John Birks "Dizzy" Gillespie (October 21, 1917 – January 6, 1993) was an Am… Read Full Bio ↴John Birks "Dizzy" Gillespie (October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer and occasional singer.
Dizzy Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic complexity previously unknown in jazz. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop.
In the 1940s Gillespie, together with Charlie Parker, became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Clifford Brown, Lee Morgan and Arturo Sandoval a.o..
Gillespie was born in Cheraw, South Carolina, USA the youngest of nine children of James and Lottie Gillespie. James was a local bandleader, so instruments were made available to Dizzy. He started to play the piano at the age of four (1921). Gillespie's father died when the boy was only ten years old. Gillespie taught himself how to play the trombone as well as the trumpet by the age of twelve. From the night he heard his idol, Roy Eldridge, play on the radio, he dreamed of becoming a jazz musician. He received a music scholarship to the Laurinburg Institute in Laurinburg, North Carolina, which he attended for two years before accompanying his family when they moved to Philadelphia.
Gillespie's first professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the respective orchestras of Edgar Hayes and Teddy Hill, essentially replacing Roy Eldridge as first trumpet in 1937. Teddy Hill’s band was where Gillespie made his first recording, "King Porter Stomp". In August 1937 while gigging with Hayes in Washington D.C., Dizzy met a young dancer named Lorraine Willis who worked a Baltimore–Philadelphia–New York circuit which included the Apollo Theatre. Willis was not immediately friendly but Gillespie was attracted anyway. The two finally married on May 9, 1940. They remained married until his death in 1993.
Dizzy stayed with Teddy Hill’s band for a year, then left and free-lanced with numerous other bands. In 1939, Gillespie joined Cab Calloway's orchestra, with which he recorded one of his earliest compositions, the instrumental "Pickin' the Cabbage", in 1940. (Originally released on Paradiddle, a 78rpm backed with a co-composition with Cozy Cole, Calloway's drummer at the time, on the Vocalion label, No. 5467).
Dizzy was fired by Calloway in late 1941, after a notorious altercation between the two. The incident is recounted by Gillespie, along with fellow Calloway band members Milt Hinton and Jonah Jones, in Jean Bach's 1997 film, The Spitball Story. Calloway did not approve of Gillespie's mischievous humor, nor of his adventuresome approach to soloing; according to Jones, Calloway referred to it as “Chinese music”. During one performance, Calloway saw a spitball land on the stage, and accused Gillespie of having thrown it. Dizzy denied it, and the ensuing argument led to Calloway striking Gillespie, who then pulled out a switchblade knife and charged Calloway. The two were separated by other band members, during which scuffle Calloway was cut on the hand.
During his time in Calloway's band, Gillespie started writing big band music for bandleaders like Woody Herman and Jimmy Dorsey. He then freelanced with a few bands – most notably Ella Fitzgerald's orchestra, composed of members of the late Chick Webb's band, in 1942.
In 1943, Gillespie joined the Earl Hines band. Composer Gunther Schuller said:
... In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Gillespie runs in the trumpet section work. Two years later I read that that was 'bop' and the beginning of modern jazz ... but the band never made recordings.
Gillespie said of the Hines band, "People talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here ... naturally each age has got its own shit".
Next, Gillespie joined Billy Eckstine's (Earl Hines' long-time collaborator) big band and it was as a member of Eckstine's band that he was reunited with Charlie Parker, a fellow member of Hines's band. In 1945, Gillespie left Eckstine's band because he wanted to play with a small combo. A "small combo" typically comprised no more than five musicians, playing the trumpet, saxophone, piano, bass and drums.
The rise of bebop
Bebop was known as the first modern jazz style. However, it was unpopular in the beginning and was not viewed as positively as swing music was. Bebop was seen as an outgrowth of swing, not a revolution. Swing introduced a diversity of new musicians in the bebop era like Charlie Parker, Thelonious Monk, Bud Powell, Kenny Clarke, Oscar Pettiford, and Gillespie. Through these musicians, a new vocabulary of musical phrases was created. With Charlie Parker, Gillespie jammed at famous jazz clubs like Minton's Playhouse and Monroe's Uptown House. Charlie Parker's system also held methods of adding chords to existing chord progressions and implying additional chords within the improvised lines.
Gillespie compositions like "Groovin' High", "Woody n' You" and "Salt Peanuts" sounded radically different, harmonically and rhythmically, from the swing music popular at the time. "A Night in Tunisia", written in 1942, while Gillespie was playing with Earl Hines' band, is noted for having a feature that is common in today's music, a non-walking bass line. The song also displays Afro-Cuban rhythms. One of their first small-group performances together was only issued in 2005: a concert in New York's Town Hall on June 22, 1945. Gillespie taught many of the young musicians on 52nd Street, including Miles Davis and Max Roach, about the new style of jazz. After a lengthy gig at Billy Berg's club in Los Angeles, which left most of the audience ambivalent or hostile towards the new music, the band broke up. Unlike Parker, who was content to play in small groups and be an occasional featured soloist in big bands, Gillespie aimed to lead a big band himself; his first, unsuccessful, attempt to do this was in 1945.
After his work with Parker, Gillespie led other small combos (including ones with Milt Jackson, John Coltrane, Lalo Schifrin, Ray Brown, Kenny Clarke, James Moody, J.J. Johnson, and Yusef Lateef) and finally put together his first successful big band. Gillespie and his band tried to popularize bop and make Gillespie a symbol of the new music. He also appeared frequently as a soloist with Norman Granz's Jazz at the Philharmonic. He also headlined the 1946 independently-produced musical revue film Jivin' in Be-Bop.
In 1948 Gillespie was involved in a traffic accident when the bicycle he was riding was bumped by an automobile. He was slightly injured, and found that he could no longer hit the B-flat above high C. He won the case, but the jury awarded him only $1000, in view of his high earnings up to that point.
In 1956 he organized a band to go on a State Department tour of the Middle East which was extremely well received internationally and earned him the nickname "the Ambassador of Jazz". During this time, he also continued to lead a big band that performed throughout the United States and featured musicians including Pee Wee Moore and others. This band recorded a live album at the 1957 Newport jazz festival that featured Mary Lou Williams as a guest artist on piano.
