Dizzy Gillespie no Brazil com Trio Mocoto 1974

 Dizzy Gillespie was one of the most influent jazz trumpeters because he was the header, along with Charlie Parker and Thelonious Monk, of the bebop's verve, which large changed the genre around the forties. Therefore, some critics asks themselves what's the impact in universal music if the Dizzy Gillespie and Trio Mocotó's album had had released in that faraway year of 1974.Only a few months ago the Biscoito Fino Records released this phonographic pearl. In fact, Dizzy recorded this work through joining between the Verve Records and the Brazilian Philips, and took the master tape as soon as it was recorded, in eight hours of rehearsals, to go to stores in 1975.
Even until now, nobody knows why Dizzy didn't release that material. He rehearsed other songs with Brazilian musicians, but decided to lock them. Lucky for us, the big friend of the trumpeter, the Swiss Jacques Muyal, had found that master in 2009 and made contact with the Trio Mocotó's percussionist João Parayba, who catches more information about the album credits.
After a long research in the Brazilian's radio station Eldorado and months mixing that material in Los Angeles, Muyal signs the production and made sure to release it as soon as possible.
What about the results? Fascinating, if compared to fusions between samba and jazz. Could be smoother – and even easier - if had taken ride in a Bossa Nova vehicle. But the bebop's freedom-pungency is more explored, as we can see perfectly in "Dizzy's Shot (Brazilian Improvisation)". This track suffers instrumental variations up to fall to the cool jazz.
But the insane aura of the album is present in "Rocking With Mocotó", marked with a fast bebop's measure reached by the high-notes played by Dizzy. Mickey Roker was really inspired on drums, creating a Carnival set raised by the splendid speed from the Fritz Escovão's cuíca. This track is remarkable if we can imagine the perfect union between two rhythms punctuated by the urgency and virtuosity (also, we can dance with this song).
Here, it's evident the divergent influences from Dizzy. Despite his musical path, he was a big fan of Brazilian music, from Samba's School battery until Bossa Nova's smooth. Of this syncretism, Dizzy approach that bridges, remembering the Bossa Jazz Trio in "The Truth" and the jazz-singing in "Evil Gal Blues", which made great success on Dinah Washington's voice and was write by Lionel Hampton and Leonard Feather. In Dizzy Gillespie no Brasil, the song was interpreted by Mary Stallings's deep voice – also with Dizzy taking risk on vocals.
Dizzy Gillespie no Brasil brings two paradigms: to know much more one of the greatest jazz musicians of all time and cognize how the trumpet sounds fuzzy when intersperse on samba's roots. The wedding of jazz and samba didn't occur only on bossa nova. Maybe the whole Brazilian music had followed other paths if the album was released in the seventies.

Written by Tiago Ferreira.

Stuff Smith ~ Dizzy Gillespie ~ Oscar Peterson (1957)

This exemplary reissue from 1994 is long out of print and I can't imagine that it will see a reissue except on some European out of copyright label - excellent sound from the original master tapes, full discographical info, liner notes, artwork - all praise to Polygram!

Stuff Smith - Have Violin Will Swing (Verve MGV 8282)

Carl Perkins (piano) Stuff Smith (violin) Curtis Counce or Red Callender (bass) Frank Butler or Oscar Bradley (drums)
Capitol Tower Studios, Hollywood, CA, January 21 & February 5, 1957

1-01 - It's Wonderful
1-02 - Comin' Thru The Rye
1-03 - Ja-Da
1-04 - (Back Home Again In) Indiana
1-05 - Calypso
1-06 - Blow, Blow, Blow
1-07 - I Wrote My Song
1-08 - Oh, But It Is
1-09 - Stop, Look
1-10 - Would You Object
1-11 - Crazy Rhythm

Stuff Smith (Verve MGV 8206)

Oscar Peterson (piano) Barney Kessel (guitar) Stuff Smith (violin) Ray Brown (bass) Alvin Stoller (drums)
Glen Glenn Studios, Hollywood, CA, March 7&12, 1957

1-12 - Desert Sands.
1-13 - Soft Winds.
1-14 - Things Ain't What They Used To Be.
1-15 - Time And Again (Aka 'don't You Think').
1-16 - I Know That You Know.
2-01 - It Don't Mean A Thing (If It Ain't Got That Swing).
2-02 - In A Mellotone.
2-03 - Heat Wave.
2-04 - Body And Soul.

Dizzy Gillespie And Stuff Smith (Verve MGV 8214)

Dizzy Gillespie (trumpet) Wynton Kelly (piano) Stuff Smith (violin) Paul West (bass) J.C. Heard (drums)
NYC, April 17, 1957

2-05 - Rio Pakistan.
2-06 - It's Only A Paper Moon.
2-07 - Purple Sounds.
2-08 - Russian Lullaby.
2-09 - Oh, Lady Be Good!.



