Dizzy Gillespie

1. Anthropology

2. King Porter Stomp

3. Hot Mallets

4. One Bass Hit, No. 1

5. Oop Bop Sh'bam

6. Pickin' the Cabbage

7. Kerouac

8. Our Delight

9. Down Under

10. Things to Come

11. Emanon

12. Little John Special

13. Ow!

14. Bu-Dee-Daht

15. Oop-Pop-A-Da

16. Disorder at the Border

17. Opus X

18. Cubana Be

19. Cubana Bop

20. Something for You

See all 31 tracks on this disc

Dizzy Gillespie,Dizzy Gillespie,RCA Makin' Friends,Bop

Jazz

Music

jazz

music

Average customer rating: Where have you been?? Dizzy Atmosphere Don't Overlook This Underrated Gem! Diz and Bird at Town Hall June 22, 1945; Genius Overcome Technical Short Comings

Town Hall, New York City, June 22, 1945 Dizzy Gillespie , and Charlie Parker Manufacturer: Uptown Jazz ProductGroup: Music Binding: Audio CD General | Latin Music | Styles | Music Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Latin Jazz | Jazz | Styles | Music Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music General | Vocal Pop | Pop | Styles | Music Similar Items: Thelonious Monk Quartet with John Coltrane at Carnegie Hall One Down, One Up: Live at the Half Note Complete Jazz at Massey Hall Live at the House of Tribes Without a Song: The 9/11 Concert ASIN: B0009Q0EQ0 Release Date: 2005-06-21

Tracks:

1. Intro
2. Bebop
3. A Night In Tunisia
4. Groovin' High
5. Salt Peanuts
6. Hot House
7. Fifty Second Street Theme

Amazon.com

Dizzy Gillespie and Charlie Parker first became aware of each other in 1940 when the former was playing in Cab Calloway's band and the latter with Jay McShann. Two years later they were both living in New York City and a real friendship developed. By 1945 they were recording and gigging together, culminating in this Town Hall concert on June 22, 1945. These recordings languished for sixty years as acetates that weren't even known to exist in their entirety. That this set captures these two formidable players in their ascendancy and with such clarity is a staggering find. Here, with host Symphony Sid announcing the songs (this would have been for his radio show, but apparently never ended up in his possessions), an important chapter in American music is now restored. By the end of the summer of '45 Gillespie and Parker went their separate ways, both emerging with their own bands and reaching new heights of commercial success. --David Greenberger

Customer Reviews:

Where have you been??.......2006-05-20

According to jazz gospel, jazz's Anno Domini is November 1945, when Charlie Parker and Dizzy Gillespie cut several sides including the incredible "Ko Ko". Before then, there was a recording ban that prevented the innovations of the Bebop musicians from being heard. (True, there were some Dizzy Gillespie-led sessions including Salt Peanuts, but they sold so badly that they don't count).

In this version of events, jazz music was totally turned on its head, and the New Testament era of jazz began. When Ko Ko came out in November of 1945, the technical brilliance of the new form of jazz blew everyone away, and the music was changed forever.

But in 2005, this version of events was slightly altered. Finding a complete, live performance of Charlie Parker and Dizzy Gillespi, a full five months before the Ko Ko session, is an astonishing coup. The source of the recording is still rather hazy, with some indications that the anonymous person hoarding them may yet have more to release in years to come. At any rate, this is an astonishing discovery, perhaps even slightly more astonishing than the Monk-Coltrane discovery in the same year.

Dont forget, this is BEFORE the widespread use of tape to record sound (tape was invented in Nazi Germany, and is largely a postwar thing). Also, discs only lasted three minutes a side back in 1945. So you have to imagine some engineers lurking in the Town Hall, with a battery of recording lathes and a pile of fragile lacquer discs, furiously changing discs every three minutes. And yes, they got every note of the concert. Incredibly, the discs were not separated from each other, nor did any of them break over the years! There must have been about twelve or thirteen sides altogether.

Now at last we can hear bebop from before November 1945. The concert is astonishing. I still can't get over Parker's solo on Salt Peanuts, which is really filled with the fresh energy of a newly discovered art form. Another highlight is Night in Tunisia. Both Parker and Gillespie are in terrific form. The crowd seems very appreciative; although the liner notes include a contemporary review which says of Dizzy's music, in effect, "too many notes"! Also, Parker arrives late for the first tune, Bebop; I wonder exactly what he was doing out back?

The sound quality is fantastic. It was far better than I expected. The first few bars of "Bebop" are a bit muddy; but aside from that the sound is the equal of the Royal Roosts, perhaps even slightly better.

So I would heartily encourage anyone to get this disc; whether you are totally new to jazz, or a crusty veteran. The music is very accessible. Music this good, and a discovery that is this historically important, should be heard by everyone!!!

Dizzy Atmosphere.......2006-04-28

Just when the listener thinks that Be Bop has been worn out and has little else to offer, we are presented with lost recordings that, once again, show what all of the fuss was about. This is Charlie Parker and Dizzy Gillespie at the top of their game, giving a seminar on flatted fifths and fast playing.

Don't Overlook This Underrated Gem!.......2006-04-14

The Gillespie-Parker Town Hall CD is easy to overlook next to Monk-Parker--but that would be a loss. For one thing, the listener to this CD is privy to on-going commentary and intros by legendary jazz and beebop deejay "Symphony Sid"--offering an inside peek at the birth of some innovative tunes. Evidently Parker was (characteristically) late for the show: Sid had given lots of verbal patter to the eager crowd; Parker comes in the auditorium mid-way through the first number; the group doesn't skip a beat! Sid proceeds to tell the audience the music is going to flow rapidly because you folks sure waited long enough, and flow it certainly does--Tunisia; Salt Peanuts--the musicians playing top quality to a very appreciative crowd. Recording quality is fine for the time and place. Highlight: drummer Sydney Catlett stays for an encore despite Sid telling him he's got to be somewhere else. An all-around entertaining and informative birth of beebops by the legends experience

Diz and Bird at Town Hall June 22, 1945; .......2006-03-03

I read a rave review of "this masterpiece" record in The New Yorker. I was underwhelmed compared to that review.
However, these are good early beebop performances and the accompanying notes and copies of contemporary reviews support a better understanding of what's going on. In particular, there are some very interesting comments re perceptions of what was going on that day at Town Hall in Leonard Feather's July 1945 Metronome review, which is reproduced.
There are three Gillespie classics: Beebop, A Night in Tunisia and Salt Peanuts running about seven minutes each. These are the longest early recordings of these numbers that I have heard.
Perhaps even more interesting would be the as yet unapproved release of the second half of the Concert with a program by a very young Errol Garner and Don Byas.

Genius Overcome Technical Short Comings.......2006-02-25

The only bad thing about this recording is that it was made with the Town Hall's standard audio system. Gillespie is way off mic. Too bad there was not a real audio engineer to mic the performance. If you are a stickler for hi fidelity this may disappoint you. However the sheer genius and energy of the performances overcome this technical shortfall. If you enjoy either Gillespie or Monk, this recording deserves a place in your collection.