Afro-Cuban music
In the late 1940s, Gillespie was also involved in the movement called Afro-Cuban music, bringing Afro-Latin American music and elements to greater prominence in jazz and even pop music, particularly salsa. Afro-Cuban jazz is based on traditional Afro-Cuban rhythms. Gillespie was introduced to Chano Pozo in 1947 by Mario Bauza, a Latin jazz trumpet player. Chano Pozo became Gillespie's conga drummer for his band. Gillespie also worked with Mario Bauza in New York jazz clubs on 52nd Street and several famous dance clubs such as Palladium and the Apollo Theater in Harlem. They played together in the Chick Webb band and Cab Calloway's band, where Gillespie and Bauza became lifelong friends. Gillespie helped develop and mature the Afro-Cuban jazz style.
Afro-Cuban jazz was considered bebop-oriented, and some musicians classified it as a modern style. Afro-Cuban jazz was successful because it never decreased in popularity and it always attracted people to dance to its unique rhythms. Gillespie's most famous contributions to Afro-Cuban music are the compositions "Manteca" and "Tin Tin Deo" (both co-written with Chano Pozo); he was responsible for commissioning George Russell's "Cubano Be, Cubano Bop", which featured the great but ill-fated Cuban conga player, Chano Pozo. In 1977, Gillespie discovered Arturo Sandoval while researching music during a tour of Cuba.
Later years
His biographer Alyn Shipton quotes Don Waterhouse approvingly that Gillespie in the fifties "had begun to mellow into an amalgam of his entire jazz experience to form the basis of new classicism". Another opinion is that, unlike his contemporary Miles Davis, Gillespie essentially remained true to the bebop style for the rest of his career.
In 1960, he was inducted into the Down Beat magazine's Jazz Hall of Fame.
During the 1964 United States presidential campaign the artist, with tongue in cheek, put himself forward as an independent write-in candidate. He promised that if he were elected, the White House would be renamed "The Blues House," and a cabinet composed of Duke Ellington (Secretary of State), Miles Davis (Director of the CIA), Max Roach (Secretary of Defense), Charles Mingus (Secretary of Peace), Ray Charles (Librarian of Congress), Louis Armstrong (Secretary of Agriculture), Mary Lou Williams (Ambassador to the Vatican), Thelonious Monk (Travelling Ambassador) and Malcolm X (Attorney General). He said his running mate would be Phyllis Diller. Campaign buttons had been manufactured years ago by Gillespie's booking agency "for publicity, as a gag", but now proceeds from them went to benefit the Congress of Racial Equality, Southern Christian Leadership Conference and Martin Luther King, Jr.; in later years they became a collector's item. In 1971 Gillespie announced he would run again but withdrew before the election for reasons connected to the Bahá'í Faith.
Gillespie published his autobiography, To Be or Not to Bop, in 1979.
Gillespie was a vocal fixture in many of John Hubley and Faith Hubley's animated films, such as The Hole, The Hat, and Voyage to Next.
In the 1980s, Gillespie led the United Nation Orchestra. For three years Flora Purim toured with the Orchestra and she credits Gillespie with evolving her understanding of jazz after being in the field for over two decades. David Sánchez also toured with the group and was also greatly influenced by Gillespie. Both artists later were nominated for Grammy awards. Gillespie also had a guest appearance on The Cosby Show as well as Sesame Street and The Muppet Show.
In 1982, Gillespie had a cameo appearance on Stevie Wonder's hit "Do I Do". Gillespie's tone gradually faded in the last years in life, and his performances often focused more on his proteges such as Arturo Sandoval and Jon Faddis; his good-humoured comedic routines became more and more a part of his live act.
In 1988, Gillespie had worked with Canadian flautist and saxophonist Moe Koffman on their prestigious album Oo Pop a Da. He did fast scat vocals on the title track and a couple of the other tracks were played only on trumpet.
In 1989 Gillespie gave 300 performances in 27 countries, appeared in 100 U.S. cities in 31 states and the District of Columbia, headlined three television specials, performed with two symphonies, and recorded four albums. He was also crowned a traditional chief in Nigeria, received the Ordre des Arts et des Lettres; France's most prestigious cultural award. He was named Regent Professor by the University of California, and received his fourteenth honorary doctoral degree, this one from the Berklee College of Music. In addition, he was awarded the Grammy Lifetime Achievement Award the same year. The next year, at the Kennedy Center for the Performing Arts ceremonies celebrating the centennial of American jazz, Gillespie received the Kennedy Center Honors Award and the American Society of Composers, Authors, and Publishers Duke Ellington Award for 50 years of achievement as a composer, performer, and bandleader. In 1993 he received the Polar Music Prize in Sweden.
November 26, 1992 at Carnegie Hall in New York, following the Second Bahá'í World Congress was Gillespie's 75th birthday concert and his offering to the celebration of the centenary of the passing of Bahá'u'lláh. Gillespie was to appear at Carnegie Hall for the 33rd time. The line-up included: Jon Faddis, Marvin "Doc" Holladay, James Moody, Paquito D'Rivera, and the Mike Longo Trio with Ben Brown on bass and Mickey Roker on drums. But Gillespie didn't make it because he was in bed suffering from cancer of the pancreas. "But the musicians played their real hearts out for him, no doubt suspecting that he would not play again. Each musician gave tribute to their friend, this great soul and innovator in the world of jazz."
Gillespie also starred in a film called The Winter in Lisbon released in 2004. He has a star on the Hollywood Walk of Fame at 7057 Hollywood Boulevard in the Hollywood section of the City of Los Angeles. He is honored by the December 31, 2006 – A Jazz New Year's Eve: Freddy Cole & the Dizzy Gillespie All-Star Big Band at The John F. Kennedy Center for the Performing Arts.
A longtime resident of Englewood, New Jersey, he died of pancreatic cancer January 6, 1993, aged 75, and was buried in the Flushing Cemetery, Queens, New York. Mike Longo delivered a eulogy at his funeral. He was also with Gillespie on the night he died, along with Jon Faddis and a select few others.
