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| The Dizzy Gillespie Story 1939-1950 |
| Dizzy Gillespie |
| első megjelenés éve: 1950 |
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| (2002)
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4 x CD |
| 5.091 Ft
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| 1. CD tartalma: |
| 1. | Blue Rhythm Fantasy
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| 2. | Hot Mallets
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| 3. | Pickin' the Cabbage
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| 4. | Bye Bye Blues
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| 5. | Once in a Lovetime
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| 6. | Stardust
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| 7. | Little John Special
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| 8. | Woody 'N' You
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| 9. | Disorder at the Border
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| 10. | I Stay in the Mood for You
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| 11. | I Can't Get Started
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| 12. | Good Bait
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| 13. | Bebop
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| 14. | Perdido
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| 15. | Cherokee
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| 16. | A Night in Tunisia
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| 17. | Groovin' High
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| 18. | Blue 'N' Boogie
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| 19. | Groovin' High
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| 20. | All the Things You Are
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| 21. | Dizzy Atmosphere
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| 22. | Salt Peanuts
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| 23. | Shaw 'Nuff
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| 24. | Hot House
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| 25. | Get Happy
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| 26. | Congo Blues
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| 2. CD tartalma: |
| 1. | Ten Lessons With Timothy
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| 2. | Slim's Jam
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| 3. | Dizzy Atmosphere
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| 4. | Diggin' Diz
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| 5. | Confirmation
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| 6. | Diggin' for Diz
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| 7. | Dynamo a
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| 8. | When I Grow Too Old to Dream
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| 9. | 'Round About Midnight
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| 10. | The Way You Look Tonight
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| 11. | Why Do I Love You?
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| 12. | Who
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| 13. | All the Things You Are
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| 14. | 52nd Street Theme
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| 15. | A Night in Tunisia
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| 16. | Ol' Man Rebop
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| 17. | Anthropology
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| 18. | One Bass Hit, Pt. 1
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| 19. | Oop Bop Sh'bam
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| 20. | That's Earl, Brother
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| 21. | Our Delight
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| 22. | Good Dues Blues
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| 23. | Ray's Idea
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| 24. | Things to Come
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| 25. | For Hecklers Only
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| 26. | Smokey Hollow Jump
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| 27. | Boppin' the Blues
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| 3. CD tartalma: |
| 1. | Moody Speaks
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| 2. | Emanon
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| 3. | Ow!
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| 4. | Oop-Pop-A-Da
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| 5. | Two Bass Hit
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| 6. | Stay on It
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| 7. | A Night in Tunisia
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| 8. | Dizzy Atmosphere
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| 9. | Groovin' High
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| 10. | Confirmation
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| 11. | Koko
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| 12. | Leap Here
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| 13. | Algo Bueno (Woody 'N' You)
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| 14. | Cool Breeze
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| 15. | Cubana Be
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| 16. | Cubana Bop
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| 17. | Manteca
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| 18. | Good Bait
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| 19. | Ool-Ya-Koo
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| 20. | Minor Walk
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| 21. | Guarachi Guaro
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| 22. | Duff Capers
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| 4. CD tartalma: |
| 1. | Lover, Come Back to Me
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| 2. | I'm Be Boppin' Too
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| 3. | Swedish Suite
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| 4. | St. Louis Blues
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| 5. | Katy (Dizzier and Dizzier)
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| 6. | Jump Di-Le-Ba
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| 7. | Hey Pete! Let's Eat Mo' Meat
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| 8. | Jumpin' With Symphony Sid
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| 9. | In the Land of Oo-Bla-Dee
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| 10. | Say When
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| 11. | You Stole My Wife, You Horsethief
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| 12. | Coast to Coast
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| 13. | Oo-La-La
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| 14. | Bloomdido
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| 15. | An Oscar for Treadwell
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| 16. | Mohawk
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| 17. | My Melancholy Baby
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| 18. | Leap Frog
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| 19. | Relaxin' With Lee
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| 20. | Swing Low, Sweet Chariot
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| 21. | Lullaby of the Leaves
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| 22. | What Is There to Say?