Average customer rating: beyond fantastic ! ! ! Sizzles with torrents of energy. Quite possibly the best "blowing" album ever jazz at its best Quite short, but a piece of JAZZ Heaven and History

Sonny Side Up Dizzy Gillespie , Sonny Stitt , and Sonny Rollins Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Similar Items: Tenor Madness Somethin' Else Go! Saxophone Colossus Moanin' ASIN: B0000047CZ Release Date: 1997-07-29

Tracks:

1. On The Sunny Side Of The Street
2. The Eternal Triangle
3. After Hours
4. I Know That You Know

Amazon.com

Dizzy Gillespie's long, fruitful career is peppered with a number of high-profile summit meetings with a variety of jazz royals, and this 1957 date ranks with the best of them. Gillespie facilitated this battle between tenor titans Sonny Stitt and Sonny Rollins and even, according to legend, stoked their competitive fires with well-timed phone calls prior to the session. The good-natured opener "On the Sunny Side of the Street," complete with a lighthearted Dizzy vocal turn, doesn't even hint at the serious business to follow it. "The Eternal Triangle" is a quintessential bop fracas filled with inspired, white-hot improvisation. Rollins and Stitt exchange mighty blows, in solos and in trades, and Gillespie's trumpet work is no mere afterthought, bristling as it does with creativity and authority. The ensemble catches their collective breath with "After Hours," a tasty slow blues introduced by Ray Bryant's mood-setting piano, before they unleash a ripping reading of the chestnut "I Know That You Know." You get the sense that the more artful (and "jazz's new thing") Rollins was dragged into a real street fight by the fiery Stitt, who was unbeatable on his own blistering bop turf, but each man--Gillespie included--rises to the occasion in spirited fashion. --Marc Greilsamer

Customer Reviews:

beyond fantastic ! ! ! .......2006-11-27

Ahhhhhhh... the good old days... when players could play technically challenging material, yet NEVER lost their sense of swing - - To call this session swingin', boppin' and in the pocket is an understatement.

What makes it really fun to listen to is that even though Rollins and Stitt are clearly children of Bird, their sounds are different enough that you can tell who's up at the mike. (Stitt has a sharper more agressive intonation... Rollins is bit warmer - - seems to have a bit of Dexter Gordon in him (or is it just me?) - - Gillespie often stands off to the side enjoying the action, but once he's in on the game its a master in his own territory/god knows what's going to happen next type of intensity that's classic Gillespie. - - As for the album... The rhythm section is soooooooooo tasty you want to eat the notes (*tell me I'm lying !) - - Line up is Ray Bryant, Tommy Bryant and Charile Persip.

In addition to the fact that this is one of those "sit down and transcribe" type blowing sessions, what also makes it phenomenal is the variety... from the frensic bop of triangle, the 12 beat after hours blues of the aptly titles AFTER HOURS, the sprightly swinging SUNNY SIDE (which also features Dizzy on vocals) and alas the more hard boppish I KNOW THAT YOU KNOW.

All in all this is just one of those sessions which is in such a league of its own you almost want to shed a tear that few groups are really playing with this feel (not the solid high hat on the 2 and 4 - - modern day drummers don't like to do that any more but notice how toe tapping the music is... yet the Roach-like punches are still as there. - - Another fine point is that the clearly listening to and digging each other (At one point Rollins clearly flubs a tone in his solo, but it don't matter and clearly Dizzy digs it and you can hear him vocalizing sort of an encouraging Gotcha!/I dig it! that Jazz msicians of that era were prone to do.)

Conclusion: What a session - - must have study and listening ! A journey back to a time when Jazz was cool, fresh, vibrant, boppin', swinging and every word in between !

Sizzles with torrents of energy........2005-03-06

Sonny Side Up is a fine album. In particular, the piece called The Eternal Triangle sizzles with torrential energy. A more consistent album, in terms of style and instrumentation, is The Bop Sesson (reviewed below).

The following concerns The Eternal Triangle. The Eternal Triangle begins with a multi-instrument theme (30 seconds). Then there is a saxophone solo, apparently by Rollins (1 minute), then a short multi-instrument interlude, followed by another Rollins solo (1 min.). There follows then another sax solo, this time by Stitt. The Stitt solos are distinguished by the springiness of the connected notes, and because of Sonny Stitt's trademark "fly-away" fluorishes that he sometimes attaches to the end of a phrase. Rollins has a sharper, almost tearing, sound. Then comes a short multi-instrument interlude. There then follows an extended period (about 5 min.) of alternating sax solos, without any intervening interludes. Then comes a trumpet solo (1 min and 20 sec.), a multi-instrument interlude, another trumpet solo (1 min and 20 sec.), and lo and behold, a piano solo (50 seconds). After the piano solo is what might be construed as a drum solo, where the drum solo consists of eight alternating short exclamations by the trumpet and by the drums, in this order: trumpet drums, trumpet drums, trumpet drums, trumpet drums, trumpet drums, trumpet drums, trumpet drums, trumpet drums. This followed by the multi-instrument theme (30 sec.). The piece is be-bop from beginning to end.


Now this concerns The Bop Session, another album similar to (but less raw, if you don't mind the term "raw") than Sonny Side Up. "The Bop Session," was recorded on May 19-20, 1975. The album is on Sonet records, and is distributed by VOGUE. The musicians are Dizzy Gillespie, Sonny Stitt, John Lewis, Percy Heath, Hank Jones, and Max Roach. The album is basically a shared Stitt/Gillespie album. All the pieces are in the "be bop" style. There are no Cuban congas, Brazilian harmonies, pleasant Broadway melodies, or sprited blues wailings. These chamber music pieces are unadorned with singing, chanting, electric guitars, or vibraphones. The piano and drums only have relatively short periods for soloing. On the other hand, the album could be called "The Percy Heath Bass Album," since bass notes spew continuously throughout, without pause, where the bass lines are always clearly defined and right out in front.

In all the pieces the saxophone comes from the left speaker, the trumpet from the right, and the bass, drums, and piano from the center. For best appreciation of the album, the volume should be turned up, to enable hearing Max Roach's clicking cymbol rhythms.

1. Blue'n'Boogie. This piece is unusual, in this set, because after the intro there is a piano solo (rather than a sax or trumpet solo). Next comes a sax solo which, at one point, appears to quote from a fragment of When the Saints Go Marching In. At another point, Mr.Stitt plays one note repeatedly, but with two different fingers, providing an interesting effect. Then there's a trumpet solo. Next a bass solo. There is a drum solo, which concludes with an alternating interlude. Overall, the alternating interlude could be construed as a drum solo, and it consists of the instruments taking turns like this: trumpet, sax, drums, trumpet, drums, sax, drums, trumpet, drums, and sax.

2. Confirmation. Confirmation and Groovin' High are tunes for all Americans to learn by heart. First comes a saxophone solo. The sax solo contains many notes, as one might expect. They are strung together in a way that invokes oozing honey, melting butter, or a cube of vibrating jelly. At one point in the solo, Mr.Stitt plays one note repeatedly, but with two different fingerings, providing a special effect (see above). There's a trumpet solo. Then a piano solo. Then come multiple bass solos, each bracketed by an ascending fluttering motif on trumpet/sax. There are six such ascending fluttering motifs.

3. Groovin' High. The sax solo consists of many notes, as one might expect, but one of them is distorted (intended or not). The single distorted note provides a more powerful effect than repeatedly playing distorted notes, here and there throughout the piece. (Thirty years ago, in the mid 70s, I heard Dave Holland and Sam Rivers at Keystone Korner in San Francisco. In the middle of one of the pieces, Sam Rivers stopped playing saxophone for a moment, and screamed into the microphone, then resumed playing. He didn't do that again, during that particular evening. Doing odd things once can have a bigger effect than doing them a plurality of times.) Then comes a trumpet solo. Then a piano solo. Groovin' High is unique among these pieces in that it concludes with a dramatic fanfare.