At the time of his death, Gillespie was survived by his widow, Lorraine Willis Gillespie; a daughter, jazz singer Jeanie Bryson; and a grandson, Radji Birks Bryson-Barrett. Gillespie had two funerals. One was a Bahá'í funeral at his request, at which his closest friends and colleagues attended. The second was at the Cathedral of St. John the Divine in New York open to the public.
Gillespie, a Bahá'í since 1970, was one of the most famous adherents of the Bahá'í Faith which helped him make sense of his position in a succession of trumpeters as well as turning his life from knife-carrying roughneck to global citizen, and from alcohol to soul force, in the words of author Nat Hentoff, who knew Gillespie for forty years. He spoke about the Baha'i Faith frequently on his trips abroad. He is often called the Bahá'í Jazz Ambassador. He is honored with weekly jazz sessions at the New York Bahá'í Center in the memorial auditorium.
As a tribute to him, DJ Qualls' character in the 2002 American teen comedy film, The New Guy, was named Dizzy Gillespie Harrison.
The Marvel Comics current Hawkeye comic written by Matt Fraction features Gillespie's music in a section of the editorials called the "Hawkguy Playlist".
Also, Dwight Morrow High School, the public high school of Englewood, New Jersey, renamed their auditorium, the Dizzy Gillespie Auditorium, in memory of him.
Gillespie has been described as the "Sound of Surprise". The Rough Guide to Jazz describes his musical style:
The whole essence of a Gillespie solo was cliff-hanging suspense: the phrases and the angle of the approach were perpetually varied, breakneck runs were followed by pauses, by huge interval leaps, by long, immensely high notes, by slurs and smears and bluesy phrases; he always took listeners by surprise, always shocking them with a new thought. His lightning reflexes and superb ear meant his instrumental execution matched his thoughts in its power and speed. And he was concerned at all times with swing—even taking the most daring liberties with pulse or beat, his phrases never failed to swing. Gillespies’s magnificent sense of time and emotional intensity of his playing came from childhood roots. His parents were Methodists, but as a boy he used to sneak off every Sunday to the uninhibited Sanctified Church. He said later, ‘The Sanctified Church had deep significance for me musically. I first learned the significance of rhythm there and all about how music can transport people spiritually.'"
In Gillespie's obituary, Peter Watrous describes his performance style:
In the naturally effervescent Mr. Gillespie, opposites existed. His playing—and he performed constantly until nearly the end of his life—was meteoric, full of virtuosic invention and deadly serious. But with his endlessly funny asides, his huge variety of facial expressions and his natural comic gifts, he was as much a pure entertainer as an accomplished artist."
Wynton Marsalis summed up Gillespie as a player and teacher:
His playing showcases the importance of intelligence. His rhythmic sophistication was unequaled. He was a master of harmony—and fascinated with studying it. He took in all the music of his youth—from Roy Eldridge to Duke Ellington—and developed a unique style built on complex rhythm and harmony balanced by wit. Gillespie was so quick-minded, he could create an endless flow of ideas at unusually fast tempo. Nobody had ever even considered playing a trumpet that way, let alone had actually tried. All the musicians respected him because, in addition to outplaying everyone, he knew so much and was so generous with that knowledge..."
Allmusic's Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying 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."
"Bent" trumpet
Gillespie's trademark trumpet featured a bell which bent upward at a 45-degree angle rather than pointing straight ahead as in the conventional design. According to Gillespie's autobiography, this was originally the result of accidental damage caused by the dancers Stump and Stumpy falling onto it while it was on a trumpet stand on stage at Snookie's in Manhattan on January 6, 1953, during a birthday party for Gillespie's wife Lorraine. The constriction caused by the bending altered the tone of the instrument, and Gillespie liked the effect. He had the trumpet straightened out the next day, but he could not forget the tone. Gillespie sent a request to Martin Committee to make him a "bent" trumpet from a sketch produced by Lorraine, and from that time forward Gillespie played a trumpet with an upturned bell.
Gillespie's biographer Alyn Shipton writes that Gillespie probably got the idea for a bent trumpet when he saw a similar instrument in 1937 in Manchester, England, while on tour with the Teddy Hill Orchestra. According to this account (from British journalist Pat Brand) Gillespie was able to try out the horn and the experience led him, much later, to commission a similar horn for himself.
Whatever the origins of Gillespie's upswept trumpet, by June 1954, he was using a professionally manufactured horn of this design, and it was to become a visual trademark for him for the rest of his life. Such trumpets were made for him by Martin (from 1954), King Musical Instruments (from 1972) and Renold Schilke (from 1982, a gift from Jon Faddis). Gillespie favored mouthpieces made by Al Cass. In December 1986 Gillespie gave the National Museum of American History his 1972 King "Silver Flair" trumpet with a Cass mouthpiece. In April 1995, Gillespie's Martin trumpet was auctioned at Christie's in New York City, along with instruments used by other famous musicians such as Coleman Hawkins, Jimi Hendrix and Elvis Presley. An image of Gillespie's trumpet was selected for the cover of the auction program. The battered instrument sold to Manhattan builder Jeffery Brown for $63,000, the proceeds benefiting jazz musicians suffering from cancer.
Dizzy Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic complexity previously unknown in jazz. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop.
In the 1940s Gillespie, together with Charlie Parker, became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Clifford Brown, Lee Morgan and Arturo Sandoval a.o..
Gillespie was born in Cheraw, South Carolina, USA the youngest of nine children of James and Lottie Gillespie. James was a local bandleader, so instruments were made available to Dizzy. He started to play the piano at the age of four (1921). Gillespie's father died when the boy was only ten years old. Gillespie taught himself how to play the trombone as well as the trumpet by the age of twelve. From the night he heard his idol, Roy Eldridge, play on the radio, he dreamed of becoming a jazz musician. He received a music scholarship to the Laurinburg Institute in Laurinburg, North Carolina, which he attended for two years before accompanying his family when they moved to Philadelphia.
