Customer Reviews

Swing Low Sweet Cadillac

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

 

 

Recorded live in Los Angeles over two nights at Memory Lane in 1967 this wild recording is nothing short of briliant. It sounds like everyone had a great time; both musicians and audience alike. The title track "Swing Low , Sweet Cadilac" is built around the spiritual classic and given to lighthearted humor in the typical Dizzy Gillespie manner. Accentuated by the incredible inflated cheeks that looked like a bull frog, Gilespie possesed a comical aura that was suspended and replaced with awe when he played his horn. His specially made trumpet was as unique has he was with the ability to uplift the listener in much the same manner as his familiar(to jazz buff anyway) uplifted trumpet. Beginning with the opening track, "Swing Low , Sweet Cadillac, Gillespie and his band of merry musicians cut loose with a hilarious rendition that features a call and response by sax man James Moody and Dizzy that is over a drum introduction that drives the song into eventual swinging horn interplay. Dizzy makes his calls in a fashion that sounds very Cuban or Caribbean sounding. His chants mimick the styles of Afro-Carribean rhythms while James moody responds in hilarious dead pan fashion including a "and your popa too" in response to a Dizzy "yourrrrrr-mommmmmma." The perpetually hip Dizzy ends his version with the reference to "old cadillacs never die, the finance compnay just takes them away." Although not known for his singing Dizzy gives it a try on the theme from the film "Dr. Dolittle," entitled "Something in your Smile." The song features straight vocals that are ok but Dizzy was clearly a better trumpeter. The Gillespie composition entitled "Kush" is his tribute to "Mother Africa " and opens with a long winding flute introduction by James Moody that must have been characterized by some Dizzy theatrics because the audience is laughing throughout. Soon Dizzy takes over for the nearly sixteen minute jam that features room for all members of the quintet to do their thing. Of notable recognition is the sax solos by Moody and the enchanting, spellbinding trumpet work by Gillespie in this extended version of one his most famous compostions. The audience is tricked momentarily into thinking the song is over as they erupt into applause(not the instrument recognition applause) as the song carries on with even more emotion and intensity. Overall this live recording is a glimpse into the showmanship and charcacter that was Dizzy Gillespie. A true talent that recorded his genius often, this is a part of musical history in America's own art form, jazz. A little short time wise by today's fluffed up standards but taken for what it is, it is a masterpiece that time cannot measure. Recommended for jazz afficionados old and new alike.

dizzy gillespie gets five stars for his performance on this 60s quintet live album. the african beat goes bop of the title track with its hilarious lyrics gets you in a great mood right from the start. "mas que nada" keeps up the fine playing with james moody providing a stellar solo of his own to complement dizzy's work. "bye" is a blues with dizzy handling the vocals on "something in your smile' which he takes as a tender reading-- diz could play ballads evoking the romance within. the album closes with an extended jam on "kush" that again allows both diz and moody to shine. so why only three stars? first, the program has the feel of being thrown together by a producer who just found scraps on the floor. you hear these tracks and know that there had to have been more than thirty three minutes of music worth releasing. for instance, "bye" clocks in at a whopping 1:28! granted, it was probably the theme for the end of a set, but still! there had to have been some full songs that could have been added. for live diz, i'd go with "live at newport" featuring the big band and "an electrifying evening" featuring dizzy's best quintet from the 60s.

great performance, especially Mas Que Nada. dizzy at his characteristically fun, goofy best. this is probably the dizzy album i listen to the most.

This 1 interests me while reading some bios and news 'bout him awhile back when I was 'round in elementary thru the 7th and 8th grade. And this peers to be a favorite to me from the Man himself. Y'know Mr. Dizzy Gillespie. He's always been my Main teacher, Main trumpet player, idol, inspiration, and like a Father to me in Music in other words. Truly me he's one the baddest. Y'see that. I love how he did w/ the remake of "Swing Low, Sweet Chariot" (A traditional Gospel piece which used to play at church), changed it from "Chariot" to "Cadillac" 'cuz the way it's some like it did at church. I luv that song so much. He 'specially has Jazz friend and partner Mr. James Moody (doubling on tenor and alto sax + flute), he's a Good Sax player that can anything, I mean ANYTHING. The rest of the songs are tight but "Kush" was my favorite 'cuz the African melodies and the trend w/ a live jazz-swing feel or touch to it. Know alot of ppl can recognize this. This is a Good 1 to have if u lov Diz. Rightafter, I went to hear more of his compilations and albums all the way thru and he still sounds bad to this day forward. RIP to the Master of Bebop and Jazz, John Birks "Dizzy" Gillespie (1917-1993).

I try not to purchase CD's for the sake of only 1 good song but this is an exception. Swing Low, Sweet Cadillac is a classic collaboration of Afro-Cuban rhythms and beebop vocaleze. Even a hint of Cannonball Adderly's Mercy, Mercy, Mercy melody after the intro. Quite a creative use of chant and response by a consumate artist, Mr. Gillespie along with James Moody. To be played again and again.