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120708bk Dizzy2 24/2/03 5:14 pm Page 2 12. Birk’s Works 3:04 17. Umbrella Man 2:24 Personnel (Dizzy Gillespie) (Larry Stock–James Cavanaugh– Dizzy Gillespie Sextet Vincent Rose) 6 February 1946: Dizzy Gillespie, trumpet; 14 April & 6 May 1949: Dizzy Gillespie, Dave Lucky Thompson, tenor sax; Milt Jackson, Burns, Elmon Wright, Willie Cook, trumpets; DeeGee 3600, mx 2040-X Dizzy Gillespie Quintet; vibes; Al Haig, piano; Ray Brown, bass; Stan Andy Duryea, Sam Hurt, Jesse Tarrant, Recorded 1 March 1951, Detroit Joe Carroll & Ensemble, vocal Levey, drums trombones; Ernie Henry, alto sax; Joe Gales, 13. Swing Low Sweet Cadillac 2:55 DeeGee 3607, mx 2307 22 February 1946: Dizzy Gillespie, trumpet; Budd Johnson, tenor sax; Cecil Payne, baritone (Traditional) Recorded 18 July 1952, New York Don Byas, tenor sax; Milt Jackson, vibes; Al sax; James Forman, piano; Al McKibbon, bass; Dizzy Gillespie Sextet; 18. Stardust 3:03 Haig, piano; Bill de Arango, guitar; Ray Teddy Stewart, drums; Sabu Martinez, bongos; Dizzy Gillespie & Ensemble, vocal (Hoagy Carmichael–Mitchell Parish) Brown, bass; J. C. Heard, drums Joe Harris, congas DeeGee 3601, mx 2300 Dizzy Gillespie Sextet 22 August 1947: Dizzy Gillespie, Dave Burns, 1 March 1951: Dizzy Gillespie, trumpet; John Recorded 25 October 1951, New York DeeGee 3607, mx 2304 Coltrane, alto & tenor sax; Milt Jackson, vibes, Recorded 25 October 1951, New York Elmon Wright, Matthew McKay, Ray Orr, 14. Caravan 2:52 trumpets; Ted Kelly, Bill Shepherd, trombones; piano; Kenny Burrell, guitar; Percy Heath, bass; (Juan Tizol–Duke Ellington–Irving Mills) 19. Pop’s Confessin’ (I’m Confessin’) 3:29 John Brown, Howard Johnson, tenor sax; Kansas Fields, drums Dizzy Gillespie Sextet (Al Neiburg–Doc Dougherty–Ellis Reynolds) George Nicholas, Joe Gales, tenor sax; Cecil 25 October 1951: Dizzy Gillespie, trumpet; Bill DeeGee 3601, mx 2300 Dizzy Gillespie Quintet; Joe Carroll, vocal Payne, baritone sax; John Lewis, piano; Al Graham, alto & baritone sax; Stuff Smith, Recorded 25 October 1951, New York DeeGee 3605, mx 2308 McKibbon, bass; Kenny Clarke, drums violin; Milt Jackson, piano, organ, vibes; Percy Recorded 18 July 1952, New York 15. Oo-Shoo-Be-Doo-Be 3:19 22 & 30 December 1947: Dizzy Gillespie, Dave Heath, bass; Al Jones, drums (Joe Carroll–Billy Graham) 20. Jump-Did-Le-Ba 2:30 Burns, Elmon Wright, Lamar Wright Jr., Benny 18 July 1952: Dizzy Gillespie, trumpet; Bill Dizzy Gillespie Quintet; (Dizzy Gillespie) Bailey, trumpets; Bill Shepherd, Ted Kelly, Graham, alto & baritone sax; Wynton Kelly, Joe Carroll & Ensemble, vocal Dizzy Gillespie & His Orchestra; trombones; Howard Johnson, John Brown, alto piano; Bernie Griggs, bass; Al Jones, drums DeeGee 3603, mx 2309 Joe Carroll & Dizzy Gillespie, vocal sax; Joe Gales, George Nicholas, tenor sax; Recorded 18 July 1952, New York RCA Victor 20-3481, mx D9VB 1011 Cecil Payne, baritone sax; John Lewis, piano; 16. Tin Tin Daeo 2:38 Recorded 6 May 1949, New York Al McKibbon, bass; Kenny Clarke, drums; Chano Pozo, congas (Chano Pozo–Walter Fuller) Transfers & Production: David Lennick Dizzy Gillespie Sextet Digital Noise Reduction: Graham Newton DeeGee 3600, mx 4015-X Original 78s from the collections of David Recorded 1 March 1951, Detroit Lennick & John Wilby Also available in the Original monochrome photo of Dizzy Gillespie from Rue desArchives / Lebrecht Music Naxos Jazz Legends series 8.120582 5 8.120708 6 8.120708 120708bk Dizzy2 24/2/03 5:14 pm Page 1 DIZZY GILLESPIE From later that year until 1941 the future revolutionary, short-lived big-band. In 1945, 1. 