Gillespie's first professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the respective orchestras of Edgar Hayes and Teddy Hill, essentially replacing Roy Eldridge as first trumpet in 1937. Teddy Hill’s band was where Gillespie made his first recording, "King Porter Stomp". In August 1937 while gigging with Hayes in Washington D.C., Dizzy met a young dancer named Lorraine Willis who worked a Baltimore–Philadelphia–New York circuit which included the Apollo Theatre. Willis was not immediately friendly but Gillespie was attracted anyway. The two finally married on May 9, 1940. They remained married until his death in 1993.
Dizzy stayed with Teddy Hill’s band for a year, then left and free-lanced with numerous other bands. In 1939, Gillespie joined Cab Calloway's orchestra, with which he recorded one of his earliest compositions, the instrumental "Pickin' the Cabbage", in 1940. (Originally released on Paradiddle, a 78rpm backed with a co-composition with Cozy Cole, Calloway's drummer at the time, on the Vocalion label, No. 5467).
Dizzy was fired by Calloway in late 1941, after a notorious altercation between the two. The incident is recounted by Gillespie, along with fellow Calloway band members Milt Hinton and Jonah Jones, in Jean Bach's 1997 film, The Spitball Story. Calloway did not approve of Gillespie's mischievous humor, nor of his adventuresome approach to soloing; according to Jones, Calloway referred to it as “Chinese music”. During one performance, Calloway saw a spitball land on the stage, and accused Gillespie of having thrown it. Dizzy denied it, and the ensuing argument led to Calloway striking Gillespie, who then pulled out a switchblade knife and charged Calloway. The two were separated by other band members, during which scuffle Calloway was cut on the hand.
During his time in Calloway's band, Gillespie started writing big band music for bandleaders like Woody Herman and Jimmy Dorsey. He then freelanced with a few bands – most notably Ella Fitzgerald's orchestra, composed of members of the late Chick Webb's band, in 1942.
In 1943, Gillespie joined the Earl Hines band. Composer Gunther Schuller said:
... In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Gillespie runs in the trumpet section work. Two years later I read that that was 'bop' and the beginning of modern jazz ... but the band never made recordings.
Gillespie said of the Hines band, "People talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here ... naturally each age has got its own shit".
Next, Gillespie joined Billy Eckstine's (Earl Hines' long-time collaborator) big band and it was as a member of Eckstine's band that he was reunited with Charlie Parker, a fellow member of Hines's band. In 1945, Gillespie left Eckstine's band because he wanted to play with a small combo. A "small combo" typically comprised no more than five musicians, playing the trumpet, saxophone, piano, bass and drums.
The rise of bebop
Bebop was known as the first modern jazz style. However, it was unpopular in the beginning and was not viewed as positively as swing music was. Bebop was seen as an outgrowth of swing, not a revolution. Swing introduced a diversity of new musicians in the bebop era like Charlie Parker, Thelonious Monk, Bud Powell, Kenny Clarke, Oscar Pettiford, and Gillespie. Through these musicians, a new vocabulary of musical phrases was created. With Charlie Parker, Gillespie jammed at famous jazz clubs like Minton's Playhouse and Monroe's Uptown House. Charlie Parker's system also held methods of adding chords to existing chord progressions and implying additional chords within the improvised lines.
Gillespie compositions like "Groovin' High", "Woody n' You" and "Salt Peanuts" sounded radically different, harmonically and rhythmically, from the swing music popular at the time. "A Night in Tunisia", written in 1942, while Gillespie was playing with Earl Hines' band, is noted for having a feature that is common in today's music, a non-walking bass line. The song also displays Afro-Cuban rhythms. One of their first small-group performances together was only issued in 2005: a concert in New York's Town Hall on June 22, 1945. Gillespie taught many of the young musicians on 52nd Street, including Miles Davis and Max Roach, about the new style of jazz. After a lengthy gig at Billy Berg's club in Los Angeles, which left most of the audience ambivalent or hostile towards the new music, the band broke up. Unlike Parker, who was content to play in small groups and be an occasional featured soloist in big bands, Gillespie aimed to lead a big band himself; his first, unsuccessful, attempt to do this was in 1945.
After his work with Parker, Gillespie led other small combos (including ones with Milt Jackson, John Coltrane, Lalo Schifrin, Ray Brown, Kenny Clarke, James Moody, J.J. Johnson, and Yusef Lateef) and finally put together his first successful big band. Gillespie and his band tried to popularize bop and make Gillespie a symbol of the new music. He also appeared frequently as a soloist with Norman Granz's Jazz at the Philharmonic. He also headlined the 1946 independently-produced musical revue film Jivin' in Be-Bop.
In 1948 Gillespie was involved in a traffic accident when the bicycle he was riding was bumped by an automobile. He was slightly injured, and found that he could no longer hit the B-flat above high C. He won the case, but the jury awarded him only $1000, in view of his high earnings up to that point.
In 1956 he organized a band to go on a State Department tour of the Middle East which was extremely well received internationally and earned him the nickname "the Ambassador of Jazz". During this time, he also continued to lead a big band that performed throughout the United States and featured musicians including Pee Wee Moore and others. This band recorded a live album at the 1957 Newport jazz festival that featured Mary Lou Williams as a guest artist on piano.
Afro-Cuban music
In the late 1940s, Gillespie was also involved in the movement called Afro-Cuban music, bringing Afro-Latin American music and elements to greater prominence in jazz and even pop music, particularly salsa. Afro-Cuban jazz is based on traditional Afro-Cuban rhythms. Gillespie was introduced to Chano Pozo in 1947 by Mario Bauza, a Latin jazz trumpet player. Chano Pozo became Gillespie's conga drummer for his band. Gillespie also worked with Mario Bauza in New York jazz clubs on 52nd Street and several famous dance clubs such as Palladium and the Apollo Theater in Harlem. They played together in the Chick Webb band and Cab Calloway's band, where Gillespie and Bauza became lifelong friends. Gillespie helped develop and mature the Afro-Cuban jazz style.