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| 23. | Alone Together
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| 24. | On the Alamo
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| 25. | Interlude in C
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Jazz / Big Band, Bop
Dizzy Gillespie - Arranger, Trumpet
Adriano John Acea Arranger
Al Cohn Sax (Tenor)
Al Gibson Sax (Baritone)
Al Haig Piano
Al Killian Trumpet
Al McKibbon Trombone, Bass
Alice O'Connell Vocals
Alice Roberts Vocals
Alton Moore Trombone
Andrew Brown Sax (Alto)
Andy Duryea Trombone
Arv Garrison Guitar
Bam Brown Bass
Barbara Whitney Harp
Ben Webster Sax (Tenor)
Benny Bailey Trumpet
Benny Carter Sax (Alto)
Benny Harris Trumpet
Benny Payne Piano
Big Sid Catlett Drums
Bill Beason Drums
Bill DeArango Guitar
Bill Dillard Trumpet
Bill Doggett Piano
Bill Frazier Sax (Tenor)
Bill Harris Quintet Trombone
Bill Shepherd Trombone
Billy Bauer Guitar
Billy Bowen Sax (Alto)
Billy Eckstine Vocals
Boyd Raeburn Sax (Tenor), Sax (Bass)
Budd Johnson Sax (Baritone), Arranger, Sax (Tenor)
Buddy Christian Drums
Buddy DeFranco Clarinet
Buddy Rich Drums
Buster Harding Arranger
Carlos Vidal Bongos
Cecil Payne Sax (Baritone)
Chano Pozo Conga, Vocals
Charles "Majeed" Greenlee Trombone
Charlie Christian Guitar
Charlie Parker Sax (Alto)
Charlie Wright Drums
Chu Berry Sax (Tenor)
Chuck Wayne Guitar
Claude Jones Trombone
Cliff Jackson & His Crazy Cats Piano
Clyde Hart Piano
Coleman Hawkins Sax (Tenor)
Connie Wainwright Guitar
Cozy Cole Drums
Curly Russell Bass
Cy Bernard Cello
Danny Barker Guitar
Dave Burns Trumpet
Dave Young Orchestra Sax (Tenor)
Dexter Gordon Sax (Tenor)
Dick Kenney Trombone
Dicky Wells Trombone
Dodo Marmarosa Piano
Don Byas Sax (Tenor)
Don Slaughter Trumpet
Ed Nicholson Drums
Ed Van Dever Trumpet
Eddie Safranski Bass
Eleanor Slatkin Cello
Elmon Wright Trumpet
Ernest Purce Sax (Baritone)
Ernie "Bubbles" Whitman MC
Ernie Henry Sax (Alto)
Felix Slatkin Violin
Flip Phillips Sax (Tenor)
Floyd Smith Guitar
Francisco Pozo Bongos
Frank Paparelli Piano
Freddy Webster Trumpet
Gene Ramey Bass
George Handy Piano
George Nicholas Sax (Tenor)
George Russell Arranger
George Stevenson Trombone
Gerald Wilson Arranger
Gil Fuller Vocals, Arranger
Glenn Hardman Organ
Gordon Thomas Trombone
Hal McKusick Sax (Alto)
Hank Jones Piano
Harold Smith & the Majestics Trombone
Harry Bluestone Violin
Henry Coker Trombone
Henry Hill Violin
Hilton Jefferson Sax (Alto)
Howard H. Scott Trombone
Howard Johnson Sax (Alto)
Ike Carpenter Piano
Irving Lang Bass
Israel Crosby Bass
J.C. Heard Drums
J.J. Johnson Trombone
Jack Carmen Trombone
Jack McVea Sax (Tenor)
Jack Shulman Violin
James "Mtume" Forman Celeste, Piano
James Moody Sax (Tenor)
Jerry Blake Clarinet, Sax (Alto)
Jesse Tarrant Trombone
Jimmy Heath Sax (Alto)
Jimmy Jones Piano
Jimmy Mundy Arranger
Joe Britton Trombone
Joe Carroll Vocals
Joe Gayles Sax (Tenor)
Joe Harris Conga, Drums
Joe Marsala Clarinet
Joe Megro Sax (Tenor)
John "BJ John" Smith Guitar
John "Johnny" Adriano Acea Piano
John Brown Sax (Alto)
John Collins Guitar
John Coltrane Sax (Alto)
John Graas French Horn
John Lynch Trumpet
