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John Birks "Dizzy" Gillespie (/ɡɪˈlɛspi/; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, and singer.[1]
Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge[2] but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality provided some of bebop's most prominent symbols.[1]
In the 1940s Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz.[3] He taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan,[4] Chuck Mangione,[5] and balladeer Johnny Hartman.[6]
AllMusic's Scott Yanow wrote: "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated [....] Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time".[7]
Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge[2] but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality provided some of bebop's most prominent symbols.[1]
In the 1940s Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz.[3] He taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan,[4] Chuck Mangione,[5] and balladeer Johnny Hartman.[6]
AllMusic's Scott Yanow wrote: "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated [....] Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time".[7]
Dizzy Gillespie - Wikipedia
Posted from en.wikipedia.org
Birthday
Jazz Music
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American History
Edited 6 y ago
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Thank you my friend Maj Marty Hogan for making us aware that October 21 is the anniversary of the birth of American jazz trumpeter, bandleader, composer, and singer John Birks "Dizzy" Gillespie who was a trumpet virtuoso and improviser that built on the virtuoso style of Roy Eldridge; but; added layers of harmonic and rhythmic complexity previously unheard in jazz.
Rest in peace John Birks "Dizzy" Gillespie!
Background from ijc.uidaho.edu/gillespie_dizzy/bio.html
"Dizzy Gillespie Collection
Extended Biography
John Birks “Dizzy” Gillespie was born on October 21, 1917 in Cheraw, South Carolina. Dizzy was the youngest of nine children. He started playing the piano at 4, trombone at 12, and the trumpet at 14. For the most part Dizzy was self taught. “Gillespie was born into a family whose father, James, was a bricklayer, pianist and band leader.”[3] Therefore trumpets, saxophones, guitars and pianos were at Dizzy’s disposal. Tragically, Dizzy’s father James died when he was just 10.
In 1935, Dizzy put his scholarly pursuits on hold at Laurinburg Institute in North Carolina on hold to move to Philadelphia to play in local groups. Dizzy joined the orchestra of Fran Fairfax in 1935, the orchestra of Teddy Hill in 1937, the orchestra of Cab Calloway in 1939, the orchestra of Ella Fitzgerald in 1942, and the orchestra of Earl Hines in 1943. During this period he acquired the nickname by which he has become universally known. “The name Dizzy resulted from his zestful behavior and was actually bestowed by a fellow trumpeter, Fats Palmer, whose life Gillespie saved when Palmer was overcome by fumes in a gas-filled room during a tour with the Frankie Fairfax band.”[1]
“In 1937, Gillespie met his future wife, Lorraine, a chorus dancer at the famed Apollo Theater: they were married in 1940 and remained together until his death.”[3] During a party for Lorraine, another band member bent Dizzy’s trumpet in such a way that the upward 45-degree angle of the bell allowed him to hear the notes sooner than before. Also if he was looking at a chart and was looking down the horn pointed toward the audience. He enjoyed the unexpected side effects of the bent trumpet so much that he later ordered a trumpet constructed similar to the bent design.
Dizzy Gillespie and Charlie Parker have been attributed with the development of bebop and modern jazz. “Dizzy appeared on a Lionel Hampton record date, playing a solo on a tune entitled ‘Hot Mallets’ which many observers believe to be the first recorded example of what would later be called bebop.”[1] In 1945 Gillespie formed his own big band, with limited commercial success, that showcased the concept of big band bebop as a form of jazz.
In the late 1940s Dizzy was involved with a movement dubbed Afro-Cuban music. It brought Latin and African elements into the jazz scene. One of his most famous songs contributing to this movement was “Manteca.”
In 1956 during Dwight D. Eisenhower’s presidency, Dizzy organized a band to go on a State Department tour of the Middle East, Africa, and Asia which earned him the nickname “the Ambassador of Jazz.” [2] Gillespie played using the bebop style for the rest of his career. In 1960, he was inducted into the Jazz Hall of Fame. In 1979, Dizzy published his autobiography To Be or Not to Bop. In the 1980s he led the United Nations Orchestra. 1989 was a whirlwind year for Dizzy as he gave 300 performances in 27 countries. Dizzy died on January 1993 in Englewood, New Jersey.
