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Dizzy Gillespie

  • Jazz at 100 Hour 59: Jazz and Bossa Nova (1958 – 1963)

    May 4th, 2018 | By Russell Perry
    Tags: Antonio Carlos Jobim, Astrud Gilberto, Charlie Byrd, Coleman Hawkins, Dizzy Gillespie, Gil Evans, João Gilberto, Joe Henderson, Kenny Dorham, Luiz Bonfá, Miles Davis, Stan Getz, Wayne Shorter

    João Gilberto – Antônio Carlos Jobim – Stan Getz Fueled by the 1959 international release of the movie Black Orpheus and through reports from US jazz players returning from South American tours, the Brazilian music Bossa Nova (Portugese for “new trend” or “new wave”) found its way into American jazz in the early 1960s, becoming […]

  • Jazz at 100 Hour 36: Bebop Pioneers in the 1950s (1949 – 1960)

    Nov 3rd, 2017 | By Russell Perry
    Tags: Ben Webster, Bud Powell, Charles Mingus, Charlie Parker, Clifford Brown, Coleman Hawkins, Dizzy Gillespie, jazz at 100, Jazz at Massey Hall, Maz Roach, Oscar Peterson

    Jazz at Massey Hall Bud Powell-p, Charles Mingus-b, Max Roach-d, Dizzy Gillespie-tp, Charlie Parker-as Bebop had its roots in the big bands of the late 1930s and was nurtured in jam sessions during the war and the musician’s strike of the 1940s. By 1950, the prescient Coleman Hawkins, and the pioneers – Charlie Parker, Dizzy […]

  • Jazz at 100 Hour 29: Tadd Dameron – Fats Navarro – Sonny Stitt – JJ Johnson (1946 – 1950)

    Sep 1st, 2017 | By Russell Perry
    Tags: Benny Goodman, Bud Powell, Charlie Parker, Dizzy Gillespie, Fats Navarro, jazz at 100, JJ Johnson, Sonny Stitt, Tadd Dameron

    Tadd Dameron – Fats Navarro In the past several hours of Jazz at 100, we have featured the music of Dizzy Gillespie, Charlie Parker, Miles Davis, Bud Powell, Thelonious Monk, and Max Roach. In this hour, we will continue to present bebop innovators – pianist/composer Tadd Dameron and his frequent (but short-lived) collaborator Fats Navarro, […]

  • Jazz at 100 Hour 28: The Genius of Modern Music – Thelonious Monk on Blue Note (1947 – 1950)

    Sep 1st, 2017 | By Russell Perry
    Tags: Art Blakey, Charlie Parker, Dizzy Gillespie, Milt Jackson, Thelonious Monk

    Thelonious Monk In 1940, Minton’s Playhouse on West 118th Street hired drummer Kenny Clarke as a bandleader. For the house band, Clarke hired trumpeter Joe Guy, bassist Nick Fenton, and an eccentric pianist named Thelonious Monk. Although Monk recorded with Coleman Hawkins in 1944, he didn’t record with his own group until 1947. Despite these […]

  • Jazz at 100 Hour 26: That Dizzy Cat – Dizzy Gillespie (1945 – 1948)

    Aug 25th, 2017 | By Russell Perry
    Tags: bebop, Chano Pozo, Charlie Parker, Dizzy Gillespie, George Russell, jazz at 100, Thelonious Monk

    Dizzy Gillespie Dizzy Gillespie grew up professionally playing in the big bands of Teddy Hill, Cab Calloway, Earl Hines and Billy Eckstine and writing for Woody Herman and Jimmy Dorsey. The wartime economy with its shortages and the musician’s strike of the early 1940s led Gillespie to focus on small combos for his own projects, […]

  • Jazz at 100 Hour 25: Yardbird – The Savoy and Dial Recordings of Charlie Parker (1945 – 1948)

    Aug 18th, 2017 | By Russell Perry
    Tags: Charlie Parker, Dizzy Gillespie, jazz at 100, JJ Johnson, John Lewis, Max Roach, Miles Davis

    Charlie “Yardbird” Parker – Miles Davis Emerging from the Jay McShann Orchestra from Kansas City and relentlessly curious about how to play the new music he heard in his head, Charlie Parker found sympathetic players in New York, especially Dizzy Gillespie. In November of 1945, Bird, as he was universally known, began to record with […]

  • Jazz at 100 Hour 23: Birth of Bebop (1939 – 1945)

    Aug 4th, 2017 | By Russell Perry
    Tags: Cab Calloway, Charlie Parker, Coleman Hawkins, Dizzy Gillespie, Jay McShann, Lionel Hampton, Lucky Millinder, Thelonious Monk

    Charlie Parker – Dizzy Gillespie “By the early 1940s … a new approach to small-combo jazz playing was developing, characterized by a more flexible approach to rhythm, a more aggressive pursuit of instrumental virtuosity, and an increasingly adventurous harmonic language.” – Scott Deveaux “Because its loose, improvisatory format offers an obvious point of contrast to […]

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