example of Diz as bluesman, and the Caribbean-tinted "Poor Joe," on which Gillespie dares to sing, is a light note in an otherwise weighty affair. The only downside (other than the less than crisp sound quality, understandable for a 1965 live recording) is the five-minute comedy sketch midway through. Oh, it's funny, and the audience was in stitches. But on CD it's not something one needs to hear more than once, and it will cause many to reach for the fast-forward button to get on with the music.
--- Jeff Tamarkin, All Music Guide |
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