“In the history of the development of jazz trumpet, Gillespie’s place ranked second only to that of Louis Armstrong.” [1] Gillespie’s career rarely failed to show fresh thought, excitement, and exuberant vitality. Dizzy created a legacy for inspiring musicians to follow. This musical legacy is best summarized by him, “The Music of Charlie Park and me laid a foundation for all the music that is being played now…. Our music is going to be the classical music of the future.”[4]
References
1. The Encyclopedia of Popular Music pp. 2150
2. Nytimes.com
3. Allaboutjazz.com
4. Dizzygillespie.org"
Dizzy Gillespie 1990 Documentary
https://www.youtube.com/watch?v=B0uuLcMaPzI
FYI COL Mikel J. Burroughs LTC Stephen C. LTC (Join to see) Lt Col John (Jack) Christensen Maj Bill Smith, Ph.D. Maj William W. "Bill" Price Maj Marty Hogan SCPO Morris Ramsey SGT Mark Halmrast Sgt Randy Wilber Sgt John H. SGT Gregory Lawritson CPL Dave Hoover SPC Margaret Higgins SSgt Brian Brakke 1stSgt Eugene Harless CPT Scott Sharon
Rest in peace John Birks "Dizzy" Gillespie!
Background from ijc.uidaho.edu/gillespie_dizzy/bio.html
"Dizzy Gillespie Collection
Extended Biography
John Birks “Dizzy” Gillespie was born on October 21, 1917 in Cheraw, South Carolina. Dizzy was the youngest of nine children. He started playing the piano at 4, trombone at 12, and the trumpet at 14. For the most part Dizzy was self taught. “Gillespie was born into a family whose father, James, was a bricklayer, pianist and band leader.”[3] Therefore trumpets, saxophones, guitars and pianos were at Dizzy’s disposal. Tragically, Dizzy’s father James died when he was just 10.
In 1935, Dizzy put his scholarly pursuits on hold at Laurinburg Institute in North Carolina on hold to move to Philadelphia to play in local groups. Dizzy joined the orchestra of Fran Fairfax in 1935, the orchestra of Teddy Hill in 1937, the orchestra of Cab Calloway in 1939, the orchestra of Ella Fitzgerald in 1942, and the orchestra of Earl Hines in 1943. During this period he acquired the nickname by which he has become universally known. “The name Dizzy resulted from his zestful behavior and was actually bestowed by a fellow trumpeter, Fats Palmer, whose life Gillespie saved when Palmer was overcome by fumes in a gas-filled room during a tour with the Frankie Fairfax band.”[1]
“In 1937, Gillespie met his future wife, Lorraine, a chorus dancer at the famed Apollo Theater: they were married in 1940 and remained together until his death.”[3] During a party for Lorraine, another band member bent Dizzy’s trumpet in such a way that the upward 45-degree angle of the bell allowed him to hear the notes sooner than before. Also if he was looking at a chart and was looking down the horn pointed toward the audience. He enjoyed the unexpected side effects of the bent trumpet so much that he later ordered a trumpet constructed similar to the bent design.
Dizzy Gillespie and Charlie Parker have been attributed with the development of bebop and modern jazz. “Dizzy appeared on a Lionel Hampton record date, playing a solo on a tune entitled ‘Hot Mallets’ which many observers believe to be the first recorded example of what would later be called bebop.”[1] In 1945 Gillespie formed his own big band, with limited commercial success, that showcased the concept of big band bebop as a form of jazz.
In the late 1940s Dizzy was involved with a movement dubbed Afro-Cuban music. It brought Latin and African elements into the jazz scene. One of his most famous songs contributing to this movement was “Manteca.”
In 1956 during Dwight D. Eisenhower’s presidency, Dizzy organized a band to go on a State Department tour of the Middle East, Africa, and Asia which earned him the nickname “the Ambassador of Jazz.” [2] Gillespie played using the bebop style for the rest of his career. In 1960, he was inducted into the Jazz Hall of Fame. In 1979, Dizzy published his autobiography To Be or Not to Bop. In the 1980s he led the United Nations Orchestra. 1989 was a whirlwind year for Dizzy as he gave 300 performances in 27 countries. Dizzy died on January 1993 in Englewood, New Jersey.
