Artist: Dizzy Gillespie
Genre(s):
Jazz
Other
Discography:
Portrait of Duke Ellington
Year: 2005
Tracks: 13
The Champ
Year: 2000
Tracks: 11
The Final Recordings
Year: 1997
Tracks: 6
Live at Carnegie Hall
Year: 1997
Tracks: 15
Jazz Maturity....Where It's Coming Fro
Year: 1994
Tracks: 6
Jazz Masters 10
Year: 1993
Tracks: 12
To Bird With Love: Live at the Blue Note (Live)
Year: 1992
Tracks: 7
Quintet - Jazz at Massey Hall: Toronto May 1953
Year: 1992
Tracks: 12
Live at the Village Vanguard
Year: 1992
Tracks: 3
At Newport
Year: 1992
Tracks: 9
Live at the Royal Festival Hall
Year: 1987
Tracks: 1
Live Umbria
Year: 1976
Tracks: 2
Reunion Big Band
Year: 1968
Tracks: 6
Live at the Village Vanguard Disc 1
Year: 1967
Tracks: 4
Sextet
Year: 1953
Tracks: 15
Summertime With Johnny Griffin
Year:
Tracks: 6
Ken Burns Jazz Series: Dizzy Gillespie
Year:
Tracks: 16
Impromptu
Year:
Tracks: 12
Dizzy Atmosphere
Year:
Tracks: 21
Cool Breeze
Year:
Tracks: 19
Birk's Works
Year:
Tracks: 21
A Night in Tunisia
Year:
Tracks: 13
Dizzy Gillespie's contributions to jazz were vast. One of the superlative jazz trumpeters of all time (some would say the topper), Gillespie was such a coordination compound actor that his contemporaries over up copying Miles Davis and Fats Navarro rather, and it was not until Jon Faddis' issue in the seventies that Dizzy's style was successfully recreated. Somehow, Gillespie could make whatever "imperfectly" note accommodate, and harmonically he was ahead of everyone in the forties, including Charlie Parker. Unlike Bird, Dizzy was an enthusiastic instructor world Health Organization wrote down his musical innovations and was eager to explicate them to the next generation, thereby insuring that bop would finally get the substructure of jazz.
Giddy Gillespie was too 1 of the winder 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 2 of the finest large bands in nothingness history, Gillespie differed from many in the boP contemporaries by existence a masterful showman wHO could get his music seem both accessible and playfulness 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 immediate wit, Dizzy was a colourful fig to watch. A natural comedian, Gillespie was likewise a superb scat vocaliser and once in a while played Latin pleximetry for the fun of it, but it was his trumpet playing and leadership abilities that made him into a jazz giant.
The youngest of ball club 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 and then in 1935 dropped out of school to look for cultivate as a musician. Inspired and ab initio greatly influenced by Roy Eldridge, Gillespie (wHO before long gained the nickname of "Vertiginous") united Frankie Fairfax's dance band in Philadelphia. In 1937, he became a penis of Teddy Hill's orchestra in a bit erst filled by Eldridge. Dizzy made his recording debut on Hill's rendition of "King Porter Stomp" and during his inadequate period with the band toured Europe. After freelancing for a year, Gillespie coupled Cab Calloway's orchestra (1939-1941), recording ofttimes with the popular bandleader and taking many short solos that delineate his developing; "Pickin' the Cabbage" finds Dizzy starting to come forth from Eldridge's shadow. However, Calloway did non care for Gillespie's unvarying chance-taking, career his solos "Chinese music." After an incident in 1941 when a spitter was badly thrown at Calloway (he accused Gillespie only the culprit was actually Jonah Jones), Dizzy was laid-off.
