The Info List - Dizzy Gillespie

John Birks "Dizzy" Gillespie (/ɡɪˈlɛspi/; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, and singer.[1] Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge[2] but adding layers of harmonic complexity previously unheard in jazz. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop.[citation needed] In the 1940s Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz.[3] He taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan,[4] Chuck Mangione,[5] and balladeer Johnny Hartman.[6] AllMusic's Scott Yanow wrote: "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of Miles Davis
Miles Davis
and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated [....] Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time".[7]


1 Biography

1.1 Early life and career 1.2 Rise of bebop 1.3 Afro-Cuban music 1.4 Later years 1.5 Death and legacy

2 Style 3 Bent trumpet 4 List of works 5 References 6 External links

Biography[edit] Early life and career[edit]

Dizzy Gillespie, Tadd Dameron, Hank Jones, Mary Lou Williams
Mary Lou Williams
and Milt Orent in 1947

Gillespie was born in Cheraw, South Carolina, the youngest of nine children of James and Lottie Gillespie.[8] James was a local bandleader,[9] so instruments were made available to the children. Gillespie started to play the piano at the age of four.[10] Gillespie's father died when he was only ten years old. Gillespie taught himself how to play the trombone as well as the trumpet by the age of twelve. From the night he heard his idol, Roy Eldridge, play on the radio, he dreamed of becoming a jazz musician.[11] He won a music scholarship to the Laurinburg Institute
Laurinburg Institute
in North Carolina which he attended for two years before accompanying his family when they moved to Philadelphia.[12] Gillespie's first professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the respective orchestras of Edgar Hayes
Edgar Hayes
and Teddy Hill, essentially replacing Roy Eldridge
Roy Eldridge
as first trumpet in 1937. Teddy Hill's band was where Gillespie made his first recording, "King Porter Stomp". In August 1937 while gigging with Hayes in Washington D.C., Gillespie met a young dancer named Lorraine Willis who worked a Baltimore–Philadelphia–New York City circuit which included the Apollo Theater. Willis was not immediately friendly but Gillespie was attracted anyway. The two finally married on May 9, 1940. They remained married until his death in 1993.[13] Gillespie stayed with Teddy Hill's band for a year, then left and free-lanced with numerous other bands.[4] In 1939, Gillespie joined Cab Calloway's orchestra, with which he recorded one of his earliest compositions, the instrumental "Pickin' the Cabbage", in 1940. (Originally released on Paradiddle, a 78rpm backed with a co-composition with Cozy Cole, Calloway's drummer at the time, on the Vocalion label, No. 5467).

Tadd Dameron, Mary Lou Williams
Mary Lou Williams
and Dizzy Gillespie
Dizzy Gillespie
in 1947

After a notorious altercation between the two men, Calloway fired Gillespie in late 1941. The incident is recounted by Gillespie, along with fellow Calloway band members Milt Hinton
Milt Hinton
and Jonah Jones, in Jean Bach's 1997 film, The Spitball Story. Calloway did not approve of Gillespie's mischievous humor, nor of his adventuresome approach to soloing; according to Jones, Calloway referred to it as "Chinese music". Finally, their grudge for each other erupted over a thrown spitball. Calloway never thought highly of Gillespie, because he didn't view Gillespie as a good musician. Once during a rehearsal, a member of the band threw a spitball. Already in a foul mood, Calloway decided to blame this on Gillespie. Dizzy didn’t take the blame and the problem quickly escalated into a fist fight in which Dizzy stabbed Calloway in the leg with a knife.[14] Calloway had minor cuts on the thigh and wrist. After the two men were separated, Calloway fired Gillespie. A few days later, Gillespie tried to apologize to Calloway, but he was dismissed.[15] During his time in Calloway's band, Gillespie started writing big band music for bandleaders like Woody Herman
Woody Herman
and Jimmy Dorsey.[4] He then freelanced with a few bands – most notably Ella Fitzgerald's orchestra, composed of members of the Chick Webb's band. Gillespie did not serve in World War II. At his Selective Service interview, he told the local board, "in this stage of my life here in the United States whose foot has been in my ass?" He was thereafter classed as 4-F.[16] In 1943, Gillespie joined the Earl Hines
Earl Hines
band. Composer Gunther Schuller
Gunther Schuller

... In 1943 I heard the great Earl Hines
Earl Hines
band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Gillespie runs in the trumpet section work. Two years later I read that that was 'bop' and the beginning of modern jazz ... but the band never made recordings.[17]

Gillespie said of the Hines band, "[p]eople talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here ... naturally each age has got its own shit".[18] Gillespie joined the big band of Hines' long-time collaborator Billy Eckstine, and it was as a member of Eckstine's band that he was reunited with Charlie Parker, a fellow member. In 1945, Gillespie left Eckstine's band because he wanted to play with a small combo. A "small combo" typically comprised no more than five musicians, playing the trumpet, saxophone, piano, bass and drums.[citation needed] Rise of bebop[edit]

