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Groovin' High (Dizzy Gillespie Album)
''Groovin' High'' is a 1955 compilation album of studio sessions by jazz composer and trumpeter Dizzy Gillespie. ''The Rough Guide to Jazz'' describes the album as "some of the key bebop small-group and big band recordings." Reception Jazz critic Scott Yanow concedes that the music included is classic, but dismisses the compilation over-all as "so-so" because of its brevity, because of the outdated and lightweight liner notes and because the material presented does not represent the complete sessions at which the material was played. The compilation features Gillespie with a number of combinations and other musicians, including his 1946 big band, Charlie Parker, a sextet with Dexter Gordon and a combo featuring Sonny Stitt. Track listing #"Blue 'n' Boogie" (Dizzy Gillespie, Frank Paparelli) – 3:00 #"Groovin' High" (Gillespie) – 2:40 #"Dizzy Atmosphere" (Gillespie) – 2:45 #"All the Things You Are" ( Oscar Hammerstein, Jerome Kern) – 2:52 #" Hot House" (Tadd Dameron) – 2 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dizzy Gillespie
John Birks "Dizzy" Gillespie (; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuosic style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, scat singing, bent horn, pouched cheeks, and light-hearted personality provided one of bebop's most prominent symbols. In the 1940s, Gillespie, 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, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione, and balladeer Johnny Hartman. He pioneered Afro-Cuban jazz and won several Grammy Awards. Scott Yanow wrote, "Dizzy ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dizzy Atmosphere
''Dizzy Atmosphere'' is a jazz standard by Dizzy Gillespie originally recorded in 1945 with Charlie Parker. Harmonically, it is based on the chord progression found in George Gershwin's I Got Rhythm, or "rhythm changes Rhythm changes are a common 32- bar chord progression in jazz, originating as the chord progression for George Gershwin's "I Got Rhythm". The progression is in AABA form, with each A section based on repetitions of the ubiquitous I–vi–ii–V ..." as referred to in jazz. References {{1940s-jazz-composition-stub 1945 compositions 1940s jazz standards Compositions by Dizzy Gillespie ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor Saxophone
The tenor saxophone is a medium-sized member of the saxophone family, a group of instruments invented by Adolphe Sax in the 1840s. The tenor and the alto are the two most commonly used saxophones. The tenor is pitched in the key of B (while the alto is pitched in the key of E), and written as a transposing instrument in the treble clef, sounding an octave and a major second lower than the written pitch. Modern tenor saxophones which have a high F key have a range from A2 to E5 (concert) and are therefore pitched one octave below the soprano saxophone. People who play the tenor saxophone are known as "tenor saxophonists", "tenor sax players", or "saxophonists". The tenor saxophone uses a larger mouthpiece, reed and ligature than the alto and soprano saxophones. Visually, it is easily distinguished by the curve in its neck, or its crook, near the mouthpiece. The alto saxophone lacks this and its neck goes straight to the mouthpiece. The tenor saxophone is most recognized for it ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ray Abrams (musician)
Ray Abrams (January 23, 1920 – July 1992) was an American jazz and jump blues tenor saxophonist, born Ray Abramson in New York City. His younger brother was jazz drummer Lee Abrams. Ray Abrams first worked with Dizzy Gillespie in 1945, toured Europe with Don Redman in 1946 and was with Andy Kirk in 1947. He went back and forth between Kirk and Gillespie for decades. Artist Biography by Eugene Chadbourne All Music. Outside of his work with Gillespie he might be best known for the "Ray Abrams Big Band." Other bands with which he played into the early 1950s include those of Hot Lips Page, Roy Eldridge, and Slim Gaillard. Discography As sideman * Dizzy Gillespie, ''Odyssey 1945–1952'' (Savoy, 2002) * Dizzy Gillespie, ''Showtime at the Spotlite, 52nd Street New York City, June 1946'' (Uptown, 2008) * Coleman Hawkins, ''Rainbow Mist'' (Delmark, 1992) * King Pleasure, ''The Source'' (Prestige, 1972) * Jimmy Scott & Paul Gayten Paul Leon Gayten (January 29, 1920 – March 26, 1991) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Our Delight
