Thank you, Bret, for such a fantastic synopsis. I can’t help but think that anyone reading this would become even more interested in the music Dizzy helped create. Look for my post next Sunday where I intend to discuss Dizzy, the educator, and the effect his tutelage had on his many disciples, including yours truly.
In addition to the manny fine qualities you enumerate, Dizzy was also a great humanitarian. At the end of his life he left an endowment for his fellow musicians who were in need. A few years ago I went to hear trumpeter Warren Vache’. I was surprised to see him walking with great difficulty, and he remained seated on stage the whole night. I happened to see him again the next year, and he was walking and standing just fine. I asked him what had changed, and he responded, “Dizzy Gillespie paid for my hip replacement.” Goose bumps broke out all over my body.
It seems to me that over the years Dizzy Gillespie has gotten a short shrift in popular recognition as a foundational artist of "bebop." More recognition has gone to Parker, but that is absolutely not fair. Standing next to Dizzy for several years, Charlie Parker took what he heard and did brilliant things with it. But, if Parker had only had Art Tatum and Don Byas as models, he would've sounded very different. Dizzy is essential for the reasons that you state.
When I was a fifteen year old trumpet player in my school's stage band it was my thrill to do the featured solo on "Night In Tunisia". That's how I learned to improvise. You know that break: I stood up and waited for it. Everyone was watching me. Then: BAM! Here I come screaming my little pathetic high C squeak and desperately hoping to make the changes. It was definitive! It made me! That trumpet got me laid for the first time. Never mind that was a disaster worse than the trumpet solo. OH yes. I saw that same band twice. I can't forget Moody's woody tone.
Dizzy was my first big name. I heard him in a club in Chicago on Rush Street -basement club, don't remember the name. My buddy had an apartment upstairs. He had a connection at the door, so got in free. Diz had a small group, and Paul Gonsalves sat in for one number. Paul was so drunk he could barely stand, but man - it didn't seem to affect his playing. Diz flashed humor, and racial anger in his patter, and pure intensity when he played. I caught two sets, and - Holy Christmas! There's a great album called The Giants of Jazz, double LP as I recall. A recording of a concert in London. Diz does the MC work - fantastic all the way around. https://en.wikipedia.org/wiki/The_Giants_of_Jazz_(album)
Hi Bret, terrific read. One thing though, about how Dizzy got his name. According to "To Be or Not to Bop," his memoir, Diz said that Bill Doggett, the pianist and arranger for the Frankie Fairfax band in Philly, gave him that name because when Dizzy auditioned for that premier big band he was using a pawned trumpet and didn't have a trumpet case. In fact he was carrying it in a paper bag! Doggett said he was acting crazy, like he was dizzy, and he couldn't read music. Gillespie said he was upset because for his audition he couldn't read the manuscript paper put it front of him because it was so poorly written. Of course, Dizzy knew music and knew it well.
One aspect that would bear discussion even if it's not particularly critical is Dizzy as a vocalist. Armstrong is of course the king of the non-vocalist vocalists, And Teagarden comes after, but I think it deserves at least a footnote with Dizzy. What would be useful for a musician with a body of work this large is some kind of listening program. It can seem overwhelming.
Ha, I always thought Salt Peanuts was Charlie Parker's tune. You taught me something else in your revelatory and finely tuned homages to the jazz greats!
This was great, no surprise! I realized that when you were writing in “Downbeat” there’s a good chance that I was reading you. Kool. The reception Dizzy gave you mirrors my feelings and memory of meeting Duke at the same age. Your writing on Jazz and your Jazz Video Guy stuff that I watch so often is the best.
Thank you Bret for that fine appreciation of one of the masters. One of the first records I bought was Jazz at Massie Hall and I’ve been listening to it ever since. First saw Dizzy playing with a big band in London at the Royal Festival Hall in the 60’s; what a concert that was!