Ella Fitzgerald, Dizzy Gillespie, Ray Brown, Milt Jackson
Milt Jackson
and Timme Rosenkrantz in September 1947, New York

was known as the first modern jazz style. However, it was unpopular in the beginning and was not viewed as positively as swing music was. Bebop
was seen as an outgrowth of swing, not a revolution. Swing introduced a diversity of new musicians in the bebop era like Charlie Parker, Thelonious Monk, Bud Powell, Kenny Clarke, Oscar Pettiford, and Gillespie. Through these musicians, a new vocabulary of musical phrases was created.[19] With Parker, Gillespie jammed at famous jazz clubs like Minton's Playhouse
Minton's Playhouse
and Monroe's Uptown House. Parker's system also held methods of adding chords to existing chord progressions and implying additional chords within the improvised lines.[19] Gillespie compositions like "Groovin' High", "Woody 'n' You" and "Salt Peanuts" sounded radically different, harmonically and rhythmically, from the swing music popular at the time. "A Night in Tunisia", written in 1942, while Gillespie was playing with Earl Hines' band, is noted for having a feature that is common in today's music: a syncopated bass line. [20] The song also displays Afro-Cuban rhythms.[21] One of their first small-group performances together was only issued in 2005: a concert in New York's Town Hall on June 22, 1945. Gillespie taught many of the young musicians on 52nd Street, including Miles Davis
Miles Davis
and Max Roach, about the new style of jazz. After a lengthy gig at Billy Berg's club in Los Angeles, which left most of the audience ambivalent or hostile towards the new music, the band broke up. Unlike Parker, who was content to play in small groups and be an occasional featured soloist in big bands, Gillespie aimed to lead a big band himself; his first, unsuccessful, attempt to do this was in 1945.[citation needed]

Gillespie with John Lewis, Cecil Payne, Miles Davis, and Ray Brown, between 1946 and 1948

After his work with Parker, Gillespie led other small combos (including ones with Milt Jackson, John Coltrane, Lalo Schifrin, Ray Brown, Kenny Clarke, James Moody, J.J. Johnson, and Yusef Lateef) and finally put together his first successful big band. Gillespie and his band tried to popularize bop and make Gillespie a symbol of the new music.[22] He appeared frequently as a soloist with Norman Granz's Jazz
at the Philharmonic. He also headlined the 1946 independently produced musical revue film Jivin' in Be-Bop.[23] In 1948, Gillespie was involved in a traffic accident when the bicycle he was riding was bumped by an automobile. He was slightly injured, and found that he could no longer hit the B-flat above high C. He won the case, but the jury awarded him only $1000, in view of his high earnings up to that point.[24] On January 6, 1953, he threw a party for his wife Lorraine at Snookie's, a club in Manhattan, where his trumpet's bell got bent upward in an accident, but he liked the sound so much he had a special trumpet made with a 45 degree raised bell, becoming his trademark.[25] In 1956 Gillespie organized a band to go on a State Department tour of the Middle East which was extremely well received internationally and earned him the nickname "the Ambassador of Jazz".[26][27] During this time, he also continued to lead a big band that performed throughout the United States and featured musicians including Pee Wee Moore
Pee Wee Moore
and others. This band recorded a live album at the 1957 Newport jazz festival that featured Mary Lou Williams
Mary Lou Williams
as a guest artist on piano.[28] Afro-Cuban music[edit]

Miriam Makeba
Miriam Makeba
and Dizzy Gillespie
Dizzy Gillespie
in concert, Deauville (Normandy, France), July 20, 1991

In the late 1940s, Gillespie was also involved in the movement called Afro-Cuban music, bringing Afro-Latin American
Afro-Latin American
music and elements to greater prominence in jazz and even pop music, particularly salsa. Afro-Cuban jazz
Afro-Cuban jazz
is based on traditional Afro-Cuban rhythms. Gillespie was introduced to Chano Pozo in 1947 by Mario Bauza, a Latin jazz trumpet player. Chano Pozo became Gillespie's conga drummer for his band. Gillespie also worked with Mario Bauza
Mario Bauza
in New York jazz clubs on 52nd Street
52nd Street
and several famous dance clubs such as the Palladium and the Apollo Theater
Apollo Theater
in Harlem. They played together in the Chick Webb band and Cab Calloway's band, where Gillespie and Bauza became lifelong friends. Gillespie helped develop and mature the Afro-Cuban jazz style.[29] Afro-Cuban jazz
Afro-Cuban jazz
was considered bebop-oriented, and some musicians classified it as a modern style. Afro-Cuban jazz
Afro-Cuban jazz
was successful because it never decreased in popularity and it always attracted people to dance to its unique rhythms.[29] Gillespie's most famous contributions to Afro-Cuban music
Afro-Cuban music
are the compositions "Manteca" and "Tin Tin Deo" (both co-written with Chano Pozo); he was responsible for commissioning George Russell's "Cubano Be, Cubano Bop", which featured Pozo. In 1977, Gillespie discovered Arturo Sandoval
Arturo Sandoval
while researching music during a tour of Cuba.[citation needed] Later years[edit]