Review by Richard Palmer, Jazz Journal, February 1995:

This handsome and generous package collates three of Stuff Smith's finest IPs, recorded within three months of each other—Have Violin, Will Swing, Stuff Smith and Dizzy Gillespie and Stuff Smith. The first named, in particular, has long been a £50-plus collector's item, so to have it available with its two splendid companions for under £15 is welcome indeed.
In my view, Stuff was and remains by some distance the finest violinist jazz has produced, Amongst his rivals, only Nance and Ponty got anywhere near his marvellous sound—sonorously melodious, yet resonating with the kind of joyously sneering insolence that one associates with tenorist Lockjaw Davis. In addition, while nobody has remotely approached him for virility of swing or harmonic imagination, he had subtler qualities that captivate always, without slipping into the kind of saccharinity that jazz violin can be prone to. Stuff was a very special talent noticeably under-recorded almost throughout his career, and jazz owes Norman Granz a very large round of thanks for resuscitating his career when and in the way he did.
The two-and-a-half hours' music on offer is remarkably consistent in both inspiration and delivered satisfaction. All three pianists are marvellous: Perkins, especially, is a revelation, and it is sad to reflect on how little studio work he got, too. Particularly rewarding tracks from this date are Rye, where Stuff switches from blithe lyricism to red-blooded stomping with insouciant mastery, and virtually all the cuts with the great Red Callender—most of them Smith's own compositions that reflect his no-nonsense yet intriguingly sophisticated personality. The Peterson tracks are flawless, with Brown's remastered sound colossal and Kessel at the very top of his game: Desert Sands and Soft Winds are the pick here, though the three * tracks are valuable additions.
Nearly 40 years on, the Gillespie session still strikes one as breathtakingly audacious. Dizzy was from the start one of the most catholicly literate musicians jazz ever produced (only Ellington surpasses him in boldness of range and sure-footed encyclopedic eclecticism); even so, a trumpet-violin front line was taking quite a chance, and put a burden on Kelly which that wonderful West Indian shoulders triumphantly. Rio is I think the outstanding track, with Heard magnificent and the two horns exceptional both in solo and in partnership, but Lullaby and Moon are hardly less fine. The final cut with the Gordon Family's added vocalising isn't too bad, all things considered, but it is a pronounced anti-climax, and the only thing on the entire double-CD that in retrospect looks like a mistake. By then, however, it doesn't really matter.
Verve's releases over the last 18 months or so have been the best and noblest possible tribute to the man who founded the label and who is synonymous with all that is best in modern-mainstream. There could be no better or more fitting tribute to Norman Granz's enterprise, daring and imagination than this particular reissue, and it would also be hard to think of a more enjoyable and instructive one. A 1995 Top Ten choice for sure.

Dizzy Gillespie - One Night In Washington

I bought this sealed so its mint.  The fidelity is really excellent but there is an issue with tracks 3 and 4.  A hum is audible during low signal output - this is from the recording believe it or not.  When I first heard it during playback, it sent me into a whirlwind looking at my turntable's configuration.

Aside from this, an excellent album which was recorded the night after Bird's passing.  News of his death wasn't released for 48 hours, and therefore nobody had a clue as to what occured.

Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!! 

Dizzy Gillespie was recruited as a special guest to perform on March 13, 1955, in concert with the Orchestra (a Washington, D.C., big band), a date that was recorded by Bill Potts and not initially released until 1983 by Elektra Musician. Although there was only a brief rehearsal of Gillespie with the band prior to their performance of the trumpeter's "The Afro Suite" (which includes "Manteca" plus a trio of pieces written in collaboration with Chico O'Farrill), they provide excellent support for this extended work, which features the composer extensively. Two pieces from the vast repertoire of Count Basie, "Hobnail Boogie" and "Wild Bill's Boogie," are enjoyable, though pianist Larry Eanet suffers from an inadequate microphone setup. Ed Dimond takes over the keyboard for an explosive Latin-flavored romp through "Caravan," though Gillespie obviously steals the show. The rather reserved small group rendition of "Tin Tin Deo" is curious but still of interest. The closer is bassist Tom McKay's swinging riff tune "Up 'N' Downs," which sounds like it could have easily been a part of Basie's songbook. One oddity about the concert is that Charlie Parker had died during the previous night, but this was not known to the musicians as his passing had not yet been announced. One of the more obscure recordings by Dizzy Gillespie, One Night in Washington is well worth acquiring. - Ken Dryden/AMG

Click For Personnel

Elektra Musician

Jazz Master's Edition - 60300

1983

Recorded At Club Kavakos, Washington DC

1955

Dizzy Gillespie 1960 - 63

I know that many of you are looking at this post with great excitement, can't say I blame you!  These wonderful gems have been provided by our friend and Crypt brother - Tom Ryan.  For some of you, this will be an introduction to Tom's work which is exactly why I chose these sides.  Many of us are privvy to Mr. Ryan's great contributions, but for the rest of you, I have decided to start rolling out some of his amazing efforts.