"Our Delight" is a 1946 jazz standard, composed by Tadd Dameron. It is considered one of his best compositions along with "Good Bait", " Hot House", " If You Could See Me Now", and " Lady Bird". It has an AABA construction. A moderately fast bebop song, it featured the trumpeter Fats Navarro, who is said to "exhibit mastery of the difficult chord progression". One author said, "'Our Delight' is a genuine song, a bubbly, jaggedly ascending theme that sticks in one's mind, enriched by harmonic interplay between a flaming trumpet section led by Dizzy, creamy moaning reeds and crooning trombones. The written accompaniments to the solos-in particular the leader's two statements-are full of inventiveness, creating call-and-response patterns and counter-melodies. What is boppish here is the off-center, syncopated melody, as well as the shifting, internal voicings of the chords, especially at the very end. These voicings, along with a love of tuneful melodies that one walks out of a jazz cl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gil Fuller
Walter Gilbert "Gil" Fuller (April 14, 1920, Los Angeles, California – May 26, 1994, San Diego, California) was an American jazz arranger. He is no relation to the jazz trumpeter and vocalist Walter Fuller (musician), Walter "Rosetta" Fuller. In the 1930s and 1940s, Fuller did extensive work writing and arranging for bandleaders such as Les Hite, Jimmie Lunceford, Billy Eckstine, and Tiny Bradshaw; he also worked with Benny Carter, Benny Goodman, Woody Herman, Count Basie, Machito, and Tito Puente. After World War II, he found himself increasingly in demand as a bebop arranger, along with fellow modern arrangers Tadd Dameron, Gil Evans, and George Russell (composer), George Russell. Fuller's work with Dizzy Gillespie was of particular note, yielding the tunes "Manteca", "Swedish Suite", "Tin Tin Deo", and "One Bass Hit". He is the composer of the jazz standard ballad "I Waited For You", co-credited with Dizzy Gillespie. Fuller started his own publishing company in 1957, and whil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ray Brown (musician)
Raymond Matthews Brown (October 13, 1926 – July 2, 2002) was an American jazz double bassist, known for his extensive work with Oscar Peterson and Ella Fitzgerald. He was also a founding member of the group that would later develop into the Modern Jazz Quartet. Biography Early life Ray Brown was born October 13, 1926, in Pittsburgh, Pennsylvania, and took piano lessons from the age of eight. After noticing how many pianists attended his high school, he thought of taking up the trombone, but was unable to afford one. With a vacancy in the high school jazz orchestra, he took up the upright bass. Career A major early influence on Brown's bass playing was Jimmy Blanton, the bassist in the Duke Ellington band. As a young man Brown became increasingly well known in the Pittsburgh jazz scene, with his first experiences playing in bands with the Jimmy Hinsley Sextet and the Snookum Russell band. After graduating high school, having heard stories about the burgeoning jazz scene ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oop Bop Sh'Bam
''Oop Bop Sh'Bam'' is a jazz standard by Dizzy Gillespie. It has been described as "tailor made for tenor saxophone". The song title and word usage developed from "verbalizing the sounds of the new music ebop. The scat lyrics "Oop bop sh'bam a klook a mop" are an homage to drummer Kenny Clarke, nicknamed "Klook", who played drums in a 1946 recording of the composition with Gillespie's sextet. "Oop bop sh'bam" is based on the "Rhythm changes Rhythm changes are a common 32-bar chord progression in jazz, originating as the chord progression for George Gershwin's "I Got Rhythm". The progression is in AABA form, with each A section based on repetitions of the ubiquitous I–vi–ii–V s ..." chord progression with a new middle eight. It was written by Gillespie with Gil Fuller taking writing credit in order to secure publishing royalties. References 1940s jazz standards Jazz compositions in B-flat major Bebop jazz standards Compositions by Dizzy Gillespie Year of song miss ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kenny Clarke