Gillespie performing in 1955

His biographer Alyn Shipton quotes Don Waterhouse approvingly that Gillespie in the fifties "had begun to mellow into an amalgam of his entire jazz experience to form the basis of new classicism". Another opinion is that, unlike his contemporary Miles Davis, Gillespie essentially remained true to the bebop style for the rest of his career.[citation needed] In 1960, he was inducted into Down Beat
Down Beat
magazine's Jazz
Hall of Fame. During the 1964 United States presidential campaign the artist, with tongue in cheek, put himself forward as an independent write-in candidate.[30][31] He promised that if he were elected, the White House would be renamed the Blues House, and he would have a cabinet composed of Duke Ellington
Duke Ellington
(Secretary of State), Miles Davis
Miles Davis
(Director of the CIA), Max Roach
Max Roach
(Secretary of Defense), Charles Mingus (Secretary of Peace), Ray Charles
Ray Charles
(Librarian of Congress), Louis Armstrong (Secretary of Agriculture), Mary Lou Williams
Mary Lou Williams
(Ambassador to the Vatican), Thelonious Monk
Thelonious Monk
(Travelling Ambassador) and Malcolm X (Attorney General).[32][33] He said his running mate would be Phyllis Diller. Campaign buttons had been manufactured years before by Gillespie's booking agency "for publicity, as a gag",[34] but now proceeds from them went to benefit the Congress of Racial Equality, Southern Christian Leadership Conference
Southern Christian Leadership Conference
and Martin Luther King, Jr.;[35] in later years they became a collector's item.[36] In 1971, Gillespie announced he would run again[37][38] but withdrew before the election for reasons connected to the Bahá'í Faith.[39][clarification needed] Dizzy Gillespie, a Bahá'í since 1968,[40][41] was one of the most famous adherents of the Bahá'í Faith. It brought him to see himself as one of a series of musical messengers, part of a succession of trumpeters somewhat analogous to the series of prophets who bring God's message in religion. The universalist emphasis of his religion prodded him to see himself more as a global citizen and humanitarian, expanding on his already-growing interest in his African heritage. His increasing spirituality brought out a generosity in him, and what author Nat Hentoff called an inner strength, discipline and "soul force".[42] Gillespie's conversion was most affected by Bill Sears' book Thief in the Night.[40] Gillespie spoke about the Bahá'í Faith frequently on his trips abroad.[43][44][45] He is honored with weekly jazz sessions at the New York Bahá'í Center in the memorial auditorium.[46] Gillespie published his autobiography, To Be or Not to Bop, in 1979.[citation needed] Gillespie was a vocal fixture in many of John Hubley and Faith Hubley's animated films, such as The Hole, The Hat, and Voyage to Next.[citation needed] In the 1980s, Gillespie led the United Nation Orchestra. For three years Flora Purim
Flora Purim
toured with the Orchestra and she credits Gillespie with evolving her understanding of jazz after being in the field for over two decades.[47] David Sánchez also toured with the group and was also greatly influenced by Gillespie. Both artists later were nominated for Grammy awards. Gillespie also had a guest appearance on The Cosby Show
The Cosby Show
as well as Sesame Street
Sesame Street
and The Muppet Show.[citation needed] In 1982, Gillespie had a cameo appearance on Stevie Wonder's hit "Do I Do". Gillespie's tone gradually faded in the last years in life, and his performances often focused more on his proteges such as Arturo Sandoval and Jon Faddis; his good-humored comedic routines became more and more a part of his live act.[citation needed]

Dizzy Gillespie
Dizzy Gillespie
with drummer Bill Stewart at 1984 Stanford Jazz Workshop

In 1988, Gillespie had worked with Canadian flautist and saxophonist Moe Koffman
Moe Koffman
on their prestigious album Oo Pop a Da. He did fast scat vocals on the title track and a couple of the other tracks were played only on trumpet.[citation needed] In 1989 Gillespie gave 300 performances in 27 countries, appeared in 100 U.S. cities in 31 states and the District of Columbia, headlined three television specials, performed with two symphonies, and recorded four albums.[citation needed] He was also crowned a traditional chief in Nigeria, received the Ordre des Arts et des Lettres; France's most prestigious cultural award. He was named Regent Professor by the University of California, and received his fourteenth honorary doctoral degree, this one from the Berklee College of Music. In addition, he was awarded the Grammy Lifetime Achievement Award the same year. The next year, at the Kennedy Center for the Performing Arts ceremonies celebrating the centennial of American jazz, Gillespie received the Kennedy Center Honors
Kennedy Center Honors
Award and the American Society of Composers, Authors, and Publishers Duke Ellington
Duke Ellington
Award for 50 years of achievement as a composer, performer, and bandleader.[48][49] In 1993 he received the Polar Music Prize
Polar Music Prize
in Sweden.[50]

Dizzy Gillespie
Dizzy Gillespie
with the Italian singer Sergio Caputo

On November 26, 1992, Carnegie Hall, following the Second Bahá'í World Congress, celebrated Gillespie's 75th birthday concert and his offering to the celebration of the centenary of the passing of Bahá'u'lláh. Gillespie was to appear at Carnegie Hall
Carnegie Hall
for the 33rd time. The line-up included: Jon Faddis, James Moody, Paquito D'Rivera, and the Mike Longo Trio with Ben Brown on bass and Mickey Roker
Mickey Roker
on drums. But Gillespie didn't make it because he was in bed suffering from pancreatic cancer. "But the musicians played their real hearts out for him, no doubt suspecting that he would not play again. Each musician gave tribute to their friend, this great soul and innovator in the world of jazz."[51] In 2002, Gillespie was posthumously inducted into the International Latin Music Hall of Fame for his contributions to Afro-Cuban music.[52] Gillespie also starred in a film called The Winter in Lisbon
The Winter in Lisbon
released in 2004.[53] He has a star on the Hollywood Walk of Fame
Hollywood Walk of Fame
at 7057 Hollywood Boulevard. He was honored on December 31, 2006 in A Jazz
New Year's Eve: Freddy Cole & the Dizzy Gillespie
Dizzy Gillespie
All-Star Big Band at The John F. Kennedy Center for the Performing Arts.[54] Death and legacy[edit]

