Dizzy Gillespie

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At a Glance

Birthname: John Birks Gillespie
Nationality: American
Born: Oct 21 1917
Died: Jan 06 1993 (75 years old)


Biography

John Birks Gillespie was born on October 21, 1917 in Cheraw, South Carolina, the youngest of nine children. He emerged as a trumpet player whose role as a founding father of modern jazz made him a major figure in 20th-century American music. His signature moon cheeks and bent trumpet made him one of the world's most instantly recognizable figures.

Dizzy Gillespie was a featured and favorite performer at the Blue Note Jazz Club in New York. To this date, he remains the only artist to be booked for an entire month at the club! The occasion was his 75th birthday and, sadly, he did not ... Read more

John Birks Gillespie was born on October 21, 1917 in Cheraw, South Carolina, the youngest of nine children. He emerged as a trumpet player whose role as a founding father of modern jazz made him a major figure in 20th-century American music. His signature moon cheeks and bent trumpet made him one of the world's most instantly recognizable figures.

Dizzy Gillespie was a featured and favorite performer at the Blue Note Jazz Club in New York. To this date, he remains the only artist to be booked for an entire month at the club! The occasion was his 75th birthday and, sadly, he did not live to celebrate another. Dizzy was loved by all who knew him and is especially missed at the Blue Note, where his memory and his music live on.

In a nearly 60-year career as a composer, bandleader and innovative player, Gillespie cut a huge swath through the jazz world. In the early 1940's, along with the alto saxophonist Charlie (Yardbird) Parker, he initiated be-bop, the sleek, intense, high speed revolution that has become jazz's most induring style. In subsequent years, he incorporated Afro-Cuban music into jazz, creating a new genre from the combination.

In the naturally effervescent Gillespie, opposites existed. His playing - and he performed constantly until nearly the end of his life - was meteoric, full of virtuousic 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. In some ways, he seemed to sum up all the possibilities of American popular art.

In 1939, he joined Cab Calloway's band and stayed for two years, then worked briefly with big bands led by Ella Fitzgerald, Claude Hopkins, Les Hite, Lucky Millender, Charlie Barnet, Fletcher Henderson and Benny Carter. In June of 1945, he led his own small band (1945) which later that year was augmented into a big band. During the late 1940s, 1950s and 1960s, Dizzy alternated between leading small and big bands. Dizzy also did concert tours as a soloist with the "Jazz At The Philharmonic" presentations. He continued to do widespread touring during the late 1970s, mainly with a quintet, with many overseas visits to Africa, Australia, Cuba, Europe, etc. Gillespie was featured at President Jimmy Carter's 1978 White House Jazz Party and induced Carter to provide the vocals for a rendition of "Salt Peanuts."

In the last decade, his career seemed recharged, and he became ubiquitous on the concert circuit as a special guest. New York Times writer Peter Watrous in decribing Dizzy's month long engagement at the Blue Note wrote, "In honor of his 75th birthday, Mr. Gillespie played for four weeks at the Blue Note in Manhattan in a stint that featured perhaps the greatest selection of jazz music ever brought together for a tribute." Dizzy Gillespie died of cancer on January 6, 1993.

In 1960, Gillespie was elected by the Readers into the Down Beat Hall of Fame.

-------------------------------------------------------------------------------------------

Monterey Jazz Festival Launches New Record Label in Partnership With Concord Music Group in Celebration of MJF's 50th Year

Monterey Jazz Festival Records Debuts on August 21

With Five Never-Before-Heard Releases Culled From Historic Live Archives

First Releases Feature Recordings

From Louis Armstrong, Miles Davis, Thelonious Monk,

Sarah Vaughan & Dizzy Gillespie

MJFR Will Also Debut New Discs by Contemporary Groups,

Special Events and Projects Recorded at the Festival

In celebration of the 50th Annual Monterey Jazz Festival, Monterey Jazz Festival Records will make its debut with a remarkable series of historic live-at-Monterey releases. Not only does this mark the first time a festival has launched its own label, but the riches of its tape archives-more than 1600 tapes with more than 2000 hours of concerts in the vault-makes this ambitious endeavor a jazz bonanza.

 

The Monterey Jazz Festival, the pioneering West Coast-styled jazz party, inarguably holds the world record for the longest-running jazz affair, having been born in 1958 on the Monterey Fairgrounds, some 100 miles south of San Francisco. This year MJF turns 50, with its annual three-day gala (September 21-23) taking on special significance with a wealth of performances offered on nine stages spread throughout the festival's 20-acre grounds.

