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A series of great JAZZ Records from early Ragtime to Beb-Bop on 78 rpm Victrola Records DIZZY GILLESPIE Trumpet Joe Carroll Sings WIth Dizzy Gillespie Dee Gee ?– 3602A –Joe Carroll Sings With Dizzy Gillespie Lady Be GoodWritten-By – George & Ira GershwinB –Kenny Clarke Klook ReturnsWritten-By – Kenny ClarkeBass – Percy Heath (tracks: A)Drums – Art Blakey (tracks: A), Kenny Clarke (tracks: B)Piano – Milt Jackson (tracks: A)Tenor Saxophone – Budd Johnson (tracks: A)Trombone – J.J. Johnson (tracks: A)Trumpet – Dizzy Gillespie (tracks: A)Vocals – Joe Carroll (tracks: A)10" 78 rpm record Condition: VERY GOOD MINUS, minor wear, but very rubbed few light scratches, plays E- very quiet some ticks and popsRead below the 1947 THE Gramophone review Negro trumpet wizard John "Dizzy" Gillespie is the inventor and leading exponent of the very latest style of American swing, known as bebop. It is probably no exaggeration to say that, through reports which have reached here via travellers from America and by way of our music press, Gillespie has created among British swing enthusiasts more interest than any other contemporary American swing celebrity, and his records have been awaited most eagerly. In fact the only reason that the clamour for "Dizzy" has not been answered before now is that he has been recording only for labels which were not represented over here until E.M.I. recently acquired the American " Musicraft" catalogue for which he now records and from which these records come. So far E.M.I. have received only their first small consignment of Gillespie recordings, and this is probably the reason why they have had to introduce him and this latest of the full-sized bands he has formed to present his bebop through records which do not do justice to the band or its particular brand of music. For Good Blues Dues is, as its title suggests, at least based on the blues character, and the the blues, being essentially " period " music is to a greater or lesser extent distorted by the ultra-modern bebop content, just as the bebob recipe is inevitably handicapped by the attempt to link it with the blues character. One notices this particularly in the accompaniment to Alice Roberts' vocal chorus. A singer who in any circumstances is possibly not too brilliant (for one thing her intonation is often far from good), she has to contend with a bebop background which is anything but the right inspiration for even a good genuine blues singer, and the best part of the side is Dizzy's few bars towards the end. The well scored Our Delight is more suitable for the hand. Also Dizzy gives a good example of what his bebop music is all about and there is a good tenor spot. But somehow the band fails to achieve the terrific drive which is one of its outstanding features and which I have heard it attain on other Gillespie records Sent me by friends in America. John Birks "Dizzy" Gillespie (October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, singer, and composer. He was born in Cheraw, South Carolina, the youngest of nine children.Dizzie's father was a local bandleader, so instruments were made available to Dizzy. He started to play the piano at the age of 4. Together with Charlie Parker, he was a major figure in the development of bebop and modern jazz. In addition to featuring in these epochal moments in bebop, he was instrumental in founding Afro-Cuban jazz, the modern jazz version of what early-jazz pioneer Jelly Roll Morton referred to as the "Spanish Tinge". Gillespie was a trumpet virtuoso and gifted improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic complexity previously unknown in jazz. In addition to his instrumental skills, Dizzy's beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop, which was originally regarded as threatening and frightening music by many listeners raised on older styles of jazz. He had an enormous impact on virtually every subsequent trumpeter, both by the example of his playing and as a mentor to younger musicians. He also used a trumpet whose bell was bent at a 45 degree angle rather than a traditional straight trumpet. According to Gillespie's autobiography, this was originally the result of accidental damage caused during a job on January 6, 1953, but the constriction caused by the bending altered the tone of the instrument, and Gillespie liked the effect. Gillespie's biographer Alyn Shipton writes that Gillespie likely got the idea when he saw a similar instrument in 1937 in Manchester, England while on tour with the Teddy Hill Orchestra. Gillespie came across an English trumpeter who was using such an instrument because his