Afro-Cuban jazz was considered bebop-oriented, and some musicians classified it as a modern style. Afro-Cuban jazz was successful because it never decreased in popularity and it always attracted people to dance to its unique rhythms. Gillespie's most famous contributions to Afro-Cuban music are the compositions "Manteca" and "Tin Tin Deo" (both co-written with Chano Pozo); he was responsible for commissioning George Russell's "Cubano Be, Cubano Bop", which featured the great but ill-fated Cuban conga player, Chano Pozo. In 1977, Gillespie discovered Arturo Sandoval while researching music during a tour of Cuba.
Later years
His biographer Alyn Shipton quotes Don Waterhouse approvingly that Gillespie in the fifties "had begun to mellow into an amalgam of his entire jazz experience to form the basis of new classicism". Another opinion is that, unlike his contemporary Miles Davis, Gillespie essentially remained true to the bebop style for the rest of his career.
In 1960, he was inducted into the Down Beat magazine's Jazz Hall of Fame.
During the 1964 United States presidential campaign the artist, with tongue in cheek, put himself forward as an independent write-in candidate. He promised that if he were elected, the White House would be renamed "The Blues House," and a cabinet composed of Duke Ellington (Secretary of State), Miles Davis (Director of the CIA), Max Roach (Secretary of Defense), Charles Mingus (Secretary of Peace), Ray Charles (Librarian of Congress), Louis Armstrong (Secretary of Agriculture), Mary Lou Williams (Ambassador to the Vatican), Thelonious Monk (Travelling Ambassador) and Malcolm X (Attorney General). He said his running mate would be Phyllis Diller. Campaign buttons had been manufactured years ago by Gillespie's booking agency "for publicity, as a gag", but now proceeds from them went to benefit the Congress of Racial Equality, Southern Christian Leadership Conference and Martin Luther King, Jr.; in later years they became a collector's item. In 1971 Gillespie announced he would run again but withdrew before the election for reasons connected to the Bahá'í Faith.
Gillespie published his autobiography, To Be or Not to Bop, in 1979.
Gillespie was a vocal fixture in many of John Hubley and Faith Hubley's animated films, such as The Hole, The Hat, and Voyage to Next.
In the 1980s, Gillespie led the United Nation Orchestra. For three years Flora Purim toured with the Orchestra and she credits Gillespie with evolving her understanding of jazz after being in the field for over two decades. David Sánchez also toured with the group and was also greatly influenced by Gillespie. Both artists later were nominated for Grammy awards. Gillespie also had a guest appearance on The Cosby Show as well as Sesame Street and The Muppet Show.
In 1982, Gillespie had a cameo appearance on Stevie Wonder's hit "Do I Do". Gillespie's tone gradually faded in the last years in life, and his performances often focused more on his proteges such as Arturo Sandoval and Jon Faddis; his good-humoured comedic routines became more and more a part of his live act.
In 1988, Gillespie had worked with Canadian flautist and saxophonist Moe Koffman on their prestigious album Oo Pop a Da. He did fast scat vocals on the title track and a couple of the other tracks were played only on trumpet.
In 1989 Gillespie gave 300 performances in 27 countries, appeared in 100 U.S. cities in 31 states and the District of Columbia, headlined three television specials, performed with two symphonies, and recorded four albums. He was also crowned a traditional chief in Nigeria, received the Ordre des Arts et des Lettres; France's most prestigious cultural award. He was named Regent Professor by the University of California, and received his fourteenth honorary doctoral degree, this one from the Berklee College of Music. In addition, he was awarded the Grammy Lifetime Achievement Award the same year. The next year, at the Kennedy Center for the Performing Arts ceremonies celebrating the centennial of American jazz, Gillespie received the Kennedy Center Honors Award and the American Society of Composers, Authors, and Publishers Duke Ellington Award for 50 years of achievement as a composer, performer, and bandleader. In 1993 he received the Polar Music Prize in Sweden.
November 26, 1992 at Carnegie Hall in New York, following the Second Bahá'í World Congress was Gillespie's 75th birthday concert and his offering to the celebration of the centenary of the passing of Bahá'u'lláh. Gillespie was to appear at Carnegie Hall for the 33rd time. The line-up included: Jon Faddis, Marvin "Doc" Holladay, James Moody, Paquito D'Rivera, and the Mike Longo Trio with Ben Brown on bass and Mickey Roker on drums. But Gillespie didn't make it because he was in bed suffering from cancer of the pancreas. "But the musicians played their real hearts out for him, no doubt suspecting that he would not play again. Each musician gave tribute to their friend, this great soul and innovator in the world of jazz."
Gillespie also starred in a film called The Winter in Lisbon released in 2004. He has a star on the Hollywood Walk of Fame at 7057 Hollywood Boulevard in the Hollywood section of the City of Los Angeles. He is honored by the December 31, 2006 – A Jazz New Year's Eve: Freddy Cole & the Dizzy Gillespie All-Star Big Band at The John F. Kennedy Center for the Performing Arts.
A longtime resident of Englewood, New Jersey, he died of pancreatic cancer January 6, 1993, aged 75, and was buried in the Flushing Cemetery, Queens, New York. Mike Longo delivered a eulogy at his funeral. He was also with Gillespie on the night he died, along with Jon Faddis and a select few others.
At the time of his death, Gillespie was survived by his widow, Lorraine Willis Gillespie; a daughter, jazz singer Jeanie Bryson; and a grandson, Radji Birks Bryson-Barrett. Gillespie had two funerals. One was a Bahá'í funeral at his request, at which his closest friends and colleagues attended. The second was at the Cathedral of St. John the Divine in New York open to the public.
Gillespie, a Bahá'í since 1970, was one of the most famous adherents of the Bahá'í Faith which helped him make sense of his position in a succession of trumpeters as well as turning his life from knife-carrying roughneck to global citizen, and from alcohol to soul force, in the words of author Nat Hentoff, who knew Gillespie for forty years. He spoke about the Baha'i Faith frequently on his trips abroad. He is often called the Bahá'í Jazz Ambassador. He is honored with weekly jazz sessions at the New York Bahá'í Center in the memorial auditorium.
As a tribute to him, DJ Qualls' character in the 2002 American teen comedy film, The New Guy, was named Dizzy Gillespie Harrison.
The Marvel Comics current Hawkeye comic written by Matt Fraction features Gillespie's music in a section of the editorials called the "Hawkguy Playlist".