 

Monterey Jazz Festival Records is a stand-alone label in partnership with the Monterey Jazz Festival and Concord Music Group.  The profits realized by the Monterey Jazz Festival will be re-invested into its ongoing internationally recognized jazz education programs. The MJFR imprint's first five recordings, to be released on August 21, capture the crème de la crème of the jazz heritage: Louis Armstrong (caught headlining the first night of the festival in 1958); Miles Davis (introducing to the West Coast his soon-to-be-classic '60s quintet rhythm section in 1963); and Thelonious Monk (his quartet augmented by bassist Steve Swallow and an expanded five-piece festival workshop in 1964), plus sets by Dizzy Gillespie (in 1965 having expanded his usual quintet with Kenny Barron and James Moody to a sextet by adding Big Black on congas) and Sarah Vaughan (backed by a young Bill Mays, Bob Magnusson and Jimmy Cobb - and one tune with the Jazz at the Philharmonic All-Stars in 1971).

 

The label also promises to document the jazz of the future, says MJFR general manager Jason Olaine, the New York-based former director of A&R at Verve Records from 1999-2004. "We're not going to be stuck in a jazz time warp," he says. "We're excited to deliver important historical music, as well as assemble special projects and all-star ensembles to debut at the festival each year."

 

This year's celebratory jazz-future lineup includes an all-star quartet comprising of bassist Dave Holland, pianist Gonzalo Rubalcaba, saxophonist Chris Potter and drummer Eric Harland as well as the festival's 50th-year project that will include trumpeter Terence Blanchard, saxophonist James Moody, vocalist Nnenna Freelon, bassist Derrick Hodge, drummer Kendrick Scott and pianist Benny Green, who serves as the musical director. Both groups will be documented live at MJF/50 for possible upcoming releases, with the latter ensemble going on a 50-date national tour in January 2008.

 

Glen Barros, President and CEO of the Concord Music Group, states, "Concord Records has been committed to nurturing and recording renowned artists for more than three decades, as well as discovering and developing new emerging talent. The Monterey Jazz Festival brand fits perfectly with our overall desire to provide consumers the finest documented recordings of all time. The Concord Music Group is excited to be involved in presenting these spectacular, rare and historic recordings to the public for the first time since they were originally heard by audiences at Monterey."

 

MJF general manager Tim Jackson tells the story of how the label was born. Three years ago while conceptually ramping up for Monterey's monumental anniversary; he started thinking in broader strokes. "I wanted to leverage the festival's assets and use the 50th as a launching pad to make this historical music available to people," he says.

 

Ten years ago, Jackson worked with producer Orrin Keepnews to compile a three-CD best-of collection for the festival's 40th birthday (Monterey Jazz Festival-40 Legendary Years, released on Malpaso Records, an imprint of Warner Bros.). It was at that time that he discovered that the archival tapes, housed at the Braun Music Center library on the Stanford University campus, were deteriorating from age. Thanks to grants, the festival has digitized all 2,000 hours of the live recordings made at Monterey in the past 49 years. That provided an impetus to set the label project into motion.

 

As for the contact with Concord, Jackson says he got to know Barros while they both served on the board of Jazz Alliance International. "As a festival, we're not equipped to market records," says Jackson, "but Concord has certainly proven that it's been very progressive in getting CDs to listeners. Glen and I like and trust each other, so we quickly worked out an agreement with the MJF Board of Directors. Plus Concord is a West Coast label with its roots in northern California. We like that too."

 

This biography was provided by the artist or their representative.

John Birks Gillespie was born on October 21, 1917 in Cheraw, South Carolina, the youngest of nine children. He emerged as a trumpet player whose role as a founding father of modern jazz made him a major figure in 20th-century American music. His signature moon cheeks and bent trumpet made him one of the world's most instantly recognizable figures.

Dizzy Gillespie was a featured and favorite performer at the Blue Note Jazz Club in New York. To this date, he remains the only artist to be booked for an entire month at the club! The occasion was his 75th birthday and, sadly, he did not live to celebrate another. Dizzy was loved by all who knew him and is especially missed at the Blue Note, where his memory and his music live on.

In a nearly 60-year career as a composer, bandleader and innovative player, Gillespie cut a huge swath through the jazz world. In the early 1940's, along with the alto saxophonist Charlie (Yardbird) Parker, he initiated be-bop, the sleek, intense, high speed revolution that has become jazz's most induring style. In subsequent years, he incorporated Afro-Cuban music into jazz, creating a new genre from the combination.