John Richard Lewis Arranger, Piano
Johnny Bothwell Sax (Alto)
Johnny Richards Arranger
Joost Visser Compilation, Liner Notes, Producer
Keg Johnson Trombone
Ken Kersey Piano
Kenny "Pancho" Hagood Vocals
Kenny Clarke Drums
Lamar Wright Trumpet
Leo Parker Sax (Alto)
Leon Comegys Trombone
Leonard Lowry Sax (Alto)
Linton Garner Arranger
Lionel Hampton Vibraphone
Lucky Thompson Vocals, Sax (Tenor)
Mario Bauz� Trumpet
Matthew Gee Trombone
Matthew McKay Trumpet
Max Roach Drums
Milt Hinton Bass
Milt Jackson Vibraphone, Vocals, Piano
Mischa Russell Violin
Murray Shipinski Bass
Nat King Cole Piano
Nelson Bryant Trumpet
Nick Fenton Bass
Ollie Wilson Trombone
Oscar Pettiford Bass
Panama Francis Drums
Paul Gonsalves Sax (Tenor)
Paul Smith Piano
Pee Wee Moore Sax (Baritone)
Peter Rynston Digital Remastering
Quentin Jackson Trombone
Ray Abrams Sax (Tenor)
Raymond Orr Trumpet
Red Norvo Vibraphone
Remo Palmieri Guitar
Richard "Dick" Fullbright Bass
Robert Carroll Sax (Tenor)
Roy Lee Brown Bass
Roy Porter Drums
Rudy Rutherford Sax (Baritone)
Russell Procope Sax (Alto)
Sabu Martinez Vocals, Bongos
Sam Allen Piano
Sam Hurt Trombone
Scoops Carey Sax (Alto)
Serge Chaloff Sax (Baritone)
Shad Collins Trumpet
Shadow Wilson Drums
Shelly Manne Drums
Shirley Thompson Bassoon
Shorty McConnell Trumpet
Sid Brokaw Violin
Slam Stewart Bass
Slim Gaillard Guitar, Vocals
Sonny Stitt Sax (Alto)
Specs Powell Drums
Specs Wright Drums
Stafford Simon Sax (Tenor)
Stan Fishelson Trumpet
Stan Levey Drums
Steve Jordan Guitar
Tab Smith Sax (Alto)
Tadd Dameron Arranger
Talib Dawud Trumpet
Taswell Baird Trombone
Ted Kelly Trombone
Teddy Hill Sax (Tenor)
Teddy Stewart Drums
Teddy Wilson Piano
Thelonious Monk Piano
Tommy Allison Trumpet
Tommy Crump Sax (Tenor)
Tony Scott Clarinet, Sax (Alto)
Trevor Bacon Guitar
Trummy Young Trombone
Tyree Glenn Vibraphone, Trombone
Vic Coulson Trumpet
Victor Arno Violin
Walter Edelstein Violin
Walter Thomas Sax (Tenor)
Wardell Gray Sax (Tenor)
Warren Luckey Sax (Tenor)
William Scott Trumpet
Willie Cook Trumpet
Yusef Lateef Sax (Tenor)
Zutty Singleton Drums
This four-disc, 100-track box set traces famed bebop trumpeter Dizzy Gillespie's career from his early years with Teddy Hill, Lionel Hampton and Cab Calloway through his work with figures like Coleman Hawkins and Billy Eckstine. It includes his 1947 concert at Carnegie Hall with Charlie Parker and concludes with the famous sessions that Gillespie recorded with Parker and Thelonious Monk for Norman Granz in 1950. At a budget price, this package captures Gillespie's peak years and performances and makes a deep introduction to this amazing musician. The sound transfers are decent, but audiophiles may find that the noise reduction processes used on these tracks leaves some of them sounding a little on the thin and muted side. Given the fair price and the volume of material compiled here, though, this set is a smart purchase. Each of the four discs is also available individually as a stand-alone album. ~ Steve Leggett, All Music Guide
Dizzy Gillespie
Active Decades: '30s, '40s, '50s, '60s, '70s, '80s and '90s
Born: Oct 21, 1917 in Cheraw, SC