4. Lover Man. This piece is slow, though the lenghthy muted trumpet solo contains a few spurting arpeggios that are as quick as those found elsewhere in this set. Lover Man begins with a long sax solo. Then there's a muted trumpet solo. Then a short piano solo. Then a sax solo.

5. All the Things You Are. Begins with a sax and muted trumpet duet. Then a muted trumpet solo. Then sax solo. In this piece, the sax has a somewhat sharper tone, rather than the more honey-toned saxophone tone found in the other pieces. Then a piano solo. Then a non-muted trumpet interlude, DRUM SOLO, sax solo, DRUM SOLO, trumpet solo, DRUM SOLO, sax solo, DRUM SOLO, trumpet solo, DRUM SOLO, sax solo, DRUM SOLO, finally a duet with muted trumpet and sax.

6. Lady Bird. Lady Bird begins with a sax solo. The saxophone solo contains Sonny Stitt's trademark ascending fluttering arpeggios. Muted trumpet solo. Piano solo (the longest on this album). Bass solo. Drum solo. The ending comprises Sonny Stitt playin the tune (theme) while Gillespie improvides on this tume.

In my opinion, every American high school student should be issued a copy of "The Bop Session," prior to graduation, as part of their acculturation process.

Quite possibly the best "blowing" album ever.......2004-07-07

This is not an important album in the sense that something like Kind of Blue, or Birth of the Cool, or Giant Steps or Moanin' was. It is, however, a showcase of what modern jazz was originally all about: the jam session. This album is nothing more than a glorified jam session, but what a jam it is! All musicians, especially the Sonnys are in the finest of form, contributing burning soloes on the Eternal Triangle, hard swinging ones on Sunny Side of the Street, and finger-poppin' ones on After Hours. The playing is infectious: this cd will always put you in a good mood. I've debated with my friends many times over who wins in the fast Eternal Triangle: Stitt, with his bebop lines? Or Rollins, who somehow manages to be melodic even in this rapid atmosphere? But then Dizzy enters in with his trumpet way up high, and the "winner" question becomes impossible to answer. That's the way it is throughout the entire album, and that should be all the info one could ever need. A perfect 5 stars.

jazz at its best.......2004-06-01

wow this is the best jazz album i ever heard. giant steps comes close but wow this album is amazing. both sonny's sound great as usualy but its almost as tho they raised their game some. diz sounds great everyone sounds good this is a must buy get this album NOW!

Quite short, but a piece of JAZZ Heaven and History.......2003-09-09

There is no doubt that this session served to push both Stitt and Rollins to some of their best ("The Eternal Triangle" for Stitt and Rollins...and "..Sunny Side.." finding Rollins compact and captivating in his solo). "After Hours" is one of my favorite tunes (called 'the Black National Anthem' by one of my 80+ year old best friends), and while it is played for quite a while - it is literally more than a fourth of the recording - I could listen to Ray Bryant with brother Tommy all night long. This is a great recording, and I wouldn't 'pass it around' without keeping a close eye on it!

Average customer rating: Diz 'n Bird dazzle One of The Best Live Jazz Albums 2 Concerts For The Price Of One...But Not Complete Blistering, Inspiring, Untouchable: Best Bird/Diz Concert This is it!

Diz 'N Bird at Carnegie Hall Charlie Parker & Dizzy Gillespie Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Bebop | Live Albums | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Blue Note Records | Amazon.com Label Stores | Stores | Music General | Jazz | Indie Music | Stores | Music Bebop | Jazz | Indie Music | Stores | Music Similar Items: Town Hall, New York City, June 22, 1945 Thelonious Monk Quartet with John Coltrane at Carnegie Hall Complete Jazz at Massey Hall Jazz at Massey Hall Charlie Parker: A Studio Chronicle 1940-1948 ASIN: B000005H9I Release Date: 1997-06-17

Tracks:

1. A Night In Tunisia
2. Dizzy Atmosphere
3. Groovin' High
4. Confirmation
5. Koko
6. Cool Breeze
7. Relaxin' At Camarillo
8. One Bass Hit
9. Nearness
10. Salt Peanuts
11. Cubano-Be Cubano-Bop
12. Hot House
13. Toccata For Trumpet
14. Opp-Pop-A-Da
15. Things To Come

Album Description

This historic September 29, 1947, concert reunited Dizzy Gillespie and Charlie Parker for five stunning performances and captures 11 selections by Dizzy's big band at the peak of its powers. Released in scattered form over the years, the complete releasable material from this important concert is brought together on CD for the first time with the best possible sound.

Customer Reviews:

Diz 'n Bird dazzle.......2007-03-25

I purchased this CD to play as part of a Black History unit on musical styles through the ages. This CD fit in perfectly and was enjoyed by my students. Any time I can introduce something from the past into a lesson so the students can see how it links to the present I am happy. This definitely happened here.

One of The Best Live Jazz Albums.......2006-07-24

I would rate this as one of the top 5 live jazz albums of all time. Bird and Diz are only together for the first five tunes, but don't let that deter you. They really tear it up on every song and Bird's amazing solo on "Confirmation" is probably the highlight. The remainder of the tracks is Dizzy Gillespie with his big band and while those songs aren't as exciting as the ones he does with Charlie Parker, they are still excellent. So if you're a jazz fan and you don't own this, get it. It belongs in every jazz fan's collection.

2 Concerts For The Price Of One...But Not Complete .......2005-12-23

The CD is somewhat misstated to gain notoriety but who cares with great music..The 1st 5 tracks are the reunion of Diz n Bird at Carnegie Hall (1947)and the remainder the big band set..The liner notes clearly mentions that Ella Fitzgerald was singing on 6 selections omitted here as well as other selections either unrecorded properly or intentionally omitted.

Blistering, Inspiring, Untouchable: Best Bird/Diz Concert.......2005-11-02

Don't let the recent discovery and hype surrounding the 1945 Gillespie-Parker Town Hall concert discourage you from picking up the 1947 Carnegie Hall concert. The audio quality isn't markedly inferior to either the Town Hall or Massey Hall dates, and the playing by Bird and Diz is not only worlds apart from the 1945 encounter but in some instances is superior to the later, Massey Hall performance.

Listen carefully to Bird's four-bar break on "Night in Tunisia," which Martin Williams analyzed in "The Jazz Tradition." Bird alters the meter and tempo ever so slightly, an aerialist who communicates the sense of being suspended in time and space, yet suddenly becoming reanimated just in time for the first beat of the chorus. It's very likely the most melodically-rhythmically complex four bars of improvised music every recorded, deserving a place right alongside Louis Armstrong's famous cadenza at the start of "West End Blues." You won't hear anything near this level of complexity on the Town Hall session, recorded two years earlier, let alone on any non-Parker performance. (Side-by-side comparisons of Bird's break with that of numerous other "name" saxophone players at the same juncture on the same tune inevitably is a disservice to the "pretenders." Listen, for example, to Lou Donaldson with Clifford Brown on "Art Blakey at Birdland, Vol. 1." Embarrassingly awful jive--merely meaningless motion.)

The remainder of the recording gives ample evidence of the heat and mastery of Bird as well as Diz (their unison ensembles defy credibility even today). And even though Bird gets more playing time in the small-group setting, there's enough heard from Diz to bolster the case of any listener who wishes to maintain that he was superior to Parker as an improviser (an argument I still have with some musicians).

