OntmetaDizzy1. Test page
|Name & Pictures||
Wikipedia: Dizzy Gillespie notes that he was “a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz”
at the age of 12 began to teach himself to play trombone and trumpet and later took up the mellower sounding cornet
moved to New York City in 1937 and sat in with many different bands and at many jam sessions eventually earning a job with Teddy Hill's big band mostly because he sounded like Roy Eldridge who had been Hill's trumpet soloist. Immediately after joining the Hill band they toured France 🇫🇷 and Great Britain 🇬🇧 for two months
joined Cab Calloway's big band (1939), one of the highest-paid black bands in New York City. While in this group, he began to develop an interest in the fusion of jazz and Afro-Cuban music, largely because of his friendship with Mario Bauzá, who had helped recruit Gillespie into Calloway's band
with Lucky Millinder, recorded a fully formed Bebop solo within a swing band context on "Little John Special" (Listen to it by clicking on title) (1942). After Gillespie's solo, the band plays a riff which he later develops into the song "Salt Peanuts" (Click here to hear "Salt Peanuts")
joined the orchestra of Ella Fitzgerald (1942), and later the orchestra of Earl Hines (1943)
“Early in 1945, Gillespie organized his own short-lived big band. Failing to achieve financial success with this group, he then formed a bop quintet with Parker in November. He later expanded the group to a sextet, but his desire to lead a big band inspired him to try once more, and this time he was able to keep its members together for four years”
During this period, the band made some early attempts to fuse Afro-Cuban rhythms with Afro-American jazz. Gillespie added Chano Pozo to the rhythm section, and the two men recorded "Cubana Be/Cubana Bop" (written by George Russell) and Manteca (by Gillespie and Chano Pozo). By 1947, the band's rhythm section consisted of John Lewis, Milt Jackson, Kenny Clarke, and Ray Brown, who went on to form the Modern Jazz Quartet in 1952
At various times such prominent bop players as J. J. Johnson, Sonny Stitt, James Moody, Jimmy Heath, Paul Gonsalves, and John Coltrane (several are NEA Jazz Masters) were also members of Gillespie's band. Financial problems made Gillespie give up his big band in 1950
Gillespie continued to perform and record extensively with his various small groups into the late 1980s. In addition, he appeared occasionally in all-star groups such as the Giants of Jazz (1971-72), a sextet with Kai Winding (trombone), Sonny Stitt (alto and tenor saxophones), Thelonious Monk (piano), Al McKibbon (bass), and Art Blakey (drums). Also, he regularly performed on Caribbean cruise ships that featured jazz artists
“Although he was once viewed as a musical iconoclast, his music is no longer considered radical.
international jazz promoter
Downbeat magazine Hall of Fame, Reader's Poll (1960)
awarded the National Medal of Arts (1989) United States Congress in 1984 for the purpose of honoring artists and patrons of the arts, a prestigious American honor, and the highest honor specifically given for achievement in the arts conferred to an individual artist on behalf of the people of the United States selected by the National Endowment for the Arts (NEA), and ceremoniously presented by the President of the United States
- For musical examples see:
‣ "Essential Solos: 40 Great Improvisations: (100) Jazz artists and critics pick their favorite solos from the music's past and present," Jazz Times, November 2, 2017.
‣ "Perfect Jazz Recordings," Richard Brody, The New Yorker, September 23, 2014.
‣ Also see the Jazz Discography Project.
- “Set of conga drums that belonged to Dizzy Gillespie before he gifted them to a fellow musician on May 4, 1987. Dizzy Gillespie used these conga drums when he performed with J.C. Heard and his Orchestra, at the 1987 Montreux-Detroit Jazz Festival. Dizzy and J.C. Heard, were commissioned by Detroit Renaissance to write and perform a song together to commemorate the event. That night Dizzy took a break from his horn and played the conga to ignite the audience by performing a percussion duet with J.C. Heard on drums and Dizzy Gillespie on the congas.” (Dizzy performed with conga drum as described in Guernsey's Auction Catalog, Guernsey’s Jazz Auction Catalogue Addendum, p. 12 of 14.)
- As reported at Wikipedia: Dizzy Gillespie.
- "In Love With the Trumpet; Dizzy Author's Query," Claude Brown, New York Times, February 3, 1980, p. 4. “At 16, the future father of bebop entered Laurinburg Institute . . . . In 1935 he left Laurinburg Institute and joined his family at their new home in Philadelphia.”
- Oklahoma Jazz Hall of Fame.
- "Dizzy Gillespie Biography," 6th paragraph, Oklahoma Jazz Hall of Fame.
- "Dizzy Gillespie," 8th and last paragraph, Oklahoma Jazz Hall of Fame.