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2 x CD |
| 9.404 Ft
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| 1. CD tartalma: |
| 1. | King Porter Stomp
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| 2. | Pickin' the Cabbage
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| 3. | Opus X
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| 4. | I Can't Get Started
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| 5. | Good Bait
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| 6. | Blue 'n' Boogie
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| 7. | Groovin' High
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| 8. | All the Things You Are
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| 9. | Dizzy Atmosphere
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| 10. | Oop-Bop-Sh'bam
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| 11. | Things to Come
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| 12. | Two Bass Hit
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| 13. | Cubana Be/Cubana Bop
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| 14. | Manteca
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| 15. | Jump Did-Le-Ba
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| 16. | Hey Pete! Let's Eat Mo' Meat!
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| 17. | Jumpin' With Symphony Sid
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| 18. | Bloomdido
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| 19. | Birk's Works
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| 20. | I've Found a New Baby
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| 21. | Salt Peanuts [Live]
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| 2. CD tartalma: |
| 1. | Perdido [Live]
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| 2. | It Don't Mean a Thing
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| 3. | Mean to Me
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| 4. | Cool Breeze [Live]
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| 5. | I Remember Clifford
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| 6. | A Night in Tunisia [Live]
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| 7. | Chega de Saudade
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| 8. | Woody 'n' You [Live]
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| 9. | Exuberante
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| 10. | Wheatleigh Hall
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| 11. | Bebop [Live]
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Jazz / Big Band, Bop, Swing, Afro-Cuban Jazz, Standards
Dizzy Gillespie - Vocals, Trumpet
Al Gibson Sax (Baritone)
Al Grey Trombone
Al Haig Piano
Al McKibbon Bass
Andy Duryea Trombone
Antonio Hart Sax (Alto)
Art Blakey Drums
Arturo Sandoval Trumpet
Barry Morrow Trombone
Benny Bailey Trumpet
Benny Golson Sax (Tenor)
Benny Harris Trumpet
Benny Payne Piano
Bill Beason Drums
Bill Dillard Trumpet
Bill Frazier Sax (Alto)
Bill Shepherd Singers Trombone
Billy Eckstine Leader, Vocals
Bob Cunningham Bass
Bud Powell Piano
Buddy Rich Drums
Cab Calloway Vocals
Candido Camero Conga
Carl Warwick Trumpet
Carlos Castillo Bass
Cecil Payne Sax (Baritone)
Chano Pozo Bongos, Vocals, Conga
Charles "Majeed" Greenlee Trombone
Charles Mingus Bass
Charlie Parker Sax (Alto)
Charlie Persip Drums
Chico O'Farrill Conductor, Arranger
Chris White Bass
Chu Berry Sax (Tenor)
Chuck Connors Trombone
Chuck Lampkin Drums
Chuck Wayne Guitar
Clifford Jordan Sax (Tenor)
Clifton Best Guitar
Clyde Hart Piano
Connie Wainwright Guitar
Cozy Cole Drums
Curly Russell Bass
Dana McCurdy Synthesizer
Danilo Perez Piano
Danny Barker Guitar
Dave Burns Trumpet
David P. Jackson Photography
Dexter Gordon Sax (Tenor)
Dicky Wells Trombone
Don Byas Sax (Tenor)
Dwike Mitchell Piano
Elmon Wright Trumpet
Ermet Perry Trumpet
Ernie Henry Sax (Alto)
Esko Linnavalli Piano
Esko Rosnell Drums
Frank "Machito" Grillo Maracas, Claves
Frank Paparelli Piano
Gail Brockman Trumpet
Gene Ammons Sax (Tenor)
George Mraz Bass
George Nicholas Sax (Tenor)
Gerald Valentine Trombone
Gil Fuller Arranger, Vocals
Gordon Thomas Trombone
Herb Ellis Guitar
Hilton Jefferson Sax (Alto)
Howard H. Scott Trombone
Irv Kluger Drums
J.J. Johnson Trombone
Jack Jeffers Trombone
Jeff Palo Producer
Jerry Blake Sax (Alto), Clarinet
Jesse Tarrant Trombone
Joe Carroll Vocals
Joe Gayles Sax (Tenor)
Joe Harris Drums
John "BJ John" Smith Guitar
John Collins Guitar