Ignore the reviews that complain about the sound quality or the limited number of tunes featuring Bird. This contains some of the most exciting and significant Bird and Diz on record--if your ears are up to the challenge.

This is it!.......2005-08-21

I think that the quintet tracks on this album, which over the years have been released in a variety of forms and coupled with a variety of other material, are among the greatest jazz performances of all time. In particular, the playing and improvising in Night in Tunisia is at the highest level and, I would argue, Parker's entrance in Groovin' High is the greatest two bars of jazz in existence. I don't think it much matters what else is on the CD.

Average customer rating: Selections from the Greatest Voice of the Last Hundred Years A Must Have The Mario Lanza Collection The MARIO LANZA Collection WONDERFUL!!!!!

The MARIO LANZA Collection Manufacturer: RCA Victor ProductGroup: Music Binding: Audio CD General | Lehár, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Leoncavallo | Leoncavallo, Ruggiero | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Romberg, Sigmund | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Lanza, Mario | ( L ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Kern, Jerome | H to L | Featured Composers, A-Z | Opera & Vocal | Styles | Music Hardelot, Guy d' | H to L | Featured Composers, A-Z | Opera & Vocal | Styles | Music Lara, Agustin | H to L | Featured Composers, A-Z | Opera & Vocal | Styles | Music Brodszky, Nicholas | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music Buzzi-Peccia, Arturo | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music Capua, Eduardo di | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Jazz | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music General | Vocal Pop | Pop | Styles | Music Classical | Box Sets | Stores | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Musicals | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Mario Lanza: At His Best! Christmas with Mario Lanza Mario Lanza ~ Opera Arias & Duets, from Andréa Chenier · La Bohème · I Pagliacci · Madama Butterfly · Otello American Caruso Lanza: Greatest Hits ASIN: B000003F6V Release Date: 1991-11-12

Tracks:

1. Be My Love
2. I'll Never Love You
3. Because You're Mine
4. The Song Angels Sing
5. Drink, Drink, Drink
6. Serenade
7. The Loveliest Night of the Year
8. La Donna E Mobile
9. Because
10. For You Alone
11. Golden Days
12. Deep In My Heart, Dear
13. If I Loved You
14. Yours Is My Heart Alone
15. One Night Of Love
16. Beloved
17. Beautiful Love
18. With A Song In My Heart
19. You Are My Love
20. Call Me Fool

Tracks:

1. All The Things You Are
2. My Song,My Love
3. Love Is The Sweetest Thing
4. Will You Remember
5. Granada
6. Lolita
7. Serenade
8. Temptation
9. Lygia
10. Lady of Spain
11. This Land
12. Lee-Ah-Loo
13. Tina-Lina
14. Boom Biddy Boom Boom
15. The Bayou Lullaby
16. The Lord's Prayer
17. And Here You Are
18. Song of Songs
19. Somewhere A Voice Is Calling
20. I Never Knew

Tracks:

1. Ciribiribin
2. Wonder Why
3. Come Dance With Me
4. O Sole Mio
5. Younger Than Springtime
6. For the First Time (Come Prima)
7. Never Till Now
8. Arrivederci, Roma
9. If You Were Mine
10. Behold!
11. A Night to Remember
12. Love in a Home
13. Do You Wonder
14. Softly as in a Morning Sunrise
15. One Alone
16. Aida:Celeste Aida
17. Carmen: Flower Song
18. La Traviata: Brindisi
19. Rigoletto:Questa O Quella
20. Pagliacci:Vesti La Giubba
21. Cavalleria Rusticana: Addio Alla Madre

Customer Reviews:

Selections from the Greatest Voice of the Last Hundred Years.......2007-03-13

Mario Lanza was, arguably, the greatest tenor and greatest singer of this and the last century. It is difficult to appreciate him without listening to a variety of selections. This collection has some of his best recordings and exhibits the versatility and variety that he possessed that permitted him to "crossover" from opera to popular music with a ease.

I recommend this for those who already know Lanza to some extent but want to go into more depth and understand his marvelous skills.

A Must Have .......2006-12-12

I had forgotten what a beautiful voice Mario Lanza had. This collection contains opera and pop selections that exhibit the power yet sweetness of his voice. Fortunately, we have his CD's and videos so we can remember and listen to his gorgeous, vibrant voice and personality. I highly recommend this collection along with his wonderful movies, especially The Great Caruso.

The Mario Lanza Collection.......2006-11-10

I had forgotten just how beautiful a voice from the past was. It is a wonderful collection

The MARIO LANZA Collection.......2006-08-19

extract from most important LPs. Brilliant sound quality from RCA. Also included are soundtrack recordings from some of his movies. The are several reissues from Mario Lanza but this one is a collection you should have.

WONDERFUL!!!!!.......2005-10-19

The Mario Lanza Collection is a three CD set and it has 61 songs and they all sound great. The mastering on this set is excellent and the song choice is very very good. It would have been perfect if they added a forth CD with more Arias, Italian songs and Sacred Arias. BUT still this set is a great introduction to Lanza. Lanza's voice was powerful and beautiful; if you are a fan of great singing, you will love Lanza. Highlights on this CD set are; Be my Love, Because your Mine, Serenade, With a Song in My Heart, Temptation, The Lord's Prayer, Ciribirbin, O Solo Mio, Ariverducci Roma, and on and on. They are many many great songs on this set, and I highly recommend it.

Average customer rating: Excellent Best of the Bunch by Jazz' Foremost Entertainer Solid Comp, but not the Best A good introduction to Dizzy Gillespie I wish I could have given this CD 4 1/2 stars

Ken Burns JAZZ Collection: Dizzy Gillespie Dizzy Gillespie Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD General | Latin Music | Styles | Music Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Latin Jazz | Jazz | Styles | Music Classic Big Band | Swing Jazz | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music Similar Items: Ken Burns JAZZ Collection: Charlie Parker Ken Burns JAZZ Collection: Count Basie Ken Burns JAZZ Collection: Duke Ellington Ken Burns JAZZ Collection: Thelonious Monk Ken Burns JAZZ Collection: Benny Goodman ASIN: B000050I3P Release Date: 2000-11-07

Tracks:

1. Pickin' the Cabbage (with Cab Calloway & His Orchestra)
2. Disorder At The Border (with Coleman Hawkins & His Orchestra)
3. A Night In Tunisia (with Boyd Raeburn & His Orchestra)
4. Salt Peanuts
5. I Can't Get Started
6. Dizzy Atmosphere
7. Groovin' High
8. Things To Come
9. One Bass Hit, No. 2
10. Manteca
11. Bloomdido
12. Tin Tin Deo
13. Birk's Works
14. The Eternal Triangle
15. No More Blues (Chega de Saudade)
16. Swing Low, Sweet Cadillac

Amazon.com

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

Customer Reviews:

Excellent.......2001-11-23

As with a lot of the Ken Burn's series of cds, this was my first real exposure to the music of Dizzy Gillespie. This album covers many different record labels through the years 1940 to 1967, and showcases his many different styles. From small groups to big band, his interest in latin music, as well as his terrific sense of humour, as witnessed in the fun "Swing Low, Sweet Cadillac". The 12 page booklet includes photos of Diz and an interesting essay. Recommended.

Best of the Bunch by Jazz' Foremost Entertainer.......2001-03-19

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."