Gillespie in concert at Colonial Tavern, Toronto, 1978

A longtime resident of Englewood, New Jersey[55] he died of pancreatic cancer on January 6, 1993, aged 75, and was buried in the Flushing Cemetery, Queens, New York City. Mike Longo delivered a eulogy at his funeral. He was also with Gillespie on the night he died. Gillespie was survived by his widow, Lorraine Willis Gillespie (died 2004); a daughter, jazz singer Jeanie Bryson (who was born from an affair with songwriter Connie Bryson);[56] and a grandson, Radji Birks Bryson-Barrett. Gillespie had two funerals. One was a Bahá'í funeral at his request, at which his closest friends and colleagues attended. The second was at the Cathedral of Saint John the Divine
Cathedral of Saint John the Divine
in New York City open to the public.[57] Dwight Morrow High School, the public high school of Englewood, New Jersey, renamed their auditorium the Dizzy Gillespie
Dizzy Gillespie
Auditorium, in memory of him.[citation needed] In 2014, Gillespie was inducted into the New Jersey Hall of Fame.[58] Style[edit]

Statue of Dizzy Gillespie
Dizzy Gillespie
in his hometown Cheraw, South Carolina

Gillespie has been described as the "Sound of Surprise".[59] The Rough Guide to Jazz
describes his musical style:

The whole essence of a Gillespie solo was cliff-hanging suspense: the phrases and the angle of the approach were perpetually varied, breakneck runs were followed by pauses, by huge interval leaps, by long, immensely high notes, by slurs and smears and bluesy phrases; he always took listeners by surprise, always shocking them with a new thought. His lightning reflexes and superb ear meant his instrumental execution matched his thoughts in its power and speed. And he was concerned at all times with swing—even taking the most daring liberties with pulse or beat, his phrases never failed to swing. Gillespie’s magnificent sense of time and emotional intensity of his playing came from childhood roots. His parents were Methodists, but as a boy he used to sneak off every Sunday to the uninhibited Sanctified Church. He said later, "The Sanctified Church had deep significance for me musically. I first learned the significance of rhythm there and all about how music can transport people spiritually."[60]

In Gillespie's obituary, Peter Watrous describes his performance style:

In the naturally effervescent Mr. Gillespie, opposites existed. His playing—and he performed constantly until nearly the end of his life—was meteoric, full of virtuosic invention and deadly serious. But with his endlessly funny asides, his huge variety of facial expressions and his natural comic gifts, he was as much a pure entertainer as an accomplished artist.[61]

Wynton Marsalis
Wynton Marsalis
summed up Gillespie as a player and teacher:

His playing showcases the importance of intelligence. His rhythmic sophistication was unequaled. He was a master of harmony—and fascinated with studying it. He took in all the music of his youth—from Roy Eldridge
Roy Eldridge
to Duke Ellington—and developed a unique style built on complex rhythm and harmony balanced by wit. Gillespie was so quick-minded, he could create an endless flow of ideas at unusually fast tempo. Nobody had ever even considered playing a trumpet that way, let alone had actually tried. All the musicians respected him because, in addition to outplaying everyone, he knew so much and was so generous with that knowledge...[62]

Bent trumpet[edit]

Dizzy Gillespie
Dizzy Gillespie
with his bent trumpet, performing in 1988

Gillespie's trademark trumpet featured a bell which bent upward at a 45-degree angle rather than pointing straight ahead as in the conventional design. According to Gillespie's autobiography, this was originally the result of accidental damage caused by the dancers Stump and Stumpy falling onto the instrument while it was on a trumpet stand on stage at Snookie's in Manhattan on January 6, 1953, during a birthday party for Gillespie's wife Lorraine.[63] The constriction caused by the bending altered the tone of the instrument, and Gillespie liked the effect. He had the trumpet straightened out the next day, but he could not forget the tone. Gillespie sent a request to Martin to make him a "bent" trumpet from a sketch produced by Lorraine, and from that time forward played a trumpet with an upturned bell.[64] Gillespie's biographer Alyn Shipton writes that Gillespie probably got the idea for a bent trumpet when he saw a similar instrument in 1937 in Manchester, England, while on tour with the Teddy Hill
Teddy Hill
Orchestra. Whatever the origins of Gillespie's upswept trumpet, by June 1954 he was using a professionally manufactured horn of this design, and it was to become a visual trademark for him for the rest of his life.[65] Such trumpets were made for him by Martin (from 1954), King Musical Instruments (from 1972) and Renold Schilke
Renold Schilke
(from 1982, a gift from Jon Faddis).[64] Gillespie favored mouthpieces made by Al Cass. In December 1986 Gillespie gave the National Museum of American History his 1972 King "Silver Flair" trumpet with a Cass mouthpiece.[64][66][67] In April 1995, Gillespie's Martin trumpet was auctioned at Christie's
in New York City, along with instruments used by other famous musicians such as Coleman Hawkins, Jimi Hendrix
Jimi Hendrix
and Elvis Presley.[68] An image of Gillespie's trumpet was selected for the cover of the auction program. The battered instrument was sold to Manhattan builder Jeffery Brown for $63,000, the proceeds benefiting jazz musicians suffering from cancer.[69][70][71] List of works[edit] Main article: List of works by Dizzy Gillespie References[edit]