Also, Dwight Morrow High School, the public high school of Englewood, New Jersey, renamed their auditorium, the Dizzy Gillespie Auditorium, in memory of him.
Gillespie has been described as the "Sound of Surprise". The Rough Guide to Jazz describes his musical style:
The whole essence of a Gillespie solo was cliff-hanging suspense: the phrases and the angle of the approach were perpetually varied, breakneck runs were followed by pauses, by huge interval leaps, by long, immensely high notes, by slurs and smears and bluesy phrases; he always took listeners by surprise, always shocking them with a new thought. His lightning reflexes and superb ear meant his instrumental execution matched his thoughts in its power and speed. And he was concerned at all times with swing—even taking the most daring liberties with pulse or beat, his phrases never failed to swing. Gillespies’s magnificent sense of time and emotional intensity of his playing came from childhood roots. His parents were Methodists, but as a boy he used to sneak off every Sunday to the uninhibited Sanctified Church. He said later, ‘The Sanctified Church had deep significance for me musically. I first learned the significance of rhythm there and all about how music can transport people spiritually.'"
In Gillespie's obituary, Peter Watrous describes his performance style:
In the naturally effervescent Mr. Gillespie, opposites existed. His playing—and he performed constantly until nearly the end of his life—was meteoric, full of virtuosic invention and deadly serious. But with his endlessly funny asides, his huge variety of facial expressions and his natural comic gifts, he was as much a pure entertainer as an accomplished artist."
Wynton Marsalis summed up Gillespie as a player and teacher:
His playing showcases the importance of intelligence. His rhythmic sophistication was unequaled. He was a master of harmony—and fascinated with studying it. He took in all the music of his youth—from Roy Eldridge to Duke Ellington—and developed a unique style built on complex rhythm and harmony balanced by wit. Gillespie was so quick-minded, he could create an endless flow of ideas at unusually fast tempo. Nobody had ever even considered playing a trumpet that way, let alone had actually tried. All the musicians respected him because, in addition to outplaying everyone, he knew so much and was so generous with that knowledge..."
Allmusic's Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying 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."
"Bent" trumpet
Gillespie's trademark trumpet featured a bell which bent upward at a 45-degree angle rather than pointing straight ahead as in the conventional design. According to Gillespie's autobiography, this was originally the result of accidental damage caused by the dancers Stump and Stumpy falling onto it while it was on a trumpet stand on stage at Snookie's in Manhattan on January 6, 1953, during a birthday party for Gillespie's wife Lorraine. The constriction caused by the bending altered the tone of the instrument, and Gillespie liked the effect. He had the trumpet straightened out the next day, but he could not forget the tone. Gillespie sent a request to Martin Committee to make him a "bent" trumpet from a sketch produced by Lorraine, and from that time forward Gillespie played a trumpet with an upturned bell.
Gillespie's biographer Alyn Shipton writes that Gillespie probably got the idea for a bent trumpet when he saw a similar instrument in 1937 in Manchester, England, while on tour with the Teddy Hill Orchestra. According to this account (from British journalist Pat Brand) Gillespie was able to try out the horn and the experience led him, much later, to commission a similar horn for himself.
Whatever the origins of Gillespie's upswept trumpet, by June 1954, he was using a professionally manufactured horn of this design, and it was to become a visual trademark for him for the rest of his life. Such trumpets were made for him by Martin (from 1954), King Musical Instruments (from 1972) and Renold Schilke (from 1982, a gift from Jon Faddis). Gillespie favored mouthpieces made by Al Cass. In December 1986 Gillespie gave the National Museum of American History his 1972 King "Silver Flair" trumpet with a Cass mouthpiece. In April 1995, Gillespie's Martin trumpet was auctioned at Christie's in New York City, along with instruments used by other famous musicians such as Coleman Hawkins, Jimi Hendrix and Elvis Presley. An image of Gillespie's trumpet was selected for the cover of the auction program. The battered instrument sold to Manhattan builder Jeffery Brown for $63,000, the proceeds benefiting jazz musicians suffering from cancer.
Emanon
Dizzy Gillespie Lyrics
We have lyrics for 'Emanon' by these artists:
Attacker All nations are summoned Prepare for destruction They're c…
Emanon Fuck It ( I Don′t Want You Back) Eamon Whoa oh oh Ooh…
Peja & Dj Zel Nie mam kurwa zielonego pojęcia kiedy było lepiej Czy teraz …
RPS Nie mam kurwa zielonego pojęcia kiedy było lepiej Czy teraz …
RPS & Dj Zel Nie mam kurwa zielonego pojęcia kiedy było lepiej Czy teraz …
Sad Boy Hours Here I sit on this throne of thorns I can't help…
Southern All Stars サザンオールスターズ やがて夜しらむ 鳥たちもさえずる Mornin' くずれるよに身体を横たえ 昨日の恋を灰皿に消し 眠りにつく ひとりじゃ…
The Livid Reason is over now Credence has been lost Frozen, my time …
サザンオールスターズ やがて夜しらむ 鳥たちもさえずる Mornin' くずれるよに身体を横たえ 昨日の恋を灰皿に消し 眠りにつく ひとりじゃ…
We have lyrics for these tracks by Dizzy Gillespie:
'Round About Midnight It begins to tell 'Round midnight, midnight I do pretty well…
Africana Fgbnbjg dcvbbI keep telling you that Johnny's hitting me Tha…
AIN No one to talk with All by myself No one to walk…
Ain't Misbehavin' No one to talk with All by myself No one to walk…
All the Things You Are You are the promised kiss of springtime That makes the lonel…
Anthropology Human beings fascinate me being just the way they are Tell…
Are You All Reet You are the promised kiss of springtime That makes the lonel…
Autumn Leaves The falling leaves drift by the window The autumn leaves of…