Solid Comp, but not the Best.......2001-03-18

Of course, no jazz musician can pack the energetic wallop that Dizzy could. His trumpet can only be described as HOT, and hearing his music makes you think of people dancing their legs off with garbage cans burning all around and smoke in the air. This man's music has LIFE in it. Unfortunately, the REAL energy to Dizzy is in his Latin Jazz work, and a more complete compilation of that style would be the Compact Jazz series. Ken Burns' collection here is more versatile, but just not as lively as Dizzy's music can be. Proceed with caution.

A good introduction to Dizzy Gillespie.......2001-03-16

There are far better compilations of Dizzy Gillespie, but unfortunately many of them go in and out of print at an alarming frequency. Only "The Complete RCA Victor Recordings" from six years ago manages to be a great, comprehensive Diz collection that has also stayed in print. This new Ken Burns CD does a great service in collecting some of Diz's greatest recordings and putting them in once place. Once again, we have such essential gems as "I Can't Get Started," "One Bass Hit No. 2," and "Things To Come" widely available in great sound. One wishes that a few tracks like "Ray's Idea" would be included, but perhaps Burns felt it would have shifted too much focus on the 40's. That's too bad because while the later tracks are good, Diz hit an amazing, early peak in the 40's and early 50's that is just monumental (despite some absent gems, the 40's output still takes up half the disc). However, these discs were targeted more towards new-comers, and as introductions, they do a stand-up job.

A bit of information on sound quality: Some have complained about the sound, which shouldn't be surprising as a majority of people buying these CD's aren't used to listening to music this old. Coming from 78 rpm discs, they certainly pale next to analogue tape recordings, and do take some getting used to. However, I should point out that the 78 rpm discs are given a fantastic remastering job here. The engineer, Kevin "in-joke for a middle name" Reeves, makes the bold choice of forgoing any noise reduction. As a result, the older, 78 rpm sourced tracks sound rather noisy, but they have a warmth, fullness, and dynamic range that is stunning compared to some of the CEDAR and NoNoise processed discs of recent years (if you can, compare the Charlie Parker collaborations here with the CEDAR processed ones on the new Parker box set: the difference is amazing). Not all the tracks were mastered from original source material, though, but they still sound great because of minimal tinkering done on them.

I wish I could have given this CD 4 1/2 stars.......2001-02-04

This is a great collection of music, and a wonderful reflection of the hard work and careful choices involved in the inclusion of material in the Ken Burns "Jazz" collection. I originally bought this CD thinking it worth the money for just "Salt Peanuts," "A Night in Tunisia," and "Manteca." Instead, I have come to appreciate much more of Dizzy Gillespie's music, and jazz music in general. A great CD for anyone interested in Jazz.

Average customer rating: Great innovative jazz an' a piece of history... Can we have a remaster? Oop-Bob-Sh-BAM!! Boppin! Lots of great early Diz in one spot...unlike the LPs

The Complete RCA Victor Recordings: 1937-1949 Dizzy Gillespie Manufacturer: RCA ProductGroup: Music Binding: Audio CD General | Latin Music | Styles | Music Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Latin Jazz | Jazz | Styles | Music Classic Big Band | Swing Jazz | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music Similar Items: The Complete Decca Recordings Town Hall, New York City, June 22, 1945 Diz 'N Bird at Carnegie Hall Charlie Parker: A Studio Chronicle 1940-1948 The Hot Fives & Sevens ASIN: B000002WRX Release Date: 1995-01-24

Tracks:

1. Manteca
2. Anthropology
3. King Porter Stomp
4. Yours And Mine
5. Blue Rhythm Fantasy
6. Hot Mallets
7. 52nd Street Theme - Take 1
8. 52nd Street Theme - Take 2
9. Night In Tunisia - Take 1
10. Night In Tunisia - Incomplete Take
11. Ol' Man Rebop
12. Anthropology - Take 1
13. Ow!
14. Oop-Pop-A-Da
15. Two Bass Hit
16. Stay On It
17. Algo Bueno (Woody 'N You)
18. Cool Breeze
19. Cubana Be
20. Cubana Bop
21. Ool-Ya-Koo
22. Minor Walk

Tracks:

1. Good Bait
2. Guarachi Guaro
3. Duff Capers
4. Lover, Come Back To Me
5. I'm Be Boppin' Too
6. Swedish Suite
7. St. Louis Blues
8. I Should Care
9. That Old Black Magic
10. You Go To My Head
11. Jump Did-Le Ba
12. Dizzier And Dizzier
13. I'm Be Boppin' Too - Take 2
14. Hey Pete! Le's Eat More Meat
15. Jumpin' With Symphony Sid
16. If Love Is Trouble
17. In The Land Of Oo-Bla-Dee
18. Overtime - Shorter Take
19. Overtime - Longer Take
20. Victory Ball - Shorter Take
21. Victory Ball - Longer Take

Amazon.com

These two Diz discs bookend two-years'-worth of late-'40s Gillespie orchestra recordings with some earlier Teddy Hill Orchestra and Lionel Hampton Orchestra sides. Actually, the '40s Gillespie-helmed recordings of "Manteca" and "Anthropology" begin the first disc, but that's kind of a sequencing quirk. Also included here are later Metronome All-Stars baubles. Here's a generous and savory taste of Gillespie ascending. --Steven Stolder

Customer Reviews:

Great innovative jazz an' a piece of history..........2007-07-05

This collection may seem a lil' overwhelming if you're a firsttime listener, an' its definitely too broad for a thorough straight through listen, as many'a the takes appear a few times in different incarnations. But if your a fan'a bebop an' of the early years of jazz music, then you'll more than likely eat this up. Dizzy was indisputably one'a the innovators an' had one'a the longest an' most profilic careers of all jazz legends.

With forty-three tracks total, there isn't much sense in tryin'ta list highlights, but I will say that 'A Night in Tunisia' is one'a my favorite jazz recordings ever (though I admit I have an affinity for Parker's version from the Dial Years) and this early interpretation of 'That Old Black Magic' is priceless. All in all, there is nothing not worth a listen on here, an' the different and unfinished takes reinforce the feeling that we're gettin' in on a decade's worth of brilliant, exciting musical evolution. Highly recommended for the already-initiated.

Can we have a remaster?.......2005-12-13

Of course this is a fine collection. Of course Dizzy's big band in the forties made some fantastic music. Of course this is an indispensible part of jazz history. But oh, the sound...

Previous issues of this music on both CD and vinyl far surpass this one in terms of sound quality. The dreaded nineties-era noise reduction technology is all over this music, taking great hunks of sonic elements away from these vital performances. Since Bluebird corrected similar problems by issuing the Blanton/Webster sides by Duke Ellington, should they not do the same for these great records?

Oop-Bob-Sh-BAM!!.......2004-11-23

From the first time I heard Dizzy's big band, on a now-defunct RCA Vintage LP ("The Bebop Era"), I was hooked...then I found out that my father had heard the band for FREE when he worked at the Metropole in NYC on 52nd Street...and HATED it because Dizzy didn't play like Sammy Kaye (his favorite band)!! How I envied and disliked him for that!!