In the naturally effervescent Gillespie, opposites existed. His playing - and he performed constantly until nearly the end of his life - was meteoric, full of virtuousic 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. In some ways, he seemed to sum up all the possibilities of American popular art.

In 1939, he joined Cab Calloway's band and stayed for two years, then worked briefly with big bands led by Ella Fitzgerald, Claude Hopkins, Les Hite, Lucky Millender, Charlie Barnet, Fletcher Henderson and Benny Carter. In June of 1945, he led his own small band (1945) which later that year was augmented into a big band. During the late 1940s, 1950s and 1960s, Dizzy alternated between leading small and big bands. Dizzy also did concert tours as a soloist with the "Jazz At The Philharmonic" presentations. He continued to do widespread touring during the late 1970s, mainly with a quintet, with many overseas visits to Africa, Australia, Cuba, Europe, etc. Gillespie was featured at President Jimmy Carter's 1978 White House Jazz Party and induced Carter to provide the vocals for a rendition of "Salt Peanuts."

In the last decade, his career seemed recharged, and he became ubiquitous on the concert circuit as a special guest. New York Times writer Peter Watrous in decribing Dizzy's month long engagement at the Blue Note wrote, "In honor of his 75th birthday, Mr. Gillespie played for four weeks at the Blue Note in Manhattan in a stint that featured perhaps the greatest selection of jazz music ever brought together for a tribute." Dizzy Gillespie died of cancer on January 6, 1993.

In 1960, Gillespie was elected by the Readers into the Down Beat Hall of Fame.

-------------------------------------------------------------------------------------------

Monterey Jazz Festival Launches New Record Label in Partnership With Concord Music Group in Celebration of MJF's 50th Year

Monterey Jazz Festival Records Debuts on August 21

With Five Never-Before-Heard Releases Culled From Historic Live Archives

First Releases Feature Recordings

From Louis Armstrong, Miles Davis, Thelonious Monk,

Sarah Vaughan & Dizzy Gillespie

MJFR Will Also Debut New Discs by Contemporary Groups,

Special Events and Projects Recorded at the Festival

In celebration of the 50th Annual Monterey Jazz Festival, Monterey Jazz Festival Records will make its debut with a remarkable series of historic live-at-Monterey releases. Not only does this mark the first time a festival has launched its own label, but the riches of its tape archives-more than 1600 tapes with more than 2000 hours of concerts in the vault-makes this ambitious endeavor a jazz bonanza.

 

The Monterey Jazz Festival, the pioneering West Coast-styled jazz party, inarguably holds the world record for the longest-running jazz affair, having been born in 1958 on the Monterey Fairgrounds, some 100 miles south of San Francisco. This year MJF turns 50, with its annual three-day gala (September 21-23) taking on special significance with a wealth of performances offered on nine stages spread throughout the festival's 20-acre grounds.

 

Monterey Jazz Festival Records is a stand-alone label in partnership with the Monterey Jazz Festival and Concord Music Group.  The profits realized by the Monterey Jazz Festival will be re-invested into its ongoing internationally recognized jazz education programs. The MJFR imprint's first five recordings, to be released on August 21, capture the crème de la crème of the jazz heritage: Louis Armstrong (caught headlining the first night of the festival in 1958); Miles Davis (introducing to the West Coast his soon-to-be-classic '60s quintet rhythm section in 1963); and Thelonious Monk (his quartet augmented by bassist Steve Swallow and an expanded five-piece festival workshop in 1964), plus sets by Dizzy Gillespie (in 1965 having expanded his usual quintet with Kenny Barron and James Moody to a sextet by adding Big Black on congas) and Sarah Vaughan (backed by a young Bill Mays, Bob Magnusson and Jimmy Cobb - and one tune with the Jazz at the Philharmonic All-Stars in 1971).

 

The label also promises to document the jazz of the future, says MJFR general manager Jason Olaine, the New York-based former director of A&R at Verve Records from 1999-2004. "We're not going to be stuck in a jazz time warp," he says. "We're excited to deliver important historical music, as well as assemble special projects and all-star ensembles to debut at the festival each year."

 

This year's celebratory jazz-future lineup includes an all-star quartet comprising of bassist Dave Holland, pianist Gonzalo Rubalcaba, saxophonist Chris Potter and drummer Eric Harland as well as the festival's 50th-year project that will include trumpeter Terence Blanchard, saxophonist James Moody, vocalist Nnenna Freelon, bassist Derrick Hodge, drummer Kendrick Scott and pianist Benny Green, who serves as the musical director. Both groups will be documented live at MJF/50 for possible upcoming releases, with the latter ensemble going on a 50-date national tour in January 2008.

