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| The Complete RCA Victor Recordings |
| Dizzy Gillespie |
első megjelenés éve: 1947
128 perc |
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| (1995)
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2 x CD |
| 4.616 Ft
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| 1. CD tartalma: |
| 1. | Manteca
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| 2. | Anthropology [Take 2]
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| 3. | King Porter Stomp
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| 4. | Yours and Mine
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| 5. | Blue Rhythm Fantasy
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| 6. | Hot Mallets
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| 7. | 52nd Street Theme [Take 1]
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| 8. | 52nd Street Theme [Take 2]
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| 9. | A Night in Tunisia [Take 1]
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| 10. | A Night in Tunisia [Incomplete Take]
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| 11. | Ol' Man Rebop
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| 12. | Anthropology [Take 1]
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| 13. | Ow!
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| 14. | Oop-Pop-A-Da
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| 15. | Two Bass Hit
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| 16. | Stay on It
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| 17. | Algo Bueno (Woody 'N' You)
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| 18. | Cool Breeze
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| 19. | Cubana Be
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| 20. | Cubana Bop
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| 21. | Ool-Ya-Koo
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| 22. | Minor Walk
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| 2. CD tartalma: |
| 1. | Good Bait
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| 2. | Guarachi Guaro
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| 3. | Duff Capers
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| 4. | Lover, Come Back to Me
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| 5. | I'm Be Boppin' Too [Take 1]
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| 6. | Swedish Suite
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| 7. | St. Louis Blues
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| 8. | I Should Care
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| 9. | That Old Black Magic
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| 10. | You Go to My Head
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| 11. | Jump Di-Le-Ba
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| 12. | Dizzier and Dizzier
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| 13. | I'm Be Boppin' Too [Take 2]
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| 14. | Hey Pete! Let's Eat More Meat
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| 15. | Jumpin' With Symphony Sid
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| 16. | If Love Is Trouble
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| 17. | In the Land of Oo-Bla-Dee
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| 18. | Overtime [Shorter Take]
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| 19. | Overtime [Longer Take]
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| 20. | Victory Ball [Shorter Take]
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| 21. | Victory Ball [Longer Take]
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Jazz / Big Band, Bop, Afro-Cuban Jazz
Dizzy Gillespie - Trumpet, Vocals
Al Gibson Sax (Baritone)
Al Haig Piano
Al McKibbon Bass
Andy Duryea Trombone
Ben Webster Sax (Tenor)
Benny Bailey Trumpet
Benny Carter Sax (Alto)
Benny Harris Trumpet
Big Nick Nicholas Sax (Tenor)
Bill Beason Drums
Bill DeArango Guitar
Bill Dillard Vocals, Trumpet
Billy Bauer Guitar
Brian Bacchus Executive Producer
Budd Johnson Sax (Tenor)
Buddy DeFranco Clarinet
Cecil Payne Sax (Baritone)
Chano Pozo Bongos, Chant, Conga
Charles Greenlea Trombone
Charlie Christian Guitar
Charlie Parker Sax (Alto)
Charlie Ventura Sax (Tenor)
Chu Berry Sax (Tenor)
Clyde Hart Piano
Coleman Hawkins Sax (Tenor)
Cozy Cole Drums
Dave Burns Trumpet
Dicky Wells Trombone
Don Byas Sax (Tenor)
Eddie Safranski Bass
Elmon Wright Trumpet
Ernie Caceres Sax (Baritone)
Ernie Henry Sax (Alto)
Fats Navarro Trumpet
Frank Driggs Photography
Howard E. Johnson Sax (Alto)
Ira Gitler Liner Notes
J.C. Heard Drums
J.J. Johnson Trombone
James "Mtume" Forman Piano
James Moody Sax (Tenor)
James Nichols Remastering, Digital Transfers, Audio Restoration
Jesse Tarrant Trombone
Joe Carroll Vocals
Joe Gayles Sax (Tenor)
Joe Harris Conga
John Brown Sax (Alto)
John Smith Guitar
Johnny Hartman Vocals
Kai Winding Trombone
Kenny "Pancho" Hagood Vocals
Kenny Clarke - Drums
Lammar Wright, Sr. Trumpet
Lennie Tristano Piano
Lionel Hampton - Vibraphone
Liz Fierro Art Research
Matthew McKay Trumpet
Miles Davis Trumpet
Milt Hinton Bass
Milt Jackson Vibraphone, ?
Ray Brown - Bass
Raymond Orr Trumpet
Richard "Dick" Fullbright Bass
Robert Carroll Sax (Tenor)
Russell Procope Sax (Alto)
Sabu Martinez Bongos
Sam Allen Piano
Sam Hurt Trombone
Shad Collins Trumpet
Shelly Manne Drums
Sue Reilly Cover Design
Taswell Baird Trombone
Ted Kelly Trombone
Teddy Hill - Sax (Tenor)
Teddy Stewart Drums
The Metronome All-Stars Performer
William Shepherd Trombone
Willie Cook Trumpet
Yusef Lateef Sax (Tenor)
Although the sheer scope of this double-CD roundup of all of Dizzy's Victor sessions places it most obviously within the evolution of bebop, it is absolutely essential to latin jazz collections as well. Here listeners find the discographical launching pad of afro-cuban jazz on December 22, 1947, when Cuban conguero Chano Pozo added his galvanic congas and bongos to Gillespie's big band for the first time on record. One can feel the explosive effect of Pozo's subdivisions of the beat, rhythmic incantations, and grooves on the band's bebop charts. Though the musicians' styles aren't much affected, and Pozo does most of the adapting to bebop rather than vice versa, the foundation has clearly shifted. Alas, aside from recorded live gigs, Pozo only made eight tracks with the band -- four on December 22 and four more eight days later, just before the second Musicians Union recording ban kicked in. Yet even after Pozo's murder the following year, Gillespie continued to expand his latin experiments, using two latin percussionists who brought more rhythmic variety to the sound of tunes like "Guarachi Guaro" (later popularized by Cal Tjader as "Soul Sauce") and even commercial ballads like "That Old Black Magic." The reprocessing of these recordings from late in the 78 rpm era through the CEDAR process sounds a bit harsh, though less so than most of RCA's earlier desecrations of vault material using NoNOISE. Even so, this remains the best way to acquire these seminal latin jazz tracks. ~ Richard S. Ginell, 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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