These innovative Gil Fuller arrangements, in which the entire trumpet section swung like five Dizzies, are simply staggering. The music swirls and eddies, jumps and dives like a hyperactive jazz dancer. And all the soloists are fabulous: inventive, original, highly swinging. The jam sessions at the Metronome All-Star sessions are also very historic, with a trumpet section of Dizzy, Miles Davis and Fats Navarro, all trying to sound like Dizzy in their solos (and succeeding!), as well as scintillating piano solos by the brilliant but anti-social Lennie Tristano. All in all, an exciting and important album that no jazz lover should be without.

Boppin!.......2003-12-06

Dizzy Gillespie's style was the nemesis of Miles Davis's. Introspection doesn't seem to have been a word often used in Diz's vocabulary, musical or otherwise. His playing did have a 'dizzying' effect always putting speed, dynamism and drama at the forefront of his performances. On this collection Gillespie's talent as a bandleader and musical arranger also come to the fore. He had of course a great theoretical knowledge of music and wasn't afraid to pass this on to other musicians by way of help and encouragement. With the big bands here he manages to register bebop lines in a larger sound and the over-all enthusiasm shows through.

Throughout this collection Gillespie never loses sight of the desire to swing despite his revolutionary tendacy to subvert traditional chord structure. 'Hot Mallets' swings like hell over great xelophone playing that also features on 'Blue Rhythm Fantasy'. The first version of '52nd Street Theme' is amazingly fluent while the second version goes in for greater improvisation. The bebop standard 'A Night In Tunisia' gets its greatest rendition here in its original form with Diz's no-holds emphatic sound. Gillespie's generosity to other musicians can be heard on 'Ol' Man Rebop' where each soloist takes his turn exercising his own bop interpretations. The most incessantly driving tracks on these CD's are the two versions of 'Anthropology' which rock like crazy. I also loved the rolling end of 'Ow!' and the swinging shout of 'Cool Breeze'. With 'Cubana Be' and 'Cubana Bop', Gillepie moves into even greater experimental territory. Each display a menancing rhythm like the growing stampede of an elephant herd backed up by Gillespie's elephant sounding shrieks on the trumpet.

More brash and emphatic playing on 'Minor Walk' and 'Lover Come Back To Me' proves to be yet another shining example of Dizzy as a great arranger. The backing brass jumps about at its own frenetic pace while Gillespie's trumpet bursts with energy and of course there's also the tight technical arrangement of the 'Overtime' tracks. The footstomping 'I'm Beboppin' Too' could be a manifesto for the whole bebop movement, while tracks like 'Jump Did La Ba' shows an early example of bop scat-singing. In contrast you have tracks that still swing (almost violently in Dizzy's case) like his interpretation of St. Louis Blues.

What always shows through in Dizzy's playing is his total enjoyment and utter euphoria, something that he shares with few other jazz players (the most notable exception being Louis Armstrong). All in all a marvellous collection for Dizzy fans.

Lots of great early Diz in one spot...unlike the LPs.......2003-08-29

All of this stuff is contained on the RCA Victor Vintage Series LPs of Diz, and another RCA LP called "The Best Of Dizzy Gillespie" - but how nice it is to see it all in one spot. The two different takes (one abbreviated) of "Night In Tunisia", "Manteca", "Anthropology", the Afro-Cubano stuff with Chano Pozo, on and on...even the Teddy Hill cuts. Any serious student or fan of Diz must have this. Yes, there are a few 'filler' cuts, but hey - that's historic, too! Now what really would be nice would be to see a Prestige CD of what was contained in the 2LP set "In The Beginning" with stuff like "She's Gone Again" and "He Beeped When He Should'a Bopped", and the like. I'll have to dig further...

Average customer rating: My favorite 'live' recording of all-time Greatest Jazz Concert of All Time. No, Really. I Mean It. A Meeting of Giants Be-bop at its relaxed best 48 minutes vs. 72 minutes minus Mingus' overdubs

Jazz at Massey Hall Quintet , Charlie Parker , Dizzy Gillespie , Bud Powell , and Max Roach Manufacturer: Ojc ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music Bebop | Live Albums | Jazz | Styles | Music Modern Postbebop | Live Albums | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Similar Items: Diz 'N Bird at Carnegie Hall Mingus Ah Um Saxophone Colossus Maiden Voyage Giant Steps ASIN: B000000Y2R Release Date: 1991-07-01

Tracks:

1. Perdido
2. Salt Peanuts
3. All The Things You Are
4. Wee
5. Hot House
6. A Night In Tunisia

Amazon.com essential recording

One of the most famous live recordings in jazz history, this May 1953 concert from Toronto brought together five of bebop's greatest figures in alto saxophonist Charlie Parker (credited here as "Charlie Chan" in a purposely transparent attempt to sidestep Parker's exclusive recording arrangement with another record company), trumpeter Dizzy Gillespie, pianist Bud Powell, drummer Max Roach, and bassist Charles Mingus. Released following Parker's death two years after the date, the recording finds him in remarkable form, his playing robust, pointed, and witty. And although each participant is a band leader, composer, and groundbreaking stylist on his instrument, the performance demonstrates that Parker remained first among equals. Compositionally, Jazz at Massey Hall leans heavily on the bebop book developed by Gillespie, and includes "Salt Peanuts," "Wee," and "A Night in Tunisia." Also featured are Tadd Dameron's "Hot House," the Ellington standard "Perdido," and "All the Things You Are." Initially released on Debut Records, a label co-owned by Mingus and Roach, the sound quality is certainly of the time, but has benefited over the years from digital technology. --Fred Goodman

Customer Reviews:

My favorite 'live' recording of all-time.......2007-04-08

There are some pretty excellent reviews already written about this amazing recording (C. Craddock's in particular). It is one of my top five favorite jazz CD's that I own and definitely my favorite 'live' recording. I love hearing the applause of the audience after each solo. These cats were simply the 'DREAM TEAM' of Jazz music - Dizzy, Bird, Bud Powell, Max Roach, and last but not least the incredible Charles Mingus on bass.

From the moment the first song "Perdido" begins your heart starts pounding quickly with excitement and glee cause you just know you are in for some kind of magical journey. I still can't believe the story about Bird and his borrowed horn (the infamous white, plastic alto). Talk about turning chicken sh.. into chicken salad! How in the hec does he play like that?!! Especially considering how much he was drinking and shooting up at the time. According to Miles, it never mattered how f...ed up Bird was on booze and heroin, it seemed the more trashed he was, the better he played. Go figure.

I don't think any fan of jazz will be disappointed if they make this purchase. It's difficult for me to comprehend how you could be a fan without this one in your collection. This one is a no-brainer!

Greatest Jazz Concert of All Time. No, Really. I Mean It........2007-03-07

This concert was a reunion for Charlie Parker and Dizzy Gillespie. In spite of his name, Dizzy was actually a pretty stable guy, who was fed up with Bird's shennanigans. It was a shame, because they were two virtuosos, and Parker replaced Diz with a young Miles Davis, who was just not up to the task, not playing at a level to meet and challenge Bird.

To give you an idea of what Dizzy had been putting up with, Parker played the gig on a white plastic saxophone, because his horn was in the pawn shop. That was a common tactic of Charlie Parker, drug addict, pawning his horn before a gig, in order to get money for heroin. In spite of the plastic horn (that actually became kind of a collector's item because Bird had used the horn on this notorious recording) he played fantastic, and the alto break on Night in Tunisia, where the band stops just after playing the head, and then the alto carries it, and the band rejoins him for the first solo chorus, is classic, and is now referred to as THE "alto break." In addition to his pawn shop situation, Parker also had to record under the name of Charlie Chan, due to other contractual obligations. It is just amazing, that in spite of the situation, they had assembled the greatest band of all eternity, who were able to perform the Greatest Jazz Concert of All Time.