vision was poor and the horn made reading music easier. According to this account (from British journalist Pat Brand) Gillespie was able to try out the horn and the experience led him, much later, to commission a similar horn for himself. Whatever the origins of Gillespie's upswept trumpet, by June, 1954, Gillespie 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 Early life and careerDizzy's first pro job was with the Frank Fairfax orchestra in 1935, after which he joined the Teddy Hill orchestra, replacing his main influence Roy Eldridge as first trumpet in 1937. In 1939, Gillespie joined up with Cab Calloway's orchestra, with which he recorded one of his earliest compositions, the instrumental "Pickin' The Cabbage" , in 1940 (originially released on the Vocalion label, #5467, on 78rpm - said 78rpm record backed with a co-composition with Cab's drummer at the time Cozy Cole entitled "Paradiddle"). After Dizzy left Calloway in late 1941, he freelanced with a few bands - most notably being Ella Fitzgerald's orchestra, comprised of members of the late Chick Webb's band, in 1942. In 1943, Gillespie then joined up with the Earl Hines orchestra. The legendary big band of Billy Eckstine gave his unusual harmonies a better setting, and it was as a member of Eckstine's band that he was reunited with Parker, after earlier being members of Earl Hines's more conventional band. [edit] The rise of bebopWith Charlie Parker, Gillespie jammed at famous jazz clubs like Minton's Playhouse and Monroe's Uptown House, where the first seeds of bebop were planted. Gillespie's compositions like "Groovin' High" , "Woody n' You" , "Salt Peanuts" , and "A Night in Tunisia" sounded radically different, harmonically and rhythmically, than the Swing music popular at the time. One of their first (and greatest) 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, like 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 attempt to do this came in 1945, but it did not prove a success. Dizzy Gillespie statue in Cheraw, South CarolinaAfter his work with Parker, Gillespie led other small combos (including ones with Milt Jackson, John Coltrane, Lalo Schifrin) and finally put together his first successful big band. He also appeared frequently as a soloist with Norman Granz's Jazz at the Philharmonic. More Great Records on sale right now: CLICK ON THIS LINK TO SEE MORE GREAT RECORDS CLICK ON THIS LINK TO SEE ALL ITEMS - VINTAGE BOOKS, VICTROLA and TURNTABLE ITEMS, CDs, Books and DVDs http://shop.ebay.com/carsten_sf/m.html ==== A Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS. If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING. Quick note on grading: The Grade (Excellent to Poor, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separately When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise."EXCEPTIONALLY QUIET" is close to noiseless, like a vinyl pressing."VERY QUIET" is an above average quiet record for a given pressing."Quiet" is a record that is a great example with some noise. These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment. Multiple item shipping: I am happy to combine items for shipment in one parcel. Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment. Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost. I charge actual postage plus a small handling fee for packing materials As always, I guarantee your satisfaction. If you don't like the item, just return it, and I will refund the full purchase price. If you are in the San Francisco area, I welcome pick-up in person. I am very happy to ship records worldwide. Please use the EBAY shipping cost as a guideline. As always, I would appreciate any suggestions and corrections from you, pls contact me with any question. Thank you very much, and enjoy these great records!!! Powered by SixBit's eCommerce Solution
Price: 14.99 USD
Location: San Francisco, California
End Time: 2024-11-15T23:40:23.000Z
Shipping Cost: 7.49 USD
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Restocking Fee: No
Return shipping will be paid by: Buyer
All returns accepted: Returns Accepted
Item must be returned within: 30 Days
Refund will be given as: Money Back
Artist: CLICK RIGHT ARROW > FOR CONDITION, Dizzy Gillespie, Joe Carroll, Percy Heath, Art Blakey, Kenny Clarke, Milt Jackson, Budd Johnson, J.J. Johnson
Format: Record
Release Title: GERSHWIN Lady Be Good/ Klook Returns
Material: Shellac
Type: Single
Genre: Jazz
Record Label: Dee Gee
Record Size: 10"
Style: Bebop, Canadian Jazz, Dixieland, Electric Jazz, Gypsy Jazz, Jazz Instrument, Jazz Pop, Jive, Latin Jazz, Ragtime, Smooth Jazz, Soul Jazz, Vocal Jazz, Big Band/Swing
Speed: 78 RPM
Catalog Number: 3602