Died: Jan 06, 1993 in Englewood, NJ
Genre: Jazz
Styles: Big Band, Bop, Afro-Cuban Jazz, Vocal Jazz
Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis' emergence in the 1970s that Dizzy's style was successfully recreated. Somehow, Gillespie could make any "wrong" note fit, and harmonically he was ahead of everyone in the 1940s, including Charlie Parker. Unlike Bird, Dizzy was an enthusiastic teacher who wrote down his musical innovations and was eager to explain them to the next generation, thereby insuring that bebop would eventually become the foundation of jazz.
Dizzy Gillespie was also one of the key founders of Afro-Cuban (or Latin) jazz, adding Chano Pozo's conga to his orchestra in 1947, and utilizing complex poly-rhythms early on. The leader of two of the finest big bands in jazz history, Gillespie differed from many in the bop generation by being a masterful showman who could make his music seem both accessible and fun to the audience. With his puffed-out cheeks, bent trumpet (which occurred by accident in the early '50s when a dancer tripped over his horn), and quick wit, Dizzy was a colorful figure to watch. A natural comedian, Gillespie was also a superb scat singer and occasionally played Latin percussion for the fun of it, but it was his trumpet playing and leadership abilities that made him into a jazz giant.
The youngest of nine children, John Birks Gillespie taught himself trombone and then switched to trumpet when he was 12. He grew up in poverty, won a scholarship to an agricultural school (Laurinburg Institute in North Carolina), and then in 1935 dropped out of school to look for work as a musician. Inspired and initially greatly influenced by Roy Eldridge, Gillespie (who soon gained the nickname of "Dizzy") joined Frankie Fairfax's band in Philadelphia. In 1937, he became a member of Teddy Hill's orchestra in a spot formerly filled by Eldridge. Dizzy made his recording debut on Hill's rendition of "King Porter Stomp" and during his short period with the band toured Europe. After freelancing for a year, Gillespie joined Cab Calloway's orchestra (1939-1941), recording frequently with the popular bandleader and taking many short solos that trace his development; "Pickin' the Cabbage" finds Dizzy starting to emerge from Eldridge's shadow. However, Calloway did not care for Gillespie's constant chance-taking, calling his solos "Chinese music." After an incident in 1941 when a spitball was mischievously thrown at Calloway (he accused Gillespie but the culprit was actually Jonah Jones), Dizzy was fired.
By then, Gillespie had already met Charlie Parker, who confirmed the validity of his musical search. During 1941-1943, Dizzy passed through many bands including those led by Ella Fitzgerald, Coleman Hawkins, Benny Carter, Charlie Barnet, Fess Williams, Les Hite, Claude Hopkins, Lucky Millinder (with whom he recorded in 1942), and even Duke Ellington (for four weeks). Gillespie also contributed several advanced arrangements to such bands as Benny Carter, Jimmy Dorsey, and Woody Herman; the latter advised him to give up his trumpet playing and stick to full-time arranging.