Charles Mingus was quite a bass player, but a volatile personality as well. One time when a trumpeter announced he was quitting, Mingus punched him in the mouth, breaking several teeth. This is even more serious for a musician, especially a trumpet man, than it is for the average citizen. What a prick. But what a bass player he was.

Bud Powell suffered from mental illness. I think there was an incident where he got beat up by bouncers at a club, much like the way Jaco Pastorius was killed. He was also a genius, and developed a stripped down left hand style, just suggesting the chords with 2 or 3 notes, while freeing up his right hand for furious bebop explosions. Titles of his original tunes, like Glass Enclosure, or Dance of the Infidels, gives you a glimpse into his mind set.

Max Roach was like the match to this molotov cocktail. What a perfect drummer for this ensemble. Roach, Mingus, Powell, Gillespie and Parker. Not even white plastic saxophones, mental illness, or chronic bad attitude could hold them back. Added bonus is Dizzy and/or Bird anouncing the tunes, sometimes even in French.

Check out their version of Hot House, a wonderiferous tune composed by Tadd Dameron. This tune has a lovely and beautimus head based on the changes to Cole Porter's What Is This Thing Called Love?

In spite of any qualms you might have about the sound quality (it was recorded by Mingus with a back stage recorder and never intended to be released or anything) it is a document of 5 virtuouso geniuses, brought together by fate for this single recording that is rightly referred to as the Greatest Jazz Concert of All Time.

I remember that I had the Double LP, and the second LP was Bud Powell playing in piano trio format. To include that would be the only possible improvement to this fantastic CD. 5 stars. 6 or 7 even if they would let me.

A Meeting of Giants.......2006-11-24

This concert from 1955 is a "must have " for anyone interested in the history of jazz.This is something of a time capsule - an impromptu concert in Toronto by the individual winners of a jazz poll.No rehearsal - they just turned up and played.
This is all about "bebop" and reeks of late 40s New York : Charlie Parker and Dizzy Gillespie playing a mixture of Gillespie compositions ( Salt Peanuts ) and standards such as A Night In Tunisia and Perdito.
The rythm section is Bud Powell,Charles Mingus and Max Roach and the standard of playing overall is breathtaking.The sound is actually pretty good,considering that this is a 50 year old tape recording.
A treasure.

Be-bop at its relaxed best.......2006-06-05

The amazing music at this concert is rightly famous in spite of the uneven levels and other recording problems that often trouble great jazz records.
Being a fan of classical jazz who appreciates even the primitively recorded music from the 1920s ("squeek", "screetch"), I can't be very critical of problems that Mr. Greenbaum points to in his elaborate and extremely useful review on this site.
For me, this recording compares to some earlier artists' classical work like a theater performance given months ofter the opening night to the performance at the very opening night. When the actors know each other well and no longer worry about the outcome of the production and the reaction of the critics, they can relax and trully create.
Compared to Gillespie's and Parker's recordings from the 40's, this music is more relaxed but still trully creative and imaginative; it seems that experience in be-bop idiom (like in most any other idiom) is beneficial for all the involved parties.
I have mentioned only two players from this great quintet full of fire and rhythm but, let's face it, they are the reason to buy this cd. The others, great musicians themselves, are ("only") first class supporting crew at this historical concert.
I'm not really an expert in jazz, but I still want to contribute my five stars at this point...

48 minutes vs. 72 minutes minus Mingus' overdubs.......2006-03-14

Five stars for the music (a no-brainer), but as someone who owns both this Debut/OJC edition and the Spanish import, "The Complete Jazz at Massey Hall," on the Jazz Factory label, I must echo the sentiments of "shurbuilders" (below). The European edition is from the same company--Disconforme--that did such an excellent job of mastering the "Complete Duke Ellington at Fargo Concert," and at an affordable price. Score them another winner with their edition of the Massey Hall concert. Not only does the Jazz Factory version contain 24 additional minutes of music, but it has more "presence" in the treble frequencies (especially noticeable with Roach's drum kit) and features Mingus' original bass lines, which to my ears are sufficiently audible without Mingus meddling with them after the fact. Moreover, the tunes are complete (the OJC version begins "Perdido" after the bridge).

The strengths of the Spanish import may not be so apparent to listeners who prefer a tighter and shorter program and who have become accustomed to bottom-heavy modern recordings. Also, the reduced crowd noise on the OJC edition may permit more exclusive concentration on the soloists. But this was an historic musical event, and no doubt many listeners will wish to experience "up-close" and in full the magical moment that occurred in Canada on the night of May 15, 1953. If so, the Spanish import is definitely your best ticket to Toronto.

Average customer rating: Be Careful You Know What You Are Getting Great Combination.. Dynamic duo Bird, Diz, and Monk en-Riched Five star quality, but only four stars worth of songs

Bird & Diz Charlie Parker and Dizzy Gillespie Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Similar Items: Diz 'N Bird at Carnegie Hall Study in Brown Town Hall, New York City, June 22, 1945 Somethin' Else Mingus Ah Um ASIN: B0000047D3 Release Date: 1997-07-29

Tracks:

1. Bloomdido
2. My Melancholy Baby
3. Relaxin' With Lee
4. Leap Frog
5. An Oscar For Treadwell
6. Mohawk
7. My Melancholy Baby (Complete Take)
8. Relaxin' With Lee (Complete Take)
9. Leap Frog (Complete Take)
10. Leap Frog (Complete Take)
11. Leap Frog (Complete Take)
12. An Oscar For Treadwell (Complete Take)
13. Mohawk (Complete Take)
14. Relaxin' With Lee (Breakdown Take)
15. Relaxin' With Lee (Breakdown Take)
16. Relaxin' With Lee (False Start)
17. Relaxin' With Lee (Breakdown Take)
18. Leap Frog (Breakdown Take)
19. Leap Frog (Breakdown Take)
20. Leap Frog (Breakdown Take)
21. Leap Frog (Breakdown Take)
22. Leap Frog (Breakdown Take)
23. Leap Frog (Breakdown Take)
24. Leap Frog (Breakdown Take)

Amazon.com essential recording

This date from June 6, 1950, was an unusual one for Charlie Parker. He chose to play with fellow bop creators Dizzy Gillespie and Thelonious Monk, in a striking reunion with the trumpeter and the only occasion on which Parker recorded with the pianist. Though the three may have felt encumbered by the presence of swing drummer Buddy Rich, they're in brilliant form, with Parker and Gillespie spurring one another to heights that range from the warm to the electric. Bird's ideas flow with characteristic ease and swing while Gillespie sparks and flares. It's unlikely that anyone else but Gillespie could match Parker on the dazzling interplay of "Leap Frog," a performance supplemented by several alternate takes. Monk's characteristically skewed solos are a rare delight in what is otherwise an orthodox bop setting. The tunes are all Parker's except for "My Melancholy Baby," which inspires witty play. --Stuart Broomer

Customer Reviews:

Be Careful You Know What You Are Getting.......2005-12-09

The music is good (as you would expect), however be very careful. There are 24 tracks on this CD, but there are really only six pieces. Tracks 7-24 are alternate recordings and outtakes of the first six. If this is what you want, fine. But if you are expecting a CD with 24 different songs, this isn't it.