Bang Bang Bang bang bang Bang bang bang Is it the way that you're…
Be-Bop Listen to my tale of woe, It's terribly sad but…
Begin The Beguine When they begin the beguine It brings back the sound of…
Blue Moon Blue moon you saw me standing alone Without a dream in…
Blues I hate to see that evening sun go down I hate…
Blues'n'boogie Blue moon you saw me standing alone Without a dream in…
Body & Soul My heart is sad and lonely For you I sigh, for…
Bopsie I can only give you love that lasts forever, And the…
Bye I got a big surprise when I saw you smile I…
Bye Bye Blues I got a big surprise when I saw you smile I…
Bye Bye Blues 1940 I got a big surprise when I saw you smile I…
Can You Recall The man who only lives for making money Lives a life…
Caravan Night and stars above that shine so bright The mystery of…
Chega de Saudade De Kast Niets Te Verliezen De Ideale Vrouw Je ziet ze op tv,…
Cherokee Sweet Indian maiden, since first I met you, I can't…
Cocktails for Two Why do they come when you're always raining? And why can't…Come Sunday Ooh Lord, dear Lord above, God almighty, God of love, pl…
Confessin I'm confessin' that I love you, Tell me, do you love…
Cool Breeze Same bed but it feels just a little bit bigger…
Cubana Be Bu sabah erken uyandım hiç uyuyamadım gözüme uyku girmedi Yo…
Dark Eyes Roof is falling, let me love, falling I just know Roof…
Day By Day Day by day I'm falling more in love with you And…
Don Ever since the lucky night I found you I've hung around…
East of the Sun East of the sun and west of the moon, We'll build…
Embraceable Embrace me, my sweet embraceable you! Embrace me, you irrepl…
Everything Happens to Me Black cats creep across my path Until I'm almost mad I must…
Exactly Like You I used to have a perfect sweetheart Not a real one,…
Fine And Dandy Please forgive this platitude But I like your attitude You…
Five It was a lucky April shower It was the most convenient…
Ghost of a chance I need your love so badly, I love you, oh,…
Girl of My Dream Dear, it seems years since we parted, Years full of tears…
Here It Is It's very clear, our love is here to stay Not for…
How Deep Is the Ocean How much do I love you? I'll tell you no lie How…
How High the Moon Somewhere there's music How faint the tune Somewhere there's…
I This is just a little samba Built upon a single note Other…
I CAN I've flown around the world in a plane I've settled revoluti…
I Can´t Get Started I've flown around the world in a plane I've settled revolut…
I Cover The Waterfront I cover the waterfront, I'm watching the sea,, Will the one …
I Don't Mean a Thing It don't mean a thing If it ain't got that swing (doo…
I Found a Million Dollar Baby It was a lucky April shower It was the most convenient…
I Got Rhythm I've got you under my skin. I've got you deep in…
I Know That You Know Life's a game, but who can play it all alone Ev'ry…
I Let A Song Go Out Of My Heart I let a song go out of my heart It was…
I Only Have Eyes for You My love must be a kind of blind love I can't…
I Stay in the Mood for You I'm in the mood for love Simply because you're near me. Funn…
I'm Beboppin' Too We have been gay, going our way Life has been beautiful,…
I'm Confessin' I'm confessin' that I love you, Tell me, do you love…
I'm in a Mess I'm in the mood for love Simply because you're near me. Funn…
I've Got You Under My Skin I've got you under my skin. I've got you deep in…
If You Could See Me Now If you could see me now, you'd know how blue…
Im in a Mess I'm in the mood for love Simply because you're near me. Funn…
In a Mellow Tone In a mellow tone Feeling fancy free And I'm not alone I've g…
In A Shanty In Old Shanty Town I'm up in the world, but I'd give the world to…
IT Say, it's only a paper moon Sailing over a cardboard sea B…
IT DON It don't mean a thing If it ain't got that swing (doo…
It Don’t Mean A Thing It don't mean a thing If it ain't got that swing (doo…
It's Only a Paper Moon Say, it's only a paper moon Sailing over a cardboard sea But…
It's The Talk Of The Town We were more than lovers, We were more than sweethearts, It'…
Jalousie Oh how wrong can you be? Oh to fall in love Was…
Jam Session No.1 You went away I let you We broke the ties that bind I…
Jealousy Oh how wrong can you be? Oh to fall in love Was…
Jitterbug Waltz The night is getting on, the band is getting show The…
Just Friends Just friends, lovers no more Just friends, but not like befo…
Just One Of Those Things It was just one of those things Just one of those…
Lady Be Good Listen to my tale of woe, It's terribly sad but…
Let A Song Go Out Of You I let a song go out of my heart It was…
Lorraine Everything is set, skies are blue, Can't believe it yet, but…
Lorraine (Live) Along the palo duro canyon Red river shows so may eyes One…
Love Come Back to Me You went away I let you We broke the ties that bind I…
Love For Sale I'm in the mood for love Simply because you're near me. Funn…
Love Me Or Leave Me Love me or leave me or let me be lonely You…
Love Walked In I'm in the mood for love Simply because you're near me. Funn…
Lover I don't know why but I'm feeling so sad I long…
Lover Come Back Back to Me You went away I let you We broke the ties that bind I…
Lover Man I don't know why but I'm feeling so sad I long…
Loverman I don't know why but I'm feeling so sad I long…
Lullaby Of Birdland Lullaby of Birdland, that's what I Always hear when you…
Manteca Crab in my shoemouth Crab in my shoemouth Crab in my shoem…
Mean to Me You're mean to me Why must you be mean to me? Gee,…
Mon Homme It's cost me a lot But there's one thing that I've…
Money Honey You know, the landlord rang my front door bell I let…
Mood Indigo You ain't never been blue; no, no, no, You ain't…
Moonglow It must have been moonglow, way up in the blue It…
More Whether you are here or yonder, Whether you are false…
Nearness Its not the pale moon that excites me That thrills and…
Never On Sunday Oh, you can kiss me on a Monday A Monday, a…
Nice Work IF You Can Get It The man who only lives for making money Lives a life…
No Greater Love There is no greater love Than what I feel for you No…