^ Watrous, Peter Dizzy Gillespie, Who Sounded Some of Modern Jazz's Earliest Notes, Dies at 75, The New York Times
The New York Times
Obituary, January 7, 1993 ^ To Be or Not to Bop: Memoirs of Dizzy Gillespie
Dizzy Gillespie
by Dizzy Gillespie and Al Fraser. Published: Doubleday, New York, 1979. Pages: 552 ^ Palmer, Richer. "The Greatest Jazzman of Them All? The Recorded Work of Dizzy Gillespie: An Appraisal" Jazz
Journal, January 2001, p. 8 ^ a b c "jazz-music-history.com". jazz-music-history.com. Retrieved October 20, 2010.  ^ "chuckmangione.com". chuckmangione.com. Retrieved October 20, 2010.  ^ " Johnny Hartman
Johnny Hartman
Book - The Last Balladeer: The Johnny Hartman Story". johnnyhartmanbook.com. Retrieved November 14, 2015.  ^ Yanow, S. (2002) All Music Guide to Jazz. Backbeat Books. ^ Appiah, Kwame Anthony; Jr, Henry Louis Gates (2005-01-01). Africana: The Encyclopedia of the African and African American Experience. Oxford University Press. ISBN 9780195170559.  ^ Finkelman, Paul (2009-02-02). Encyclopedia of African American History, 1896 to the Present: From the Age of Segregation to the Twenty-first Century Five-volume Set. Oxford University Press, USA. ISBN 9780195167795.  ^ " Dizzy Gillespie
Dizzy Gillespie
is born - Oct 21, 1917". HISTORY.com. Retrieved 2017-03-13.  ^ Reich, Howard. "Dizzy's Legacy: James Moody Carries on the Tradition of His Mentor", Chicago Tribune, March 28, 1993 ^ "Priestly, Brian. "The Definitive Dizzy Gillespie"". Vervemusicgroup.com. Retrieved October 20, 2010.  ^ Vail, Ken (2003). Dizzy Gillespie: the Bebop
Years, 1937–1952. Scarecrow Press. pp. 6, 12. ISBN 0810848805.  ^ https://www.reddit.com/.../til_dizzy_gillespie_once_stabbed_c... ^ "Great Encounters #26: When Cab Calloway
Cab Calloway
and Dizzy Gillespie
Dizzy Gillespie
fought over a thrown spitball". Jerry Jazz
Musician. Retrieved 2016-02-24.  ^ Brenda Gayle Plummer, Rising Wind: Black Americans and U.S. Foreign Affairs, 1935–1960, 74 ^ Gunther Schuller
Gunther Schuller
14 Nov 1972. Dance, p 290 ^ *Dance, Stanley (1983). The World of Earl Hines. [Includes a 120-page interview with Hines]. Da Capo Press. ISBN 0-306-80182-5: p. 260 ^ a b "Kato, Lisa. " Charlie Parker
Charlie Parker
and the Rise of Bebop". 2003. 29 Jun 2009". Theguitarschool.com. Retrieved October 20, 2010.  ^ Vazquez, Jaime David. "BASS LINES: Famous Bass Intros – Part XI – Dizzy Gillespie’s 'Night In Tunisia'". BASSMUSICIAN Publication. 2015 ^ Yanow, Scott. "Afro-Cuban Jazz". Hal Leonard Publication. 2000 ^ Yanow, Scott (June 25, 2009). "Yanow, Scott. "Dizzy Gillespie Biography"". Allmusic.com. Retrieved October 20, 2010.  ^ "' Jivin' in Be-Bop
Jivin' in Be-Bop
(DVD)". Filmthreat.com. August 17, 2004. Archived from the original on December 5, 2009. Retrieved October 20, 2010.  ^ Ready for the Plaintiff! by Melvin Belli, 1956. ^ " www.smithsonianmag.com ^ "from Ken Burns's Jazz, A Gillespie Biography". wwnorton.com. Archived from the original on October 24, 2010. Retrieved October 20, 2010.  ^ "Ken Burns's Jazz, A Gillespie Biography". Pbs.org. Retrieved October 20, 2010.  ^ " Dizzy Gillespie
Dizzy Gillespie
Catalog - album index". Jazzdisco.org. Retrieved 2016-04-28.  ^ a b Yanow, Scott. "Afro-Cuban Jazz". Hal Leonard Publication (2000) ^ Gillespie, Dizzy; Al Fraser (2000) [1979]. "Diz for President". To Be or Not to Bop. Minneapolis: University of Minnesota Press. pp. 452–461. ISBN 978-0-8166-6547-1.  ^ Lipsitz, George. The Possessive Investment in Whiteness: How White People Profit from Identity Politics. Philadelphia: Temple University Press. pp. 161–162. ISBN 1-59213-493-9.  ^ "BBC radio broadcast on Gillespie's 1964 presidential campaign". Bbc.co.uk. January 8, 2007. Retrieved October 20, 2010.  ^ "The Winter in Lisbon" CD booklet. ^ Gillespie 2000 [1979], op. cit. p. 453. ^ Gillespie 2000 [1979], op. cit. p. 460. ^ Gelly, Dave (May 8, 2005). "Other Jazz
CDs". The Observer. p. Observer Review: 13. Archived from the original on January 29, 2011. Retrieved January 29, 2011.  ^ "Dizzy Wants to Blow Right into White House". Jet. 40 (17): 61. July 22, 1971. ISSN 0021-5996.  ^ " Dizzy Gillespie