52nd Street Theme 3:05 7. Cool Breeze 2:43 Vol.2 ‘Clown Prince of Bebop’ remained a prominent after leading a small combo at the Three (Thelonious Monk) (Tadd Dameron–Dizzy Gillespie– ‘Dizzy Atmosphere’ Original Recordings 1946-1952 and much-prized, if consistently wild, fixture of Deuces, Diz formed and toured with his own Dizzy Gillespie & His Orchestra Billy Eckstine) Cab Calloway’s band. With Calloway, working big band, the All-Stars. The catalogue of his RCA Victor 40-1030, mx D6VB 1682 Dizzy Gillespie & His Orchestra; The bluff and pugnacious Dizzy Gillespie was, breach, although by most accounts he never closely with Cuban trumpeter Mario Bauzá, he original compositions was already a virtual Recorded 22 February 1946, New York Dizzy Gillespie & Kenny Hagood, vocal with Charlie Parker, the leading jazz innovator made a formal study of that instrument either. indulged his fascination with Afro-Cuban inventory of bop when this venture failed 2. Anthropology 2:38 RCA Victor 20-3023, mx D7VB 2933-1 of the 1940s. One of the most colourful rhythms - until Calloway fired him for financially and, fortuitously, in May, he joined (Dizzy Gillespie–Charlie Parker) Recorded 22 December 1947, New York In 1935, the eighteen-year-old Dizzy moved protagonists in that idiom he was variously persistent bad behaviour. During the next forces with Parker to form the now-legendary Dizzy Gillespie & His Orchestra 8. Cubana Re 2:40 with his family to Philadelphia and between bandleader, composer, conga-drumming couple of years brief sojourns with various All-Star Quintet. RCA Victor 40-1032, mx D6VB 1685 (George Russell–Dizzy Gillespie) 1936 and 1943 made a name for himself as a bands followed, including Ella Fitzgerald, Recorded 22 February 1946 New York Dizzy Gillespie & His Orchestra experimenter, pianist-arranger and vocalist sideman in big bands, gradually forging the From December 1945 Diz toured California Coleman Hawkins, Benny Carter, Charlie RCA Victor 20-3145, mx D7VB 2934 and, after Louis Armstrong, the single most new style which would alter the course of jazz with a sextet which by 1946 had evolved into 3. Diggin’ For Diz 2:50 Barnet, Les Hite, Lucky Millinder (1900-1966), Recorded 22 December 1947, New York influential trumpeter in jazz history. With history. In Philadelphia, this intelligent, another, more streamlined avant-garde big (George Handy) Duke Ellington and, most notably, from 1943, Charlie Parker a prime mover in the emergence autodidactic but over-assertive country youth band, one which by mid-1948, after various The Tempo Jazzmen 9. Cubana Bop 3:15 of bop, he became its most ‘far out’ exponent, found work first in local bands, including that Earl Hines (1903-1983), the ‘virtual nursery of tours (notably to Scandinavia) won Gillespie’s Dial 1005, mx D 1002-E (George Russell–Dizzy Gillespie) conferring upon the revolutionary new form of Frank Fairfax, where his fellow-trumpeters bop’ where his colleagues included Parker, Billy new style global recognition, its ranks variously Recorded 6 February 1946, Los Angeles Dizzy Gillespie & His Orchestra featuring (via a winning combination of showmanship included Charlie Shavers and Carl ‘Bama’ Eckstine and the latter’s discovery Sarah including Modern Jazz Quartet founders Ray 4. Dynamo A (Dizzy Atmosphere) 2:56 Chano Pozo, conga drums & chant and organisational skill) a semblance of Warwick. In 1936, his ear inclined to Teddy Vaughan. Brown, Kenny Clarke, Milt Jackson and John (Dizzy Gillespie) RCA Victor 20-3145, mx D7VB 2935 respectability. Recorded 22 December 1947, New York Hill’s NBC’s radio broadcasts from the Harlem In July 1942 Dizzy recorded four titles with Lewis, as well as Sonny Stitt and John Coltrane. The Tempo Jazzmen Dizzy was born John Birks Gillespie, the last of Savoy Ballroom, he avidly followed the fluent Millinder’s Savoy Ballroom outfit in which his By 1950, however, Dizzy bowed again to Dial 1001, mx D 1003-A 10. Manteca 3:05 nine children, into a modest family background playing of his idol, Hill’s star trumpet Roy innovative solos constituted significant strides financial pressure and disbanded. For a while Recorded 6 February 1946, Los Angeles (Dizzy Gillespie–Chano Pozo) Dizzy Gillespie & His Orchestra in Cheraw, South Carolina, on 21 October Eldridge (1911-1989) and the following year, in the evolution of bop in a swing-band context he was featured as a soloist in the Kenton big- 5. Two Bass Hit 2:45 RCA Victor 20-3023, mx D7VB 3090 1917. His father, a bricklayer, was an amateur having already transferred to New York, he and around this time he first joined forces on a band but from 