Kenneth Clarke Spearman (January 9, 1914January 26, 1985), nicknamed Klook, was an American jazz drummer and bandleader. A major innovator of the bebop style of drumming, he pioneered the use of the ride cymbal to keep time rather than the hi-hat, along with the use of the bass drum for irregular accents (" dropping bombs"). Born in Pittsburgh, Pennsylvania, he was orphaned at the age of about five and began playing the drums when he was eight or nine on the urging of a teacher at his orphanage. Turning professional in 1931 at the age of seventeen, he moved to New York City in 1935 when he began to establish his drumming style and reputation. As the house drummer at Minton's Playhouse in the early 1940s, he participated in the after-hours jams that led to the birth of bebop. After military service in the US and Europe between 1943 and 1946, he returned to New York, but from 1948 to 1951 he was mostly based in Paris. He stayed in New York between 1951 and 1956, performing with the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Salt Peanuts
"Salt Peanuts" is a bebop tune reportedly composed by Dizzy Gillespie in 1942, credited "with the collaboration of" drummer Kenny Clarke. It is also cited as Charlie Parker's. The original lyrics have no exophoric meaning. Instead, they are a skat/bebop vocal which matches the octave note interval played predominantly throughout the song. The Pointer Sisters subsequently included vocalese lyrics for their rendition of Salt Peanuts as recorded on their That's a Plenty album. Composition "Salt Peanuts" is a contrafact of "I Got Rhythm": it has the same 32-bar AABA structure and harmony, but its melody is different. It is a simple piece – "a four-measure riff phrase played twice in each A section, and a slightly more complex bridge (which incorporates the ubiquitous 9–7–8 figure twice)". While the verbal exhortation "Salt Peanuts, Salt Peanuts!" is closely identified with Dizzy Gillespie, the musical motif upon which it is based predates Gillespie/Clarke. Glenn Miller record ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tadd Dameron
Tadley Ewing Peake Dameron (February 21, 1917 – March 8, 1965) was an American jazz composer, arranger, and pianist. Biography Born in Cleveland, Ohio, Dameron was the most influential arranger of the bebop era, but also wrote charts for swing and hard bop players. The bands he arranged for included those of Count Basie, Artie Shaw, Jimmie Lunceford, Dizzy Gillespie, Billy Eckstine, and Sarah Vaughan. In 1940-41 he was the piano player and arranger for the Kansas City band Harlan Leonard and his Rockets. He and lyricist Carl Sigman wrote " If You Could See Me Now" for Sarah Vaughan and it became one of her first signature songs. According to the composer, his greatest influences were George Gershwin and Duke Ellington. In the late 1940s, Dameron wrote arrangements for Gillespie's big band, who gave the première of his large-scale orchestral piece ''Soulphony in Three Hearts'' at Carnegie Hall in 1948. Also in 1948, Dameron led his own group in New York, which included F ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hot House (composition)
"Hot House" is a bebop jazz standard, standard, composed by United States, American jazz musician Tadd Dameron in 1945. Its harmony, harmonic structure is identical to Cole Porter's "What Is This Thing Called Love?" (see contrafact). The tune was made famous by Dizzy Gillespie and Charlie Parker as a quintet arrangement and become synonymous with those musicians; "Hot House" became an anthem of the Be-bop movement in jazz, American jazz. The most famous and referred to recording of the tune is by Charlie Parker, Parker and Dizzy Gillespie, Gillespie on the May 1953 live concert recording entitled Jazz at Massey Hall, after previously recording it for Savoy records in 1945 and at Carnegie Hall in 1947. The tune continues to be a favorite among jazz musicians and enthusiasts: * In 1962, Bud Powell recorded it on his Bouncing with Bud album for Delmark records * In 1964, Charles McPherson (musician), Charles McPherson played it with Carmell Jones on his Prestige album ''Bebop Revisited ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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