John Coltrane Sax (Tenor), Sax (Alto)
John Lynch Trumpet
John Malachi Piano
John Richard Lewis Arranger, Piano
John Roberts Package Supervision, Artwork
Johnny Jackson Sax (Alto)
Jorge Dalto Piano (Electric)
Kansas Fields Drums
Keg Johnson Trombone
Kenny Burrell Guitar
Kenny Clarke Drums
Kenny Dorham Trumpet
Lalo Schifrin Piano
Lamar Wright Trumpet
Lammar Wright, Jr. Trumpet
Leo Parker Sax (Baritone)
Leo Wright Sax (Alto), Flute
Leon Comegys Trombone
Leslie Yahonikan Clarinet (Bass), Sax (Baritone)
Lewis Kahn Trombone
Lewis Nash Drums
Louie Bellson Drums
Manny Duran Trumpet, Flugelhorn
Mario Bauz� Trumpet, Clarinet, Sax (Alto)
Mario Grillo Cowbell, Bongos
Mario Rivera Flute (Alto), Sax (Tenor)
Matthew McKay Trumpet
Mauricio Smith Flute, Sax (Alto), Piccolo
Max Roach Drums
Melba Liston Trombone
Mickey Roker Drums
Milt Hinton Bass
Milt Jackson Vibraphone
Murray Shipinski Bass
Neil Tesser Liner Notes
Oscar Peterson Piano
Oscar Pettiford Bass
Papo Pepin Conga
Patrick Milligan Compilation Producer
Paul Gonzalez Trumpet, Flugelhorn
Paul West Bass
Pee Wee Moore Sax (Baritone), Trombone
Pekka Sarmanto Bass
Percy Heath Bass
Quentin Jackson Trombone
Ray Abrams Sax (Tenor)
Ray Brown Bass
Ray Connor Trombone (Bass)
Raymond Orr Trumpet
Remo Palmieri Guitar
Roy Eldridge Trumpet
Rudy Collins Drums
Russell Procope Sax (Alto), Clarinet
Sam Allen Piano
Sam Hurt Trombone
Sarah Vaughan Vocals
Shad Collins Trumpet
Shelly Manne Drums
Shorty McConnell Trumpet
Slam Stewart Bass
Sonny Stitt Sax (Alto)
Talib Dawud Trumpet
Taswell Baird Trombone
Ted Kelly Trombone
Teddy Hill Sax (Tenor)
Teddy Stewart Drums
Thelonious Monk Piano
Tom Recchion Art Direction, Design
Tommy Potter Bass
Trummy Young Trombone
Tyree Glenn Vibraphone, Trombone
Victor Paz Flugelhorn, Trumpet
Walter Thomas Sax (Tenor)
Warren Luckey Sax (Tenor)
Willie Bobo Conga
Willie Cook Trumpet
Willie Ruff Bass
Wynton Kelly Piano
Yusef Lateef Sax (Tenor)
The ultimate career-spanning Dizzy Gillespie collection! Deluxe 2-CD set with 60-page booklet! PJohn Birks "Dizzy" Gillespie was one of the founding fathers of be-bop. He was also one of the first to fuse be-bop, RB and swing in his own big band (which launched the careers of many musicians), and pioneered Latin jazz with "Manteca," which is usually cited as the first Latin jazz recording. He went on to become an elder statesman of jazz, touring the world on behalf of the United States government and the United Nations. Throughout his career, he was the epitome of jazz creativity, style and humor, as Career: 1937-1992 illustrates. This 2-CD set provides a complete overview of his entire career.
Any two-disc collection -- no matter how well-intentioned, as this one most certainly is -- that aims to cover a career 53 years long is going to be full of holes. That said, Shout Factory's handsomely packaged label-crossing Career: 1937-1992 tries hard. Beginning with Gillespie's tenure in the NBC Orchestra led by Teddy Hill, Diz can be heard alongside Dicky Wells, Russell Procope, and Howard Johnson tearing it up on "King Porter Stomp." Also from the early years are tracks that mark Diz's tenure with Cab Calloway and Billy Eckstine -- "Pickin' the Cabbage" and "Opus X," respectively. On disc one, the years 1945-1949 are particularly well represented -- there are a few cuts from just before Charlie Parker and Gillespie teamed up, and their time together is well considered here. There is also a version of "Birk's Works," from 1951 in Detroit, that stars a young John Coltrane alongside Kenny Burrell, Milt Jackson, and Percy Heath on Diz's own Dee Gee label. Disc two begins with a track from Jazz at Massey Hall and moves through the Diz and Getz set into the Modern Jazz Sextet with John Lewis, Sonny Stitt, Charlie Persip, Skeeter Best, and Percy Heath. Gillespie's big bands of the late '50s are documented here, from Dizzy Gillespie at Newport and The Big Band Sound of Dizzy Gillespie, as are his fine quintets from the early '60s that starred Lalo Schifrin on piano. In addition, the Machito reunion from 1975 -- conducted by Chico O'Farrill -- and dates with Arturo Sandoval are here, as well as a track from Gillespie's final offering, To Bird With Love. Sure, there is plenty to argue with here, about what is not included as well as what is. But with the fine digipack box, great notes by Neil Tesser, and a price that's mighty attractive, this is a fine little intro to Diz's legend. ~ Thom Jurek, 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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