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.
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.
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.
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".
Concord Music Group will release five new titles in its Original Jazz Classics Remasters series on September 17, 2013. Enhanced by 24-bit remastering by Joe Tarantino, bonus tracks (some previously unreleased), and new liner notes to provide historical context to the originally released material, the series celebrates the 40th anniversary of Pablo Records, the prolific Beverly Hills-based label that showcased some of the most influential jazz artists and recordings of the 1970s and '80s.
Dizzy Gillespie was one of the most influent jazz trumpeters because he was the header, along with Charlie Parker and Thelonious Monk, of the bebop's verve, which large changed the genre around the forties. Therefore, some critics asks themselves what's the impact in universal music if the Dizzy Gillespie and Trio Mocotó's album had had released in that faraway year of 1974.Only a few months ago the Biscoito Fino Records released this phonographic pearl. In fact, Dizzy recorded this work through joining between the Verve Records and the Brazilian Philips, and took the master tape as soon as it was recorded, in eight hours of rehearsals, to go to stores in 1975…