 

Glen Barros, President and CEO of the Concord Music Group, states, "Concord Records has been committed to nurturing and recording renowned artists for more than three decades, as well as discovering and developing new emerging talent. The Monterey Jazz Festival brand fits perfectly with our overall desire to provide consumers the finest documented recordings of all time. The Concord Music Group is excited to be involved in presenting these spectacular, rare and historic recordings to the public for the first time since they were originally heard by audiences at Monterey."

 

MJF general manager Tim Jackson tells the story of how the label was born. Three years ago while conceptually ramping up for Monterey's monumental anniversary; he started thinking in broader strokes. "I wanted to leverage the festival's assets and use the 50th as a launching pad to make this historical music available to people," he says.

 

Ten years ago, Jackson worked with producer Orrin Keepnews to compile a three-CD best-of collection for the festival's 40th birthday (Monterey Jazz Festival-40 Legendary Years, released on Malpaso Records, an imprint of Warner Bros.). It was at that time that he discovered that the archival tapes, housed at the Braun Music Center library on the Stanford University campus, were deteriorating from age. Thanks to grants, the festival has digitized all 2,000 hours of the live recordings made at Monterey in the past 49 years. That provided an impetus to set the label project into motion.

 

As for the contact with Concord, Jackson says he got to know Barros while they both served on the board of Jazz Alliance International. "As a festival, we're not equipped to market records," says Jackson, "but Concord has certainly proven that it's been very progressive in getting CDs to listeners. Glen and I like and trust each other, so we quickly worked out an agreement with the MJF Board of Directors. Plus Concord is a West Coast label with its roots in northern California. We like that too."

 

This biography was provided by the artist or their representative.

John Birks Gillespie was born on October 21, 1917 in Cheraw, South Carolina, the youngest of nine children. He emerged as a trumpet player whose role as a founding father of modern jazz made him a major figure in 20th-century American music. His signature moon cheeks and bent trumpet made him one of the world's most instantly recognizable figures.

Dizzy Gillespie was a featured and favorite performer at the Blue Note Jazz Club in New York. To this date, he remains the only artist to be booked for an entire month at the club! The occasion was his 75th birthday and, sadly, he did not live to celebrate another. Dizzy was loved by all who knew him and is especially missed at the Blue Note, where his memory and his music live on.

In a nearly 60-year career as a composer, bandleader and innovative player, Gillespie cut a huge swath through the jazz world. In the early 1940's, along with the alto saxophonist Charlie (Yardbird) Parker, he initiated be-bop, the sleek, intense, high speed revolution that has become jazz's most induring style. In subsequent years, he incorporated Afro-Cuban music into jazz, creating a new genre from the combination.

In the naturally effervescent Gillespie, opposites existed. His playing - and he performed constantly until nearly the end of his life - was meteoric, full of virtuousic 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. In some ways, he seemed to sum up all the possibilities of American popular art.

In 1939, he joined Cab Calloway's band and stayed for two years, then worked briefly with big bands led by Ella Fitzgerald, Claude Hopkins, Les Hite, Lucky Millender, Charlie Barnet, Fletcher Henderson and Benny Carter. In June of 1945, he led his own small band (1945) which later that year was augmented into a big band. During the late 1940s, 1950s and 1960s, Dizzy alternated between leading small and big bands. Dizzy also did concert tours as a soloist with the "Jazz At The Philharmonic" presentations. He continued to do widespread touring during the late 1970s, mainly with a quintet, with many overseas visits to Africa, Australia, Cuba, Europe, etc. Gillespie was featured at President Jimmy Carter's 1978 White House Jazz Party and induced Carter to provide the vocals for a rendition of "Salt Peanuts."

In the last decade, his career seemed recharged, and he became ubiquitous on the concert circuit as a special guest. New York Times writer Peter Watrous in decribing Dizzy's month long engagement at the Blue Note wrote, "In honor of his 75th birthday, Mr. Gillespie played for four weeks at the Blue Note in Manhattan in a stint that featured perhaps the greatest selection of jazz music ever brought together for a tribute." Dizzy Gillespie died of cancer on January 6, 1993.

In 1960, Gillespie was elected by the Readers into the Down Beat Hall of Fame.

