Dizrhythmia is the collective name adopted in the 1980s by Jakko Jakszyk (guitars, keyboards, vocals), Gavin Harrison (drums and percussion), Danny Thompson, (double bass) and Pandit Dinesh (percussion, vocals). The quartet released their first album in 1988. An eclectic mixture effortlessly blending jazz, rock, pop and elements drawn from Indian music, Dizrhythmia Too highlights the first-class playing expected from musicians of this calibre and showcases the unique chemistry that happens when they work together. Ex-Bruford keyboard legend, Dave Stewart also plays piano throughout the album.
This double CD collects all of the Dizzy Gillespie Big Band sides from 1946-1949 for the Bluebird and Musicraft labels, including seven previously unissued cuts. These bands were renowned for their hard-swinging styles that accented the toughness of bebop wailing R&B and Latin/Cuban grooves. Some of Diz's sidemen included Milt Jackson, Cecil Payne, Ray Brown, Willie Bobo, Yusef Lateef, Johnny Hartman, Leo Parker, John Lewis, Sonny Stitt, Kenny Dorham, James Moody, Ernie Henry, Al McKibbon, and dozens of others. Here are formidable versions of "Two Bass Hit," "Cubana Bop," "Jump Did-Le-Ba," "Oop-Pop-A-Da," and many others. In addition to the studio sides there is an entire Paris concert included from a radio transcription, making these sides indispensable. The only downside is the lack of liner notes – though full session notation is included.
Reece's style was so striking that it even impressed Miles Davis, who started to recommend him to anyone who would listen. Sonny Rollins was also a fan, and with these two titans propping Reece it was only a matter of time before Blue Note came calling. A month after his label debut, Blues in Trinity, came out in 1959 (it was recorded the previous year), Melody Maker announced triumphantly, "Trumpeter Dizzy Reece is the first British jazz star to be signed exclusively by an American record company."
For a short time in the late '50s trumpeter Dizzy Reece was an up-and-coming jazz artist. However, success eluded him and he quietly faded into obscurity, only occasionally releasing material after the early '60s. As a matter of fact, the sessions that became Comin' On! languished in the Blue Note vaults for almost four decades. Rediscovered in 1999, these dates feature six well-rounded hard bop compositions by Reece along with three standards. The tracks from April 3, 1960, not only document the Blue Note debut of tenor saxophonist Stanley Turrentine but also employ the talents of the Jazz Messengers' rhythm section of the time, pianist Bobby Timmons, bassist Jymie Merritt, and drummer Art Blakey. By July 17, 1960, the only musician remaining from the previous date was Turrentine, sharing tenor duties with Musa Kaleem, who is also heard on flute. (The later session's rhythm section had changed to pianist Duke Jordan, bassist Sam Jones, and drummer Al Harewood.) Neglected, although spirited, sessions from an underrated trumpeter and composer.
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".
In the summer of 1956, the famed Harlem congressman Adam Clayton Powell arranged for Dizzy Gillespie to embark on a worldwide goodwill-ambassador tour sponsored by the State Department. Gillespie and an all-star big band featuring trumpeter Quincy Jones, the late trombonist Melba Liston, alto saxophonist Phil Woods, and tenor saxophonist Benny Golson performed in Ecuador, Argentina, Uruguay, and Brazil to frenzied, beret-wearing fans. Recordings were made but they weren't commercially available and were played only for a select group of musicians before Gillespie's death in 1993. Now the sides have been released, showcasing Dizzy at his bebopping best.
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".
Soundin' Off is a solid quartet outing with pianist Walter Bishop Jr., bass player Doug Watkins and Taylor; but the absence of a flinty frontline partner and a greater reliance on standards (there's only one Reece tune on the date) gives the album a more generic feel than the others. The up side is that Reece airs out his chops on a variety of vehicles, spanning torchy ballads like "Ghost of a Chance" and boppin' romps on the "I Got Rhythm" template "Eb Pob" by Fats Navarro. The album provides a comprehensive picture of Reece's abilities as a trumpeter; the rub is that he was also a fine composer, and the lone original, a straight-up blues, doesn't adequately represent that aspect of his music.