Dizzy Gillespie
Picks Two Cabinet Members: Duke Ellington, Muhammad Ali". Jet. 40 (26): 56. September 23, 1971. ISSN 0021-5996.  ^ Gillespie 2000 [1979], op. cit. pp. 460–461. ^ a b Dizzy Gillespie; Al Fraser (2009) [1979]. To Be, Or Not-- to Bop. U of Minnesota Press. pp. xiv, 185, 287–8, 430–1, 460–4, 473–480, 486, 493. ISBN 978-0-8166-6547-1.  ^ Bahá'í World News Service. Hearing "the Divinity in the music": Dizzy Gillespie
Dizzy Gillespie
remembered at 100. 6 October 2017. ^ Alyn Shipton (June 3, 1999). Groovin' High : The Life of Dizzy Gillespie: The Life of Dizzy Gillespie. Oxford University Press. p. 302. ISBN 978-0-19-534938-2.  ^ "Remembering Dizzy". Jazztimes.com. Archived from the original on December 28, 2008. Retrieved October 20, 2010.  ^ Groovin' High The Life of Dizzy Gillespie
Dizzy Gillespie
by Alyn Shipton. ^ Groovin' High: The Life of Dizzy Gillespie
Dizzy Gillespie
Review by Brad Pokorny ^ " Jazz
Night @ the Bahá'í Center". New York City Baha'i Center. Local Spiritual Assembly of the Baha'is of New York City. Archived from the original on January 12, 2016. Retrieved February 7, 2016.  ^ Beatrice Richardson for JazzReview interviews Flora Purim
Flora Purim
– Queen of Brazilian Jazz
Archived December 11, 2006, at the Wayback Machine. ^ Pop/Jazz; A Tribute For Gillespie And the Jazz
He Created, nytimes.com; accessed May 25, 2017. ^ Jazz
with Bob Parlocha – Biographies – Dizzy Gillespie
Dizzy Gillespie
Archived October 29, 2006, at the Wayback Machine. ^ – AboutPolar Music Prize. ^ Lowell Johnson. The Spiritual Side of Dizzy, bahai-library.com; accessed May 25, 2017. ^ " International Latin Music Hall of Fame Announces Inductees for 2002". April 5, 2002. Retrieved October 31, 2015.  ^ "The Winter in Lisbon", allaboutjazz.com; accessed May 25, 2017. ^ The Kennedy Center for the Performing Arts
Kennedy Center for the Performing Arts
Schedule 2006-07 Archived January 13, 2007, at the Wayback Machine., kennedy-center.org; accessed May 25, 2017. ^ Berman, Eleanor. "The jazz of Queens
encompasses music royalty", Pittsburgh Post-Gazette, January 1, 2006; retrieved October 1, 2009; "Mr. Knight shows the brick building that was the studio of Dizzie Gillespie, where other Corona residents like Cannonball Adderley used to come and jam." ^ Barrett, Devlin (January 5, 2000). "SINGER CALLS DIZZY DADDY AND SUES FOR 'RECORD' $$". New York Post.  ^ Dizzy Gillespie
Dizzy Gillespie
Memorial. ^ The Star-Ledger. August 1, 2014. pg. 19 ^ Shipton, A. Groovin' High: The Life of Dizzy Gillespie
Dizzy Gillespie
(1999) New York: Oxford University Press. ^ Carr, I., Fairweather, D, Brian P, The rough guide to Jazz. page. 291 ^ Watrous, Peter. "Dizzy Gillespie, Who Sounded Some of Modern Jazz's Earliest Notes, Dies at 75", New York Times, January 7, 1993 ^ Marsalis, W. with Geoffrey C. Ward. Moving to higher ground : how jazz can change your life. New York : Random House, 2008. ^ Maggin, Donald L. (2006). Dizzy: The Life and Times of John Birks Gillespie. HarperCollins. p. 253. ISBN 0-06-055921-7.  ^ a b c Hamlin, Jesse (July 27, 1997). "A Distinctly American Bent / Dizzy Gillespie's misshapen horn highlights Smithsonian's traveling show". San Francisco Chronicle. [permanent dead link] ^ Shipton, Alyn. 'Groovin' High: The Life of Dizzy Gillespie' New York : Oxford University Press. (see pp.258–259) ^ " Dizzy Gillespie
Dizzy Gillespie
Donates Trumpet to NMAH". Smithsonian Institution Archives. December 1986. Retrieved January 15, 2012.  ^ "Dizzy Gillespie's B-flat trumpet along with one of his Al Cass mouthpieces". National Museum of American History, Smithsonian Institution. Retrieved September 8, 2008.  ^ Fisher, Don (April 23, 1995). " Christie's
To Auction Prized Martin Guitar Collection – L.V. Man's Love To Be Instrument of His Retirement". The Morning Call. Lehigh Valley, Pennsylvania. p. 2.  ^ "Bent, Battered Trumpet Sells For Dizzy $63,000". Deseret News. April 26, 1995.  ^ "Object of Desire: Bell Epoque". New York Magazine. 28 (17): 111. April 24, 1995. ISSN 0028-7369.  ^ Macnie, Jim (May 13, 1995). " Jazz
Blue Notes". Billboard. 107 (19): 60. ISSN 0006-2510. 