Dizzy ignored the advice, jammed at Minton's Playhouse and Monroe's Uptown House where he tried out his new ideas, and in late 1942 joined Earl Hines' big band. Charlie Parker was hired on tenor and the sadly unrecorded orchestra was the first orchestra to explore early bebop. By then, Gillespie had his style together and he wrote his most famous composition "A Night in Tunisia." When Hines' singer Billy Eckstine went on his own and formed a new bop big band, Diz and Bird (along with Sarah Vaughan) were among the members. Gillespie stayed long enough to record a few numbers with Eckstine in 1944 (most noticeably "Opus X" and "Blowing the Blues Away"). That year he also participated in a pair of Coleman Hawkins-led sessions that are often thought of as the first full-fledged bebop dates, highlighted by Dizzy's composition "Woody'n You."
1945 was the breakthrough year. Dizzy Gillespie, who had led earlier bands on 52nd Street, finally teamed up with Charlie Parker on records. Their recordings of such numbers as "Salt Peanuts," "'Shaw Nuff," "Groovin' High," and "Hot House" confused swing fans who had never heard the advanced music as it was evolving; and Dizzy's rendition of "I Can't Get Started" completely reworked the former Bunny Berigan hit. It would take two years for the often frantic but ultimately logical new style to start catching on as the mainstream of jazz. Gillespie led an unsuccessful big band in 1945 (a Southern tour finished it), and late in the year he traveled with Parker to the West Coast to play a lengthy gig at Billy Berg's club in L.A. Unfortunately, the audiences were not enthusiastic (other than local musicians) and Dizzy (without Parker) soon returned to New York.
The following year, Dizzy Gillespie put together a successful and influential orchestra which survived for nearly four memorable years. "Manteca" became a standard, the exciting "Things to Come" was futuristic, and "Cubana Be/Cubana Bop" featured Chano Pozo. With such sidemen as the future original members of the Modern Jazz Quartet (Milt Jackson, John Lewis, Ray Brown, and Kenny Clarke), James Moody, J.J. Johnson, Yusef Lateef, and even a young John Coltrane, Gillespie's big band was a breeding ground for the new music. Dizzy's beret, goatee, and "bop glasses" helped make him a symbol of the music and its most popular figure. During 1948-1949, nearly every former swing band was trying to play bop, and for a brief period the major record companies tried very hard to turn the music into a fad.
By 1950, the fad had ended and Gillespie was forced, due to economic pressures, to break up his groundbreaking orchestra. He had occasional (and always exciting) reunions with Charlie Parker (including a fabled Massey Hall concert in 1953) up until Bird's death in 1955, toured with Jazz at the Philharmonic (where he had opportunities to "battle" the combative Roy Eldridge), headed all-star recording sessions (using Stan Getz, Sonny Rollins, and Sonny Stitt on some dates), and led combos that for a time in 1951 also featured Coltrane and Milt Jackson. In 1956, Gillespie was authorized to form a big band and play a tour overseas sponsored by the State Department. It was so successful that more traveling followed, including extensive tours to the Near East, Europe, and South America, and the band survived up to 1958. Among the young sidemen were Lee Morgan, Joe Gordon, Melba Liston, Al Grey, Billy Mitchell, Benny Golson, Ernie Henry, and Wynton Kelly; Quincy Jones (along with Golson and Liston) contributed some of the arrangements. After the orchestra broke up, Gillespie went back to leading small groups, featuring such sidemen in the 1960s as Junior Mance, Leo Wright, Lalo Schifrin, James Moody, and Kenny Barron. He retained his popularity, occasionally headed specially assembled big bands, and was a fixture at jazz festivals. In the early '70s, Gillespie toured with the Giants of Jazz and around that time his trumpet playing began to fade, a gradual decline that would make most of his '80s work quite erratic. However, Dizzy remained a world traveler, an inspiration and teacher to younger players, and during his last couple of years he was the leader of the United Nation Orchestra (featuring Paquito D'Rivera and Arturo Sandoval). He was active up until early 1992.
Dizzy Gillespie's career was very well documented from 1945 on, particularly on Musicraft, Dial, and RCA in the 1940s; Verve in the 1950s; Philips and Limelight in the 1960s; and Pablo in later years.
---Scott Yanow, All Music Guide |
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