No More Blues Oh the worshipper in me Wants to be free From the cares…
Now If you could see me now, you'd know how blue…
Oh Lady Be Good Listen to my tale of woe, It's terribly sad but…
Oh, Lady Be Good Listen to my tale of woe, It's terribly sad but true, All…
On the Alamo Where the moon swings low On the Alamo, In a garden fair…
On The Sunny Side Of The Sreet Walked with no one and talked with no one And I…
On The Sunnyside Of The Street Walked with no one and talked with no one And I…
Once in a Lovetime Once in a while will you try to give One little…
One Alone I have heard all you've been saying Yet I will love…
One Note Samba This is just a little samba Built upon a single note Other…
Oo-Pop-A-Da You've heard all about your raggy melody Everything from ope…
Oo-Shoo-Be-Do-Be Lullaby of Birdland, that's what I Always hear when you…
Oop-Pap-A-Da You've heard all about your raggy melody Everything from ope…
Our Love Is Here to Stay It's very clear, our love is here to stay Not for…
Over The Rainbow Somewhere over the rainbow, way up high There's a land that…
Pennies from Heaven Every time it rains, it rains pennies from heaven Don't you…
Perdido Perdido, I look for my heart it's perdido I lost it…
Rose Room I want to take you to a little room A little…
Round About Midnight It begins to tell 'Round midnight, midnight I do pretty well…
Samba This is just a little samba Built upon a single note Other…
School Days Well, School days, school days Dear ole golden rule days…
See See Rider If you could see me now, you'd know how blue…
September Song Oh, it's a long, long while from May to December But…
Somebody Loves Me Love me or leave me or let me be lonely You…
Something In Your Smile Something in your smile speaks to me Something in your eyes…
sometimes i Every day seems like a year Sweetheart, when you are not…
Sometimes I'm Happy I'm a very ordinary man Trying to work out life's happy…
Squatty Roo There's a song that's really jumping And the fellas say it's…
St. Louis Blues I hate to see that evening sun go down I hate…
Star Dust And now the purple dusk of twilight time Steals across the…
Stardust And now the purple dusk of twilight time Steals across the…
Stormy Weather Don't know why there's no sun up in the sky Stormy…
Sunny Side of the Street Walked with no one and talked with no one And I…
Sweet and Lovely Sweet and lovely Sweeter than the roses in May Sweet and lov…
Sweet Lorraine Everything is set, skies are blue, Can't believe it yet, but…
Swing Low, Sweet Cadillac Swing low, sweet Cadillac, Comin’ for to carry me home. Swin…
Swwet And Lovely 1 Sweet and lovely sweeter than the roses in May Sweet and…
Take The "A" Train You must take the "A" train To go to Sugar Hill…
Take The 'A' Train You must take the "A" train To go to Sugar Hill…
Taking A Chance On Love Here I go again, I hear those trumpets blow again. All…
Tangerine Tangerine, she is all they claim With her eyes of night…
That Old Black Magic Old black magic has me in its spell Old black magic…
The Blues Blue moon you saw me standing alone Without a dream in…
The Bluest Blues Well, I brought her pretty roses and a bottle of…
The Girl Of My Dreams Dear, it seems years since we parted, Years full of tears…
The Man I Love When the mellow moon begins to beam, Every night I dream…
The Things I Love I'm in the mood for love Simply because you're near me. Funn…
The Umbrella Man Umbrellas, umbrellas for men Men's umbrella, lady Mend by ha…
The Way You Look Tonight Some day, when I'm awfully low When the world is cold I…
Theme From Exodus Thank you God For this great opportunity To Share with you e…
There Is No Greater Love There is no greater love Than what I feel for you No…
Things Are Here You are the promised kiss of springtime That makes the lonel…
Time On My Hands When the day fades away into twilight The moon is my…
Too Much Weight I love you much too much I've known it from the…
and many more tracks by Dizzy Gillespie.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@georgec.6871
Emanon
—recorded New York City, 12 November 1946
One of the finest examples of “Modernism to Postmodernism” in jazz -/ Dizzy Gillespie’s, ‘Emanon’
Reference book, “The Essential Jazz Records: Modernism to Postmodernism,” — records additional musicians who accompanied Dizzy Gillespie in this original 1946 recording:
-Matthew McKay (tpt)
-Taswell Baird (tbn)
-Scoops Carry (alt)
-James Moody (ten)
-Bill Frazier (ten)
-Joe Harris (d)
‘Emanon’
Recorded New York City
12 November 1946.
@franckohazely3152
1} Performers and instrumentation
Dizzy Gillespie- Trumpet, John Brown- Alto Sax, James Moody- Tenor Sax, Milt Jackson- Vibraphone, John Lewis- Piano, Ray Brown Bass, Joe Harris- Drums
2} School/Style of Jazz.
Bebop
3} Form.
16 bar
4} Reason for inclusion.
I believe that Dizzy is one of the most underrated trumpet players of his era
@weshap
The movie Ray brought me here!!! Good stuff!
@denisivanov2522
Me too!!)
@gurimjang
Meeeeetoooo
@raphaelsoulard2745
hahaha me too ! And it's when I saw the movie a second time
@georgec.6871
Emanon
—recorded New York City, 12 November 1946
One of the finest examples of “Modernism to Postmodernism” in jazz -/ Dizzy Gillespie’s, ‘Emanon’
Reference book, “The Essential Jazz Records: Modernism to Postmodernism,” — records additional musicians who accompanied Dizzy Gillespie in this original 1946 recording:
-Matthew McKay (tpt)
-Taswell Baird (tbn)
-Scoops Carry (alt)
-James Moody (ten)
-Bill Frazier (ten)
-Joe Harris (d)
‘Emanon’
Recorded New York City
12 November 1946.
@alandesouzacruz5124
Wonderful
@shefrombrooklyn718
Quincy Jones Autobiography brought me here and I like what I hear.
@AqauafinaMaria
Nice and smooth!
@franckohazely3152
1} Performers and instrumentation
Dizzy Gillespie- Trumpet, John Brown- Alto Sax, James Moody- Tenor Sax, Milt Jackson- Vibraphone, John Lewis- Piano, Ray Brown Bass, Joe Harris- Drums
2} School/Style of Jazz.
Bebop
3} Form.
16 bar
4} Reason for inclusion.
I believe that Dizzy is one of the most underrated trumpet players of his era
@jamesmitchell6925
The form is 12 bar blues. Pretty obvious.