External links[edit]

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The Dizzy Gillespie
Dizzy Gillespie
All-Stars official site Dizzy Gillespie
Dizzy Gillespie
at Find a Grave Dizzy Gillespie's "The Cult of Bebop" Dizzy Gillespie
Dizzy Gillespie
Talking to Les Tomkins in 1973 Articles at NPR Music Short biography by C.J Shearn Media related to Dizzy Gillespie
Dizzy Gillespie
at Wikimedia Commons Library resources in your library and in other libraries about Dizzy Gillespie

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Dizzy Gillespie

Studio albums

Bird and Diz
Bird and Diz
(1952) Afro (1954) Diz and Getz (1955) Dizzy and Strings
Dizzy and Strings
(1954) Roy and Diz
Roy and Diz
(1954) Jazz
Recital (1956) The Modern Jazz
Sextet (1956) World Statesman
World Statesman
(1956) Dizzy in Greece
Dizzy in Greece
(1956) For Musicians Only (1956) Birks' Works
Birks' Works
(1957) Dizzy Gillespie and Stuff Smith
Dizzy Gillespie and Stuff Smith
(1957) Sittin' In (1957) Duets (1957) The Greatest Trumpet of Them All
The Greatest Trumpet of Them All
(1957) Sonny Side Up
Sonny Side Up
(1957) The Ebullient Mr. Gillespie
The Ebullient Mr. Gillespie
(1959) Have Trumpet, Will Excite! (1959) A Portrait of Duke Ellington
Duke Ellington
(1960) Gillespiana
(1960) Perceptions (1961) The New Continent
The New Continent
(1962) New Wave (1963) Something Old, Something New (1963) Dizzy Goes Hollywood (1964) Jambo Caribe
Jambo Caribe
(1964) Gil Fuller & the Monterey Jazz
Festival Orchestra featuring Dizzy Gillespie (1965) The Melody Lingers On
The Melody Lingers On
(1966) It's My Way (1969) Cornucopia (1969) The Real Thing (1970) Portrait of Jenny
Portrait of Jenny
(1970) Dizzy Gillespie's Big 4
Dizzy Gillespie's Big 4
(1974) The Trumpet Kings Meet Joe Turner
The Trumpet Kings Meet Joe Turner
(1974) Oscar Peterson and Dizzy Gillespie (1974) Oscar Peterson and the Trumpet Kings – Jousts (1974) The Bop Session
The Bop Session
(1975) Jazz
Maturity...Where It's Coming From (1975) Afro-Cuban Jazz
Moods (1975) Bahiana
(1975) Carter, Gillespie Inc.
Carter, Gillespie Inc.
(1976) Dizzy's Party
Dizzy's Party
(1976) Free Ride (1977) The Gifted Ones
The Gifted Ones
(1977) The Trumpet Summit Meets the Oscar Peterson Big 4 (1980) The Alternate Blues (1980) To a Finland Station (1981) Closer to the Source (1984) New Faces (1985) Dizzy Gillespie Meets Phil Woods Quintet (1986) Oop-Pop-A-Da

Live albums

at Massey Hall (1953) Dizzy Gillespie at Newport
Dizzy Gillespie at Newport
(1957) An Electrifying Evening with the Dizzy Gillespie Quintet
An Electrifying Evening with the Dizzy Gillespie Quintet
(1961) Carnegie Hall
Carnegie Hall
Concert (1961) Dizzy on the French Riviera
Dizzy on the French Riviera
(1962) Dizzy Gillespie and the Double Six of Paris (1963) Live at the Village Vanguard (1967) Swing Low, Sweet Cadillac (1967) The Dizzy Gillespie Reunion Big Band
The Dizzy Gillespie Reunion Big Band
(1968) Dizzy Gillespie and the Mitchell Ruff Duo in Concert
Dizzy Gillespie and the Mitchell Ruff Duo in Concert
(1971) Giants (1971) The Giants of Jazz
(1971) The Giant (1973) The Source (1973) The Dizzy Gillespie Big 7
The Dizzy Gillespie Big 7
(1975) The Trumpet Kings at Montreux '75 (1975) Dizzy Gillespie Jam
Dizzy Gillespie Jam
(1977) Digital at Montreux, 1980
Digital at Montreux, 1980
(1980) Musician, Composer, Raconteur
Musician, Composer, Raconteur
(1981) One Night in Washington (1983) Live at the Royal Festival Hall (1989) Max + Dizzy: Paris 1989 (1989) Bird Songs: The Final Recordings (1992) To Bird with Love (1992) To Diz with Love (1992)