Thank you, Bret, for such a fantastic synopsis. I can’t help but think that anyone reading this would become even more interested in the music Dizzy helped create. Look for my post next Sunday where I intend to discuss Dizzy, the educator, and the effect his tutelage had on his many disciples, including yours truly.
Looking forward to your post on Sunday.
In addition to the manny fine qualities you enumerate, Dizzy was also a great humanitarian. At the end of his life he left an endowment for his fellow musicians who were in need. A few years ago I went to hear trumpeter Warren Vache’. I was surprised to see him walking with great difficulty, and he remained seated on stage the whole night. I happened to see him again the next year, and he was walking and standing just fine. I asked him what had changed, and he responded, “Dizzy Gillespie paid for my hip replacement.” Goose bumps broke out all over my body.
It seems to me that over the years Dizzy Gillespie has gotten a short shrift in popular recognition as a foundational artist of "bebop." More recognition has gone to Parker, but that is absolutely not fair. Standing next to Dizzy for several years, Charlie Parker took what he heard and did brilliant things with it. But, if Parker had only had Art Tatum and Don Byas as models, he would've sounded very different. Dizzy is essential for the reasons that you state.
When I was a fifteen year old trumpet player in my school's stage band it was my thrill to do the featured solo on "Night In Tunisia". That's how I learned to improvise. You know that break: I stood up and waited for it. Everyone was watching me. Then: BAM! Here I come screaming my little pathetic high C squeak and desperately hoping to make the changes. It was definitive! It made me! That trumpet got me laid for the first time. Never mind that was a disaster worse than the trumpet solo. OH yes. I saw that same band twice. I can't forget Moody's woody tone.
Dizzy was my first big name. I heard him in a club in Chicago on Rush Street -basement club, don't remember the name. My buddy had an apartment upstairs. He had a connection at the door, so got in free. Diz had a small group, and Paul Gonsalves sat in for one number. Paul was so drunk he could barely stand, but man - it didn't seem to affect his playing. Diz flashed humor, and racial anger in his patter, and pure intensity when he played. I caught two sets, and - Holy Christmas! There's a great album called The Giants of Jazz, double LP as I recall. A recording of a concert in London. Diz does the MC work - fantastic all the way around. https://en.wikipedia.org/wiki/The_Giants_of_Jazz_(album)
Hi Bret, terrific read. One thing though, about how Dizzy got his name. According to "To Be or Not to Bop," his memoir, Diz said that Bill Doggett, the pianist and arranger for the Frankie Fairfax band in Philly, gave him that name because when Dizzy auditioned for that premier big band he was using a pawned trumpet and didn't have a trumpet case. In fact he was carrying it in a paper bag! Doggett said he was acting crazy, like he was dizzy, and he couldn't read music. Gillespie said he was upset because for his audition he couldn't read the manuscript paper put it front of him because it was so poorly written. Of course, Dizzy knew music and knew it well.
Well written Bret!
One aspect that would bear discussion even if it's not particularly critical is Dizzy as a vocalist. Armstrong is of course the king of the non-vocalist vocalists, And Teagarden comes after, but I think it deserves at least a footnote with Dizzy. What would be useful for a musician with a body of work this large is some kind of listening program. It can seem overwhelming.
Ha, I always thought Salt Peanuts was Charlie Parker's tune. You taught me something else in your revelatory and finely tuned homages to the jazz greats!
This was great, no surprise! I realized that when you were writing in “Downbeat” there’s a good chance that I was reading you. Kool. The reception Dizzy gave you mirrors my feelings and memory of meeting Duke at the same age. Your writing on Jazz and your Jazz Video Guy stuff that I watch so often is the best.
Gracias. Tu es uno hombre muy sincero.
Thank you Bret for that fine appreciation of one of the masters. One of the first records I bought was Jazz at Massie Hall and I’ve been listening to it ever since. First saw Dizzy playing with a big band in London at the Royal Festival Hall in the 60’s; what a concert that was!
Absolutely fascinating.
Awesome