By then, Gillespie had already met Charlie Parker, wHO confirmed the cogency of his musical search. During 1941-1943, Dizzy passed through and through many bands including those light-emitting diode by Ella Fitzgerald, Coleman Hawkins, Benny Carter, Charlie Barnet, Fess Williams, Les Hite, Claude Hopkins, Lucky Millinder (with whom he recorded in 1942), and tied Duke Ellington (for four weeks). Gillespie likewise contributed several advanced arrangements to such bands as Benny Carter, Jimmy Dorsey, and Woody Herman; the latter advised him to establish up his trumpet playing and stick to full-time transcription.
Featherbrained neglected the advice, jam-packed at Minton's Playhouse and Monroe's Uptown House where he tried and true out his fresh ideas, and in late 1942 united Earl Hines' big lot. Charlie Parker was chartered on tenor and the sadly unrecorded orchestra was the low orchestra to explore early bebop. By and then, Gillespie had his vogue together and he wrote his most famous composition "A Night in Tunisia." When Hines' vocaliser Billy Eckstine went on his own and formed a fresh boP big lot, Diz and Bird (along with Sarah Vaughan) were among the members. Gillespie stayed tenacious sufficiency to record a few book of Numbers with Eckstine in 1944 (to the highest degree perceptibly "Piece of music X" and "Blowing the Blues Away"). That year he too participated in a pair of Coleman Hawkins-led sessions that ar ofttimes thought of as the number one fully fledged bebop dates, highlighted by Dizzy's piece "Woody'n You."
1945 was the discovery 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 existence Health Organization had ne'er heard the advanced medicine as it was evolving; and Dizzy's rendition of "I Can't Get Started" completely reworked the early Bunny Berigan hit. It would moving-picture show two age for the ofttimes manic just at last coherent new stylus to get down catching on as the mainstream of malarkey. Gillespie light-emitting junction rectifier an unsuccessful self-aggrandising band in 1945 (a Southern go finished it), and late in the year he traveled with Parker to the West Coast to recreate a lengthy gig at Billy Berg's society in L.A. Unfortunately, the audiences were non enthusiastic (other than local musicians) and Dizzy (without Parker) before long returned to New York.
The following year, Dizzy Gillespie put together a successful and influential orchestra which survived for closely tetrad memorable long time. "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 offspring John Coltrane, Gillespie's bad band was a gentility ground for the new music. Dizzy's beret, goatee, and "federal Bureau of Prisons eyeglasses" helped make him a symbol of the music and its most popular figure. During 1948-1949, near every previous drop band was nerve-racking to run bebop, and for a brief period the major record companies tried very hard to turn the music into a rage.
By 1950, the furor had concluded and Gillespie was forced, due to economic pressures, to get around up his groundbreaking ceremony orchestra. He had casual (and incessantly exciting) reunions with Charlie Parker (including a fabled Massey Hall concert in 1953) up until Bird's destruction in 1955, toured with Jazz at the Philharmonic (where he had opportunities to "struggle" the litigious Roy Eldridge), headed all-star recording roger Huntington Sessions (victimisation Stan Getz, Sonny Rollins, and Sonny Stitt on some dates), and lED combos that for a time in 1951 besides featured Coltrane and Milt Jackson. In 1956, Gillespie was authorized to sort a self-aggrandising band and play a enlistment overseas sponsored by the State Department. It was so successful that more travelling 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 PLC280% and Liston) contributed some of the arrangements. After the orchestra skint up, Gillespie went game to leading small groups, featuring such sidemen in the sixties as Junior Mance, Leo Wright, Lalo Schifrin, James Moody, and Kenny Barron. He retained his popularity, at times headed peculiarly 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 pass off, a gradual decline that would make most of his '80s work quite a mercurial. However, Dizzy remained a worldly concern traveler, an inspiration and instructor to jr. players, and during his concluding mates of old age he was the drawing card of the United Nation Orchestra (featuring Paquito D'Rivera and Arturo Sandoval). He was active up until early 1992.
Dizzy Gillespie's calling was very substantially documented from 1945 on, in particular on Musicraft, Dial, and RCA in the forties; Verve in the fifties; Philips and Limelight in the sixties; and Pablo in by and by geezerhood.