Compilation albums

Groovin' High (1955) Dee Gee Days: The Savoy Sessions (1976) The Complete RCA Victor Recordings
The Complete RCA Victor Recordings
(1995) The Great Blue Star Sessions 1952-1953
The Great Blue Star Sessions 1952-1953
(2004) Dizzy Digs Paris (2006)

Soundtrack albums

The Cool World (1964) The Winter in Lisbon
The Winter in Lisbon


To Be or Not to Bop (1979)


List of works

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Kennedy Center Honorees (1990s)


Dizzy Gillespie Katharine Hepburn Risë Stevens Jule Styne Billy Wilder


Roy Acuff Betty Comden
Betty Comden
and Adolph Green Fayard and Harold Nicholas Gregory Peck Robert Shaw


Lionel Hampton Paul Newman
Paul Newman
and Joanne Woodward Ginger Rogers Mstislav Rostropovich Paul Taylor


Johnny Carson Arthur Mitchell Sir Georg Solti Stephen Sondheim Marion Williams


Kirk Douglas Aretha Franklin Morton Gould Harold Prince Pete Seeger


Jacques d'Amboise Marilyn Horne B.B. King Sidney Poitier Neil Simon


Edward Albee Benny Carter Johnny Cash Jack Lemmon Maria Tallchief


Lauren Bacall Bob Dylan Charlton Heston Jessye Norman Edward Villella


Bill Cosby Fred Ebb
Fred Ebb
and John Kander Willie Nelson André Previn Shirley Temple
Shirley Temple


Victor Borge Sean Connery Judith Jamison Jason Robards Stevie Wonder

Complete list 1970s 1980s 1990s 2000s 2010s

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Laureates of the Polar Music Prize


Paul McCartney
Paul McCartney
/ the Baltic states
Baltic states
(1992) Dizzy Gillespie
Dizzy Gillespie
/ Witold Lutosławski
Witold Lutosławski
(1993) Quincy Jones
Quincy Jones
/ Nikolaus Harnoncourt
Nikolaus Harnoncourt
(1994) Elton John
Elton John
/ Mstislav Rostropovich
Mstislav Rostropovich
(1995) Joni Mitchell
Joni Mitchell
/ Pierre Boulez
Pierre Boulez
(1996) Bruce Springsteen
Bruce Springsteen
/ Eric Ericson
Eric Ericson
(1997) Ray Charles
Ray Charles
/ Ravi Shankar
Ravi Shankar
(1998) Stevie Wonder
Stevie Wonder
/ Iannis Xenakis
Iannis Xenakis


Bob Dylan
Bob Dylan
/ Isaac Stern
Isaac Stern
(2000) Burt Bacharach
Burt Bacharach
/ Robert Moog
Robert Moog
/ Karlheinz Stockhausen
Karlheinz Stockhausen
(2001) Miriam Makeba
Miriam Makeba
/ Sofia Gubaidulina
Sofia Gubaidulina
(2002) Keith Jarrett
Keith Jarrett
(2003) B.B. King
B.B. King
/ György Ligeti
György Ligeti
(2004) Gilberto Gil
Gilberto Gil
/ Dietrich Fischer-Dieskau
Dietrich Fischer-Dieskau
(2005) Led Zeppelin
Led Zeppelin
/ Valery Gergiev
Valery Gergiev
(2006) Sonny Rollins
Sonny Rollins
/ Steve Reich
Steve Reich
(2007) Pink Floyd
Pink Floyd
/ Renée Fleming
Renée Fleming
(2008) Peter Gabriel
Peter Gabriel
/ José Antonio Abreu
José Antonio Abreu
/ El Sistema (2009)


/ Ennio Morricone
Ennio Morricone
(2010) Kronos Quartet
Kronos Quartet
/ Patti Smith
Patti Smith
(2011) Paul Simon
Paul Simon
/ Yo-Yo Ma
Yo-Yo Ma
(2012) Youssou N'Dour
Youssou N'Dour
/ Kaija Saariaho
Kaija Saariaho
(2013) Chuck Berry
Chuck Berry
/ Peter Sellars
Peter Sellars
(2014) Emmylou Harris
Emmylou Harris
/ Evelyn Glennie
Evelyn Glennie
(2015) Max Martin
Max Martin
/ Cecilia Bartoli
Cecilia Bartoli
(2016) Sting / Wayne Shorter
Wayne Shorter
(2017) Metallica
/ Afghanistan National Institute of Music (2018)

Authority control

WorldCat Identities VIAF: 77110276 LCCN: n50033872 ISNI: 0000 0001 0918 1520 GND: 118694960 SELIBR: 209881 SUDOC: 026891441 BNF: cb138944733 (data) ULAN: 500330863 MusicBrainz: e9ba8ccb-505f-4e5c-b909-65998d0d35b5 NLA: 35124840 NDL: 00620733 NKC: ola2002157383 BNE: XX1469231 SN