1951 onwards, having realised (John Lewis–Dizzy Gillespie) Recorded 30 December 1947, New York musician who played piano and ran a band in auditioned successfully for the place Eldridge regular basis with Parker (while both were with that small was beautiful, he fronted his own Dizzy Gillespie & His Orchestra his spare time. The regular presence of music had vacated in Hill’s outfit and, by mid-year, Hines) and also jived and recorded in groups combos along the lines of those he had run RCA Victor 20-2603, mx D7VB 1544, 11. I Should Care 2:59 in the Gillespie household fired young Dizzy’s had toured France and Great Britain and made led by tenor (and bass) saxophonist and ex- previously, ad hoc quintets and sextets which Recorded 22 August 1947, New York (Sammy Cahn–Axel Stordahl–Paul Weston) his first records with the band (for RCA often as not included Bill Graham, Milt musical imagination and, by the time of his commercial bandleader Boyd Raeburn (1913- 6. Ow! 2:54 Dizzy Gillespie & His Orchestra; Victor). Jackson, Al Jones and other modernists. During father’s death in 1927, he was already 1966) and clarinettist Joe Marsala (1907- (Dizzy Gillespie) Johnny Hartman, vocal 1951 he also set up his own record company, RCA Victor 20-3457, mx D9VB 473 proficient on trombone. In 1932, aged fifteen, Dizzy next freelanced with several New York 1978). During 1944, Raeburn’s 52nd Street- Dizzy Gillespie & His Orchestra Dee-Gee (tracks 13–20) in Detroit, yet another Recorded 14 April 1949, New York Dizzy won a scholarship to the Laurinburg groups, including Al Cooper’s Savoy Sultans based, pioneering bop groups boasted the RCA Victor 20-2480, mx D7VB 1542-1 Gillespie financial venture which folded after Institute in North Carolina, where he studied and Alberto Socarras’ Afro-Cuban band before leading jazz musicians of the day, including Recorded 22 August 1947, New York only limited success.
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    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 - ) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. Then Edward Alan Hendricks came next.
  • Dizzy Gillespie and His Orchestra with Charlie Parker, Clyde Hart, Slam Stewart, Cozy Cole, Sonny Stitt, Milt Jackson, Al Haig, Thelonious Monk, Sid Catlett, Etc

    Dizzy Gillespie and His Orchestra with Charlie Parker, Clyde Hart, Slam Stewart, Cozy Cole, Sonny Stitt, Milt Jackson, Al Haig, Thelonious Monk, Sid Catlett, Etc

    lonoital Sem.iom 1W! and his Orchestra DIZZIE GILLESPIE CHARLIE PARKER CLYDE HART SLAM STEWART COZY COLE SONNY STITT AL HAIG MILT JACKSON THELONIOUS MONK DAVE BURNS SID CATLETT SAGA6920 L WORLD WIDE 6900 Sidney Bechet Album (Recorded New York SIDE ONE 1945/1947) with Mezz Mezzrow, Hot Lips Page, Will Bill HE BEEPED WHEN HE SHOULD Davidson, etc. HAVE BOPPED (a) GROOVIN' HIGH (b) 0, 6901 Louis Armstrong Volume 1 (Recorded New M York 1938/1947) DIZZY ATMOSPHERE (b) with Jack Teagarden, Bud Freeman, Fats Waller, 00 BOP SH'BAM (c) and his Orchestra Bobby Hackett, etc. OUR DELIGHT (d) 6902 Duke Ellington — His most important Second ✓-SALT PEANUTS (f) War Concert (1943) with Harold Baker, Taft Jordan, Ray Nance, Jimmy Hamilton, etc. SIDE TWO 6903 Count Basie at the Savoy Ballroom (1937) ONE BASS HIT part two (a) In the restless, insecure world of jazz, fashions change with embarr- Despite the scepticism of many of his colleagues, Gillespie and the with Buck Clayton, Ed Lewis, Earl Warren, Lester Young, etc. ALL THE THINGS YOU ARE (b) assing frequency, and reputations wax and wane with the seasons. band, were successful. The trumpeter only stayed for six months, ✓ HOT HOUSE (e) Comparatively few artists have succeeded in gaining universal, con- however, and was soon in the record studios, cutting three of the 6904 Louis Armstrong — Volume 2 (Recorded New THAT'S EARL, BROTHER (c) sistent respect for their musical achievements, and still fewer have tracks on this album, 'Groovin' High', 'Dizzy Atmosphere', and 'All York 1948/1950) with Jack Teagarden, Earl Hines, Barney Bigard, THINGS TO COME (a) been able to reap the benefits of this within their own lifetime.