This single CD reissues all of the music from two rare Dizzy Gillespie LPs. Dating from 1963-64, the set features the trumpeter's interpretation of the score of the obscure film The Cool World (although these are not the actual performances heard in the movie) plus 11 themes from other films. Gillespie, who is joined by James Moody (on tenor, alto and flute), pianist Kenny Barron, bassist Chris White and drummer Rudy Collins, was in peak form during that era and hopefully all of his other Philips recordings will also be reissued by Verve in the future. Although the liner notes deal only with The Cool World, the other set is actually of greater interest. Gillespie uplifts such tunes as the "Theme from Exodus," "Moon River," "Days of Wine and Roses," "Never on Sunday" and "Walk on the Wild Side," turning them into swinging jazz. The Cool World pieces (all composed by Mal Waldron) are also worth hearing although they are not as memorable overall. This set is a real historical curiosity and, although not essential, it is a release that should please Dizzy Gillespie fans while reminding others of how great a trumpeter he was before his long decline.
I have no idea why it comes as a shock that the debut solo album from the longest serving member of Guns N’ Roses (apart from Axl) would be tasty, but it is a shock, and it is rather tasty. Maybe it’s the fact that it’s G’n’R keyboardist Dizzy Reed, so you could be forgiven for expecting an album full of self indulgent piano noodling, but rather than battering the listener over the head with his own interpretations of Beethoven classics or a Jazz workout, Reed has opted to go with an album of material ripe for a Saturday night in your local dive.
This collection of 78 rpm singles, all recorded on June 6, 1950, was originally issued in album format in 1956. Several things distinguish this from numerous other quintet recordings featuring these two bebop pioneers. It was recorded during the period that Parker was working under the aegis of producer Norman Granz, whose preference for large and unusual ensembles was notorious. The end result in this case is a date that sounds very much like those that Parker and Gillespie recorded for Savoy and Dial, except with top-of-the-line production quality. Even more interesting, though, is Parker's choice of Thelonious Monk as pianist.