“In the history of the development of jazz trumpet, Gillespie’s place ranked second only to that of Louis Armstrong.” [1] Gillespie’s career rarely failed to show fresh thought, excitement, and exuberant vitality. Dizzy created a legacy for inspiring musicians to follow. This musical legacy is best summarized by him, “The Music of Charlie Park and me laid a foundation for all the music that is being played now…. Our music is going to be the classical music of the future.”[4]
References
1. The Encyclopedia of Popular Music pp. 2150
2. Nytimes.com
3. Allaboutjazz.com
4. Dizzygillespie.org"
Dizzy Gillespie 1990 Documentary
https://www.youtube.com/watch?v=B0uuLcMaPzI
FYI COL Mikel J. Burroughs LTC Stephen C. LTC (Join to see) Lt Col John (Jack) Christensen Maj Bill Smith, Ph.D. Maj William W. "Bill" Price Maj Marty Hogan SCPO Morris Ramsey SGT Mark Halmrast Sgt Randy Wilber Sgt John H. SGT Gregory Lawritson CPL Dave Hoover SPC Margaret Higgins SSgt Brian Brakke 1stSgt Eugene Harless CPT Scott Sharon
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SSgt Boyd Herrst
Yeah man ... great stuff. I like sharing (a get-together) But also like that “alone time”... even at a get together .. once the music starts, shut-up and let it play, if they want to talk, take it in the other room or wait until it’s done... had s’body who couldn’t wait and they reached over and pushed the pause button.. “why’d you do that?” Another guest asked. “I want to talk.” They said.. “fine, take it out in the other room please and thank you !” And they got gall to say I’m rude !... So I leave them out of a few listening sessions and of course word gets to them.. that there’d been a listening session.. that guy asked me why I left them out.. “well, you seem to want to take over, we wanted to hear the music, have some snack and talk.. near the end.. you want to manipulate the sit-rep and talk not about the artist and music but about unconnected subject(s)... just take it outside or wait! That’s why we left you out for a short time.. when you can come back and abide by our way of doing a session, you are welcome! So see you next session!” I thought I laid it out for them pretty nice.. We move the session around.. if we have a mixed group, the others guys’s Mates want to be around and monitor... like someone could get Hinky with s’one else.. one of the rules is don’t get Hinky with s’one’s mate, not wanting to get a war started.. the group does interact good, got a wild child, so got to run herd on them occasionally.. would un-invite if they cannot act appropriately (gentlemanly or ladylike).. there are times and places to do that stuff. If we’re at s’one else’s pad..
go somewhere and carry on.. I don’t want to know.. somebody gets inappropriate with s’one else’s mate and that mate that got wronged gets an idea that we are all responsible for a session maybe turn’g into a inappropriate sit-rep..
That’s why I tell them at my place if they are going to “fool-around” go and leave separately and meet s’where else, I will not be responsible for causing a break-up among friends.. that will be between those people.. i’ve Seen good friendships busted up .. it’s a shame it seems like maturity goes out the window and some people all of a sudden have “tunnel-vision” And don’t see “a real picture”... that’s why when doing get-togethers and have some over- amorous friends (Free-love-think”)
Need to have a few ground rules..
If we think people will throw maturity out the window..
go somewhere and carry on.. I don’t want to know.. somebody gets inappropriate with s’one else’s mate and that mate that got wronged gets an idea that we are all responsible for a session maybe turn’g into a inappropriate sit-rep..
That’s why I tell them at my place if they are going to “fool-around” go and leave separately and meet s’where else, I will not be responsible for causing a break-up among friends.. that will be between those people.. i’ve Seen good friendships busted up .. it’s a shame it seems like maturity goes out the window and some people all of a sudden have “tunnel-vision” And don’t see “a real picture”... that’s why when doing get-togethers and have some over- amorous friends (Free-love-think”)
Need to have a few ground rules..
If we think people will throw maturity out the window..
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