-------------------------------------------------------------------------------------------

Monterey Jazz Festival Launches New Record Label in Partnership With Concord Music Group in Celebration of MJF's 50th Year

Monterey Jazz Festival Records Debuts on August 21

With Five Never-Before-Heard Releases Culled From Historic Live Archives

First Releases Feature Recordings

From Louis Armstrong, Miles Davis, Thelonious Monk,

Sarah Vaughan & Dizzy Gillespie

MJFR Will Also Debut New Discs by Contemporary Groups,

Special Events and Projects Recorded at the Festival

In celebration of the 50th Annual Monterey Jazz Festival, Monterey Jazz Festival Records will make its debut with a remarkable series of historic live-at-Monterey releases. Not only does this mark the first time a festival has launched its own label, but the riches of its tape archives-more than 1600 tapes with more than 2000 hours of concerts in the vault-makes this ambitious endeavor a jazz bonanza.

 

The Monterey Jazz Festival, the pioneering West Coast-styled jazz party, inarguably holds the world record for the longest-running jazz affair, having been born in 1958 on the Monterey Fairgrounds, some 100 miles south of San Francisco. This year MJF turns 50, with its annual three-day gala (September 21-23) taking on special significance with a wealth of performances offered on nine stages spread throughout the festival's 20-acre grounds.

 

Monterey Jazz Festival Records is a stand-alone label in partnership with the Monterey Jazz Festival and Concord Music Group.  The profits realized by the Monterey Jazz Festival will be re-invested into its ongoing internationally recognized jazz education programs. The MJFR imprint's first five recordings, to be released on August 21, capture the crème de la crème of the jazz heritage: Louis Armstrong (caught headlining the first night of the festival in 1958); Miles Davis (introducing to the West Coast his soon-to-be-classic '60s quintet rhythm section in 1963); and Thelonious Monk (his quartet augmented by bassist Steve Swallow and an expanded five-piece festival workshop in 1964), plus sets by Dizzy Gillespie (in 1965 having expanded his usual quintet with Kenny Barron and James Moody to a sextet by adding Big Black on congas) and Sarah Vaughan (backed by a young Bill Mays, Bob Magnusson and Jimmy Cobb - and one tune with the Jazz at the Philharmonic All-Stars in 1971).

 

The label also promises to document the jazz of the future, says MJFR general manager Jason Olaine, the New York-based former director of A&R at Verve Records from 1999-2004. "We're not going to be stuck in a jazz time warp," he says. "We're excited to deliver important historical music, as well as assemble special projects and all-star ensembles to debut at the festival each year."

 

This year's celebratory jazz-future lineup includes an all-star quartet comprising of bassist Dave Holland, pianist Gonzalo Rubalcaba, saxophonist Chris Potter and drummer Eric Harland as well as the festival's 50th-year project that will include trumpeter Terence Blanchard, saxophonist James Moody, vocalist Nnenna Freelon, bassist Derrick Hodge, drummer Kendrick Scott and pianist Benny Green, who serves as the musical director. Both groups will be documented live at MJF/50 for possible upcoming releases, with the latter ensemble going on a 50-date national tour in January 2008.

 

Glen Barros, President and CEO of the Concord Music Group, states, "Concord Records has been committed to nurturing and recording renowned artists for more than three decades, as well as discovering and developing new emerging talent. The Monterey Jazz Festival brand fits perfectly with our overall desire to provide consumers the finest documented recordings of all time. The Concord Music Group is excited to be involved in presenting these spectacular, rare and historic recordings to the public for the first time since they were originally heard by audiences at Monterey."

 

MJF general manager Tim Jackson tells the story of how the label was born. Three years ago while conceptually ramping up for Monterey's monumental anniversary; he started thinking in broader strokes. "I wanted to leverage the festival's assets and use the 50th as a launching pad to make this historical music available to people," he says.

 

Ten years ago, Jackson worked with producer Orrin Keepnews to compile a three-CD best-of collection for the festival's 40th birthday (Monterey Jazz Festival-40 Legendary Years, released on Malpaso Records, an imprint of Warner Bros.). It was at that time that he discovered that the archival tapes, housed at the Braun Music Center library on the Stanford University campus, were deteriorating from age. Thanks to grants, the festival has digitized all 2,000 hours of the live recordings made at Monterey in the past 49 years. That provided an impetus to set the label project into motion.

 

As for the contact with Concord, Jackson says he got to know Barros while they both served on the board of Jazz Alliance International. "As a festival, we're not equipped to market records," says Jackson, "but Concord has certainly proven that it's been very progressive in getting CDs to listeners. Glen and I like and trust each other, so we quickly worked out an agreement with the MJF Board of Directors. Plus Concord is a West Coast label with its roots in northern California. We like that too."

 

This biography was provided by the artist or their representative.

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