Dizzy Gillespie

He was an essential part of the heart of jazz and one of the founders of the be-bop style. His humor and playfulness, matched with his sincerity and intelligence made him one of the most interesting personalities of his time (and even today). His trumpet playing combined his personality with his amazing technical skill, his extreme range and power, and his beautiful sound.

His father, who died in 1927, was an amateur bandleader and gave Dizzy a working knowledge of several instruments. Started on trombone at age 14, then switched to trumpet a year later. Studied harmony and theory at Laurinburg Institute, North Carolina 1932-35; continued to practice trumpet and piano on his own. Moved to Philadelphia 1935 to be with family. First prof. gig with Frankie Fairfax; Charlie Shavers was also in the band and helped Dizzy learn Roy Eldridge solos. Dizzy earned his nickname for his zany behavior while with Fairfax's group Moved to NYC 1937, replacing Eldridge in the Teddy Hill band. Toured Europe with Hill, then played with Al Cooper's Savoy Sultans, Alberto Socarras, bef. rejoin. Hill in 1938. Played with Mercer Ellington 1939, then joined Cab Calloway where he developed an interest in Afro-Cuban music through friendship with section mate Mario Bauza. Met Charlie Parker in KC while on road with Calloway 1940. With Calloway, Gillespie had already begun to evidence some elements of the bebop style, of which he and Parker are generally considered to be the prime architects. He participated in after-hours jam sessions in NYC with Parker, Thelonious Monk, Kenny Clarke, et al. from 1941.

After leaving Calloway in 1941, Gillespie freelanced with Ella Fitzgerald; Coleman Hawkins; Benny Carter; and others. He toured with Charlie Barnet and Les Hite in early19 42, recording a prophetic solo on the latter's Jersey Bounce. played with Calvin Jackson; Lucky Millinder 1942. played with Charlie Parker in Earl Hines Orch. 1943. Co-led a combo on 52nd St. with Oscar Pettiford 1943-4; on a Coleman Hawkins date in Feb. 1944, he recorded his composition, "Woody'n You," which is considered to be the first formal statement of the music to become known as bebop. He then joined Billy Eckstine's forward-looking big band as trumpeter and music director, but was back in NYC by 1945, beginning to record prolifically for an assortment of labels. In the spring he and Parker played with a quintet at the Three Deuces on 52nd St.; at this time they made the seminal bebop combo recs., "Hot House"; "Shaw 'Nuff'; and "Salt Peanuts." He briefly led own big band, then, in December, he and Parker took a group to Hollywood to play at Billy Berg's, where they were appreciated mainly by other musicians. Gillespie returned to NYC in early 1946 and opened on 52nd St. with his own sxt., which soon became a reorganized big band. This time, a '47 RCA record contract enabled him to sustain the band until 1950. In this orch. he experimented with Afro-Cuban jazz, hiring percussionist Chano Pozo, who is heard on recs. of Geo. Russell's "Cubana Be-Cubana Bop" and his own "Manteca," written with Pozo. By the end of 1947, Gillespie's rhythm section consisted of John Lewis, Ray Brown, and Kenny Clarke, who later formed the MJQ. with Milt Jackson, a Gillespie regular from 1946.

Other Gillespie sidemen included J.J. Johnson; Dave Bums; Ernie Henry; John Brown; Sonny Stitt; James Moody; Jimmy Heath; Paul Gonsalves; John Coltrane; Yusef Lateef; Cecil Payne.

Dizzy's harmonic acumen made him "the theoretician" (as Budd Johnson called him) of the then new movement. He was also one of its vanguard soloists, with thought-provoking ideas and rhythmic stimulation in the way he played off the beat with death- defying leaps or coming-from-behind multi-noted explosions. Also notable was his ebullient personality: verbal (included his superb scat singing) and visual humor; and signature beret, heavy horn-rimmed glasses, goatee, and (occasional) leopard-skin jacket.

Following the breakup of his big band, Gillespie toured briefly with Stan Kenton as featured soloist, then formed a sxt. Co-founded Dee Gee Records with Dave Usher 1951. Despite a hit with "Oo-Sho-Be-Do-Be," the label was not a fmancial success, and the masters were leased by Savoy. In 1953, he began playing a trumpet with an upswept bell, which became his trademark. He toured with JATP 1953 late 1950x. In spring 1956 a new big band, organized for Gillespie by Quincy Jones, toured the Near and Middle East, subsidized by the US St. Dept. This was the first time the US government had ever accorded official recognition and economic aid to jazz. In the summer of 1956, he went on another St. Dept. tour, this time to So. Amer. Gillespie kept the band together until 1958, then led a quintet In 1960 Gillespie's group included Leo Wright and Junior Mance. Lalo Schifrin replaced Mance 1961.

He toured Argentina with a combo, also led a big band at MJF 1961, where he premiered Schifrin's The New Continent in 1962, with a large orchestra directed by Benny Carter. In 1963 he recorded an improvised, unaccompanied soundtrack to documentary film about Dutch painter Karel Appell. Placed on ballot by admirers as independent candidate for President in 1963 Calif. primary. Reformed quintet with James Moody, Kenny Barron 1964. Reunited with Gil Fuller at MJF 1965. Mike Longo replaced Barron 1966; when Moody left in the late 1960s, he was replaced by gtrst. George Davis, whom Al Gafa replaced in 1971. Other sidemen in 1960s-70s included electric bassists Frank Schifano; Russell George; Phil Upchurch; Chuck Rainey; Alex Blake; Earl May; drummers Candy Finch; David Lee; Mickey Roker.

A European tour with the Reunion Big Band 1968 included former Gillespie sidemen Sahib Shihab; Cecil Payne; Curtis Fuller; Ted Kelly. Gillespie made a world tour with the Giants of Jazz; Thelonious Monk; Sonny Stitt; Kai Winding; Al McKibbon; Art Blakey 1971-1972. With his own combo, he toured the Virgin Islands 1973; Europe 1974; Europe and Mediterranean 1975. Perf. at "Tribute To Dizzy Gillespie" concert, Avery Fisher Hall 1975.

In the 80s, he continued to tour, appearing at festivals worldwide. His protege, Jon Faddis, became his alter ego and in a touring big band, toward the end of the decade, the music director. It was also in 1988 that Dizzy founded the United Nations Orchestra, which toured Africa, Canada and South America. During that time, Dizzy was essential in bringing Arturo Sandoval to the United States from Cuba.

In 1992, Dizzy spent the first two months in residence at the Blue note club in New York City, in special celebratory programs with various trumpeters and, then saxophonists who appeared with him in an all-star rotation.