Great Combination.........2005-07-19

Great Bebop combination..
Everybody knows how incredible Charlie Parker sounds in his solo album, and how Dizzy Gilespie sounds in his album. Now, they combines thier sounds, feelings, and fun into one CD called "Bird&Diz."
Good CD to have, if you love jazz...

Dynamic duo.......2005-03-24

Their last session together, it was a blast!

Buddy backs up nicely, and it's a shame there were no new tracks to surface. I feel a bit cheated when you get all these alternate takes!

Bird, Diz, and Monk en-Riched.......2004-10-30

The retail price for this single-disc album will no doubt seem steep to some consumers, especially since the entire program clocks in at under 45 minutes. But it's a well-produced, artfully packaged (though the "retro-cardboard" fold-over case raises questions about durability), and unique session by three of jazz' most blessed improvisors at the pinnacle of their powers.

Originally a 1950 recording released on a 10" LP in 1952, the session was apparently conceived by Norman Granz as an opportunity to win for Bird a larger audience by showcasing him in the company of jazz stars playing "pretty tunes written by good songwriters" (in several years Sonny Stitt would be laying down 5-6 tracks per side of exquisitely played standard tunes for Roost Records). But with the exception of "Melancholy Baby" these are exactly the same kinds of bebop head charts based on blues and "Rhythm" chord changes that Bird had recorded at Dial and Savoy. What distinguishes the album--apart from the singularly aggressive and competitive playing of Parker and Gillespie in their last studio session--is the presence of Monk (playing Bud Powell-like lines on uncharacteristically up-tempo tunes but still unmistakably Monk) and Buddy Rich.

In his generous, well-documented liner notes, James Patrick laments the neglect this session has received from previous critics and historians. Then he observes that though Parker, Gillespie, Monk, and (even) bassist Curley Russell "play beautifully," Buddy Rich is "intrusive" and should have been replaced by a Max Roach, Roy Haynes, or Kenny Clarke. Fine, then we have another recording indistinguishable from the earlier Dials and Savoys!

Rich may be less flowing and propulsive than the aforementioned bebop drummers, but he's definitely not intrusive. In fact, his swing-era symmetry and unfailing metronomic pulse bring a different dimension to the music and complement, above all, Monk's rhythmic approach. It's impossible to believe a musician like Monk would have hung around the studio if he did not appreciate Rich's time. (In the early '70's at Chicago's Plugged Nickel I saw Monk fire a drummer in the middle of the second tune of the first set!)

What I love about this recording are the eleven takes of "Leap Frog." Even though seven are false starts, Bird and Diz are going after one another like rival gladiators on each take. In fact, it's quite a challenge to determine what caused Bird to abort seven of the attempts so quickly (and he clearly is in charge, stopping the recording and giving orders to Monk and the other musicians). The recording provides a fascinating glimpse of the creative process as practiced by one of the indisputable musical geniuses of the 20th century.

Five star quality, but only four stars worth of songs.......2003-10-27

The six individual short songs on this album are excellent. Bird is in great form, Diz plays with spark and panache, and Monk's short interludes are great -- at times more than great: inspired. He and Parker were born to play together, and it is joy to hear them work out in the same room.

I personally have no trouble with Rich's relatively tasteful contributions to this album. He keeps time well and doesn't get in anybody's way. He was not a great inovator, but he was talented enough to sit in with this stellar crew and add his fiery energy to the set. The bass player also often takes a very traditional straight ahead approach, but none of the reviewers here give him a hard time for frequently doing more or less exactly what Rich is doing in terms of rhythmic content.

If you like Parker, Monk and Diz, you will enjoy this short album. The extra material on the album doesn't really mean that much to me. I just want the original cuts, which are superb. If there were more of them, this would be a five star album.

Average customer rating: Two Giants holding it down Five Stars Easily

Oscar Peterson & Dizzy Gillespie Oscar Peterson and Dizzy Gillespie Manufacturer: Pablo ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Swing General | Swing Jazz | Jazz | Styles | Music Similar Items: Dizzy's Big 4 Roy and Diz Oscar Peterson & Clark Terry Afro Ella and Oscar (20 Bit Mastering) ASIN: B000000XJ0 Release Date: 1991-07-01

Tracks:

1. Caravan
2. Mozambique
3. Autumn Leaves
4. Close Your Eyes
5. Blues For Bird
6. Dizzy Atmosphere
7. Alone Together
8. Con Alma

Customer Reviews:

Two Giants holding it down.......2004-07-11

Dizzy&Oscar run up&down on these tracks with a vibe that never falls out.they Blend so well together&you are just vibing off there Musical Chemsitry.they both have signature Sounds to there Respective Musical Instruments.this Album is well complimented of there Styles.strong arrangements&a Blend that you want more of .

Five Stars Easily.......2002-10-28

An incredible little album with two masters giving fast-paced and subtle duets in some great numbers. Dizzy and Oscar, all by themselves, play mind-bogglingly. Listening very closely to their dual-spontaneity is extremely rewarding. I've heard this album over and over, and it will never wear on me. Captures intensity, playfulness, inventiveness, and smooth control all at once. Really a must-have for anyone who collects jazz, especially if you enjoy bop.

Average customer rating:

Dizzy's Business The Dizzy Gillespie All-Star Big Band Manufacturer: Mcg Jazz ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music General | Live Albums | Jazz | Styles | Music Classic Big Band | Swing Jazz | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music Similar Items: Things to Come Turn up the Heath Plays Well With Others Easy To Love Taking the Long Way Home ASIN: B000HIVOAU Release Date: 2006-09-26

Tracks:

1. Dizzy's Business
2. Con Alma
3. Blue 'N Boogie
4. I Mean You
5. Without You - No Me (To Dizzy)
6. Hot House
7. Stardust
8. Tour De Force
9. Moody's Groove
10. Morning Of The Carnival
11. Off Minor

Album Description

DizzyÂ's Business is a passionate, high-energy experience. The 13 tracks on The Dizzy Gillespie™ All-Star Big BandÂ's sophomore CD Â- built on Dizzy GillespieÂ's original big band charts with new arrangements by musical director and Grammy Award winning arranger Slide Hampton, master saxophonist Jimmy Heath and drummer extraordinare Dennis Mackrel Â- come to life through the collective talents of what can only be categorized as GillespieÂ's Â"dream band.Â"

Recorded live at Manchester CraftsmenÂ's Guild in Pittsburgh, PA, during a four-night stand in September-October 2005, DizzyÂ's Business showcases the talents of 18 disciples from the Gillespie school Â- many of them musical luminaries in their own right Â- under the leadership of the great trombonist Slide Hampton. Included in the star-studded lineup are Jimmy Heath, James Moody, Frank Wess, Claudio Roditi, Randy Brecker, Antonio Hart, and Executive Director John Lee Â- all veterans who played with Dizzy at various times throughout the past five decades. Special guest trumpeter Roy Hargrove and the Italian-born vocal sensation Roberta Gambarini round out the ensemble. Hargrove lends his expert sound and riveting solos while Gambarini brings a remarkable range and gift for improvisation.

Jazz Music:

1. East Coast West Coast
2. Evolution: The Polydor Anthology
3. fluent
4. Glad to Be Unhappy [Import] [Original recording remastered]
5. Hades Park [Import]
6. Happenings [Import]
7. His Final Work
8. How My Heart Sings!
9. Impulsions [Import]
10. In Season

Jazz Music

jazz music