It's 1940s and Dizzy Gillespie's big band are at their absolute peak! Listening to this record makes me wonder why there ever became such a thing as jazz snobbery. This music doesn't sound like the domain for snobs. In fact it showcases jazz in a crucial and innovative place. Here we are in this place where swing and be-bop have long ago cross polinated eachother (one needed to have the other anyway:we all know in what way",you've got Dizzy whose at once both a great intellectual musician as well as being able to make it move. And here you have him playing with these…well nowadays you'd have to call them all stars such as Dexter Gordon, Milt Jackson, Charlie Parker, Cozy Cole, Sonny Stitt, Kenny Clarke…the list goes on like that and BIM BAM BOOM you've got big band be-bop!
When Detroiter David Usher and Dizzy Gillespie founded the Dee Gee record label, they might have had an inkling that their project could, and would, fail financially due to poor distribution, the conversion from 78s to LPs, and the heavy hammer of the taxman. They might have felt, but could not have imagined, that they would create some of the most essential and pivotal jazz recordings for all time, not to mention some of the last great sides of the pioneering bebop era. Gillespie's large ensembles brought to public attention the fledgling young alto and tenor saxophonist John Coltrane, such Detroiters as guitarist Kenny Burrell or pianist/vibraphonist Milt Jackson, and vocalists Joe Carroll, Freddy Strong and Melvin Moore. Considering the years – 1951 and 1952 – this was revolutionary breakthrough music from a technical and entertainment aspect, delightful music that has stood the test of time and displays the trumpeter in his prime as a bandleader.
This edition presents, for the first time ever on CD, Dizzy Gillespie's complete performance at the 1961 Monterey Jazz Festival. While humorously introduced by Diz as “A Musical Safari”, the set is a mixture of the repertoire the quintet was playing during that period, including an excursion into the realm of bossa nova. The quintet features the wonderful Leo Wright and Argentinean pianist Lalo Schifrin, as well as singer Joe Carroll on one track.
Dizzy Gillespie brings together tenor saxophonists Sonny Stitt and Sonny Rollins for four extended cuts, and in the process comes up with one of the most exciting "jam session" records in the jazz catalog. While the rhythm section of pianist Ray Bryant, bassist Tommy Bryant, and drummer Charlie Persip provides solid rhythmic support, Stitt and Rollins get down to business trading fours and reeling off solo fireworks. Apparently, Gillespie had stoked the competitive fires before the session with phone calls and some gossip, the fallout of which becomes palpable as the album progresses.
Jazz collectors can be an obsessive, detail-minded bunch, so when they acquire Vol. 2 of CAP's Dizzy in South America series, they're bound to be frustrated by the fact that the credits don't give any exact recording dates or let you know exactly where in South America each 1956 performance was recorded. As frustrating as that is, however, Vol. 2 is a CD that collectors and Dizzy Gillespie fans will be glad to get their hands on. No serious Gillespie aficionado could resist hearing previously unreleased live performances of "Tin Tin Deo," "The Champ," and "Groovin' High," especially when the sound quality is decent (by 1956 standards) and the band boasts such heavyweights as Phil Woods (alto sax), Benny Golson (tenor sax), Jimmy Powell (alto sax), Walter Davis, Jr. (piano), and the tour's musical director Quincy Jones (trumpet). Gillespie has many inspired moments on trumpet, and featured vocalist Austin Cromer provides some memorable crooning on "Because of You" and "Wonder Why".
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. Dizzy Gillespie meets the Phil Woods Quintet – a group that already has a great trumpeter in the form of Tom Harrell – which makes the album here a double-horn delight! Dizzy's on trumpet throughout, and Harrell plays both trumpet and flugelhorn – and the pair work well with Woods' alto in the front line, sharing back and forth, and creating a lively interplay between the different voices of their instruments. Dizzy is impeccable – as he always is at this point in his career – and rhythms are nice and tight, thanks to piano from Hal Galper, bass from Steve Gilmore, and drums from Bill Goodwin. Titles include a great reading of Galper's Loose Change" – plus "Terrestris", "Love For Sale", "Oon Ga Wa", and "Whasidishean".
Features 24 bit remastering and comes with a mini-description. A rare 50s performance – featuring a smoking version of "The Afro Suite" – plus some more boppish numbers too! Dizzy Gillespie was recruited as a special guest to perform on March 13, 1955, in concert with the Orchestra (a Washington, D.C., big band), a date that was recorded by Bill Potts and not initially released until 1983 by Elektra Musician. Although there was only a brief rehearsal of Gillespie with the band prior to their performance of the trumpeter's "The Afro Suite" (which includes "Manteca" plus a trio of pieces written in collaboration with Chico O'Farrill), they provide excellent support for this extended work, which features the composer extensively.
This collection contains the complete Dizzy Gillespie studio LP "Have Trumpet, Will Excite!" (Verve MGV S-8313), made by the outstanding 1959 Gillespie Quintet with Junior Mance and Les Spann. Two additional tunes and the only existing four alternate takes from the sessions have been added here as a bonus.
These sessions document unequivocally why Dizzy Gillespie is still considered one of the greatest improvisers in the history of jazz, for his mastery of the instrument, his command of time, his control over musical ideas, and his ability to entertain. He was blessed during this period, which spans 1954 to 1963, with stellar sidemen, unparalleled arrangements, and a surge of excitement for making music.