Customer Reviews

Roy & Diz

5 star:		(8)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(2)

 

 

While I agree with the two reviews below that "Roy And Diz" is a five-star effort, I hope you'll agree that those same two reviews aren't very helpful as to the specifics of this fine recording. This classic Verve CD was originally issued as two Clef LPs ("Roy And Diz," Volumes 1 & 2). Recorded on October 29, 1954 during a marathon session at Radio Recorders Studio in Los Angeles, this stellar set features both Roy Eldridge and Dizzy Gillespie on trumpet, Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass and Louie Bellson on drums (whoa, what a lineup!). They say Roy and Diz were great friends, and it shows in the music. The material is mostly standards with two originals -- Dizzy's "Algo Bueno" and the Roy and Diz collaboration "Trumpet Blues" -- but the tunes are played in a relaxed, easygoing fashion that never smacks of competitive one-upsmanship. While this may not be an absolute classic, it is a delightfully fun and enjoyable session, and since it is great value to boot -- this two-fer logs in at almost 75 minutes -- you should have no doubts about "Roy And Diz."

Beware! Four minutes are missing from the Ballad Medley. It should be 11 minutes long, not 7. This is one of the best songs on the album, which is why you can't buy it by itself. So, I bought the whole album only to discover that it's an MP3 Amputee. I hope Amazon will refund my money.

The heated cutting contest is one of the trademarks of jazz lore, where best friends can get up on a stage together and instantly become the fiercest rivals. This particular album transplants that dynamic into the studio, but also adds a unique dimension: Eldridge was the father of Gillespie, musically speaking, and by the time this album was recorded Dizzy had already surpassed his mentor as the greatest trumpet player. If Harold Bloom's "anxiety of influence" of literature could be adapted to music, I think "Roy and Diz" would be a nice illustration of it. One of the defining characteristics of the Eldridge style was taking great, big chances...pushing himself and the instrument as far as they'll go and then going even higher. He has been likened to a tightrope walker working without a net who is not afraid of falling. Dizzy took it to the next level simply by walking faster, and falling less often. The two of them together on this record create pure sustained musical swashbuckling, each man pushing the other to his limits and beyond. "Pretty-Eyed Baby" has them singing a duet, then going into a scat-singing cutting session. If these two aren't enough to hold your interest, the Oscar Peterson trio provides rhythm support. Highly recommended.

Eldridge's and Gillespie's place among the best trumpet players in the history of jazz was already secured by the time these recordings were made. The hulabaloo around the be-bop revolution had already calmed down and the world of jazz was ready for productive colaboration between two players of different styles; Eldridge being one of the top swing players and Dizzy being the quintessential be-bop player.

Naturally, having Oscar Peterson on the piano (with Herb Ellis, great Ray Brown and powerfull Louis Bellson completing the rhythm section) certainly helped to make the merging of different styles and making this CD a true album, not a JATP jam session (which would also be OK in its own rank).
It is interesting to note how differently the stars of the CD perform different songs; sometimes gentle (Sometimes I'm Happy...), sometimes more competitive and hot (Algo Bueno, Trumpet Blues...). Their joint vocal effort on "Pretty-Eyed Baby" is a sheer joy, the only opportunity I heard both of them coming close to Armstrong's vocal aristry in rhythm.

Diz and Roy work together in this album to create a wonderful intermingling of technical mastery, stylistic and harmonic genius. Trumpet Blues is my favorite track. Throughout they mostly stick to harmon and straight mutes and have a great sound. Dizzy's upper octave and Roy's fast fingers make for a real treat for any jazz lover, and trumpet fans especially. A highlight is when Dizzy's mute falls out mid-solo he doesn't miss a beat, just keeps on going!

They both circle and stalk each other, use each other's styles, and general have a good old fashion cutting session. First rate for Diz and, Little Jazz fans.

roy&Diz get right on the trumpets.Sometimes I'm happy,trumpet blues are tight.this is a must have.very strong &well done.

one of the best trumpet albums ever

...dont own anything else by mr. eldridge and i was never a big fan of mr. gillispie, with the exception of 'night in tunisia' as performed by brother parker...
but this sh!t right here is hot!
this is gonna end up in my top ten before it's all said and done...i love it when grown folks get together and prove themselves as masters of their chosen field of study...these boys is showin their ph'd's with this one...coverin a broad spectrum of ideas, from some ol' sof' shoe ballads, to some ol' fasioned bop, to flat out ridiculous...
you pride yourself on bein a jazz purist or dont even like jazz, jus bored and lookin for somethin to do until your serena williams calender stops downloading?
doesnt matter...
sooner or later this is gonna be somethin you didnt e'en know you needed in your collection...but it is...quit playin around...

With all due respect to the other 8 reviewers, I can't listen to this CD
because the 2 trumpets are out of tune. I am a musician who will never reach the heights of Diz or Roy but.... they should have tuned up better!