Dizzy Gillespie - Ken Burns JAZZ Collection: Dizzy Gillespie
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Artist: Dizzy GillespieEdition: Music CD
CD Release Date: 2000-11-07
Music Label: Polygram Records
Soundtracks:
- Pickin' the Cabbage (with Cab Calloway & His Orchestra)
- Disorder At The Border (with Coleman Hawkins & His Orchestra)
- A Night In Tunisia (with Boyd Raeburn & His Orchestra)
- Salt Peanuts
- I Can't Get Started
- Dizzy Atmosphere
- Groovin' High
- Things To Come
- One Bass Hit, No. 2
- Manteca
- Bloomdido
- Tin Tin Deo
- Birk's Works
- The Eternal Triangle
- No More Blues (Chega de Saudade)
- Swing Low, Sweet Cadillac
Music reviews of Ken Burns JAZZ Collection: Dizzy Gillespie
Music Review: Best of the Bunch by Jazz' Foremost Entertainer
Rating: 5 Stars
Thanks to the interest kindled by the Burns series (how curious that the canonical, "party-line" jazz history delivered by Burns and Marsalis has led to their demonization by poorly read, self-appointed critics), I've been collecting these anthologies as preparation for teaching jazz history. Thus far, this Gillespie collection is the most satisfying--more consistent than the Armstrong, more representative than the Ellington, more musically engaging than the Goodman. I'm tempted to say that it's not merely a good introduction to Diz' recorded output but an adequate complete holding for most listeners--the notable omission being the famous "Jazz at Massey Hall" date which included Bird, Bud, Mingus and Max.Unlike Miles, who exercised calculated control over his recording projects and chose "sidemen" with a watchful eye to both their creative and "image" value, Dizzy was laid-back and even careless about his ensembles and recording projects, frequently appearing as a sideman himself on the sessions of lesser musicians. As a result, it's much harder to think of an essential album by Diz than it is by Miles, Duke, Coltrane, or Bill Evans.
In fact, Diz could be regarded as a more genuine "entertainer" than either Louis or Miles. The latter two were clearly aware of their "image" (in his bio Miles mentions Orson Welles as one of his main influences) and consciously worked on "acting out" the persona they knew audiences had come to expect. Diz, on the other hand, was simply having fun--a great artist, perhaps the premier trumpet player in the history of jazz, in "spite of" as well as because of his always playful temperament and childlike approach to music and life. His recorded career is literally "all over the place," but Burns has done a creditable job of selecting and consolidating isolated moments that document the man as well as the artist.
Diz' star arguably declined after the fifties whereas Miles' continued to ascend. I predict that the passage of time will even things out, enabling us to see the irrepressible John Birks as a supreme "player" of the language we call jazz. Its possibilities--even within the parameters of so-called "bebop"--are infinite, variable, serendipitous--fully available only to the personal consciousness of an inimitable human being whose approach to life might justify a nickname like "Dizzy."
Description of Ken Burns JAZZ Collection: Dizzy Gillespie
All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.Although Dizzy Gillespie was one of the great architects of modern jazz and its most famous personality, his trumpet style has rarely been imitated successfully. His high-speed runs, twisting phrases, and upper-register leaps are just too difficult to duplicate. This collection begins by placing Gillespie in the big swing bands in which his career began, his complex arrangements and advanced harmonic imagination gradually heralding the coming of bop. There are superb versions of some of his most famous anthems, like "A Night in Tunisia" and "Salt Peanuts," and meetings with altoist Charlie Parker, co-leader of the modernist revolution. Gillespie successfully translated the bop idiom to a big-band format, and his magnificent but short-lived bands are heard on the surging "Manteca" and "Birk's Works." His creative range is apparent--from the gorgeous "No More Blues," from his early discovery of bossa nova, and from his famous gospel parody, "Swing Low, Sweet Cadillac." While his formats would change, it's the Gillespie trumpet that's central here, an instrument capable of both rocketing invention and muted, insinuating sweetness. --Stuart Broomer
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