These albums are all killer, no filler.  These were Diz' working bands at the time, and they were rock solid.  Superb music, executed by one of jazz' finest sons.  I want to assure you that none of these LPs have any of the corniness which began to creep into his later albums.  My personal favorite would have to be 'Something Old, Something New'.

Let's make sure we thank Tom for these and keep your eyes peeled for more of his great vinyl transfers!!  Enjoy!!

_________________________________________________________________________

Something Old, Something New

1963

Philips

Vinyl Rip + Front & Back Covers

FLAC

1.  Bebop

2.  Good Bait

3.  Medley:  I can't Get Started / 'Round Midnight

4.  Dizzy's Atmosphere

5.  November Afternoon

6.  This Lovely Feeling

7.  The Day After

8.  Cup Bearers   

Dizzy Gillespie, trumpet;  James Moody, tenor and alto sax, flute; Kenny Barron, piano;  Chris White, bass;  Rudy Collins, drums

______________________________________________________________________

The Ebullient Mr. Gillespie

1960

Verve MG V-8328

Vinyl Rip + Front & Back Covers

FLAC

1.  Swing Low, Sweet Cadillac

2.  Always

3.  Willow Weep For Me

4.  Ungawa

5.  Lorraine

6.  Girl Of My Dreams

7.  Constatinople

8.  The Umbrella Man

Dizzy Gillespie, trumpet;  Junior Mance, piano;  Leslie  Spann, flute and guitar;  

Sam Jones, bass;  Lex Humphries, drums;  Francisco "Chino" Pozo, conga drums

_______________________________________________________________________

New Wave!
1962
Philips PHM 200-070
Vinyl Rip + Front & Back Covers
FLAC

1. In A Shanty In Old Shanty Town
2. Careless Love
3. Chega De Saudade (No More Blues-Part II)
4. Taboo
5. Gee Baby Ain't I Good To You
6. One Note Samba
7. Morning Of The Carnival (Theme From Black Orpheus)
8. Pergunte Ao Joao (Ask John)


Dizzy Gillespie, trumpet; Leo Wright, alto saxophone & flute; Lolo Schifrin, piano;
Chris White, bass; Rudy Collins, drums; Bola Sete, guitar; Jose Paula, guitar & Tambourine;
Carmen Costa, cabasa, Charlie Ventura, tenor and bass saxophone

Newport in NY '72 - The Jam Sessions 1 & 2

I recently picked up all six volumes in NM condition for $20! I confess I got lazy on the scans and used the ones that accompanied my old mp3 copies from the Cobblestone blog of a few years back.

Foolish and violent vandals nearly succeeded in putting an end to the Newport Jazz Festival in 1971. George Wein underestimated the draw of booking The Allman Brothers, 10's of thousands more people showed up than there were tickets or room on the grounds for and a mob of gate crashers boiled through the fences during Dione Warwick and rushed the stage, destroying everything in their path. The relationship with the city of Newport, always a rocky one, suffered such damage it would take nine years to recover from it.

As a result Wein moved his festival to New York City in 1972, using multiple venues like Yankee Stadium, Radio City Music Hall and Wollman skating rink in Central Park for the next 9 years. I went for the first two and saw some of these shows. Newport has always been the home of the Jam Session; for better or worse George has always loved putting diverse groups of musicians on a stage and letting the sparks fly. These two jams were at the old Radio City Music Hall I am pretty sure I did not see either of these (it has been a looong time).

Volume One: Radio City Music Hall, July 6, 1972 

side a: Jumpin at Woodside
side b: Lo-Slo Blues

Cat Anderson, Jimmy Owens - trumpet; Charles McPherson alto sax; Buddy Tate tenor sax; Milt Buckner organ; Roland Hanna piano; Charles Mingus bass; Alan Dawson drums

Volume Two: Radio City Music Hall, July 3, 1972

side a: Bag's Groove
side b: Night in Tunisia

Dizzy Gillespie trumpet; Stan Getz tenor sax; Benny Green trombone, Milt Jackson vibes; John Blair violin; Kenny Burrell guitar; Mary Lou Williams piano; Percy Heath bass; Max Roach drums; Big Black congas

Were I looking at the program and trying to decide where to spend my money (and I suppose I was back then, I just don't remember) I would have chosen the July 3 show over the July 6 show....and I would have been wrong! For whatever reason the Volume One jam gels much more than the Volume Two show, the second show has some powerful moments no doubt, Diz, Kenny and John Blair all have some great solo moments, but there is a lot of indecision and differences of opinion on tempo and such too.