The damage altered the tone, and Dizzy realized that he liked the new sound. So, he commissioned the Martin Band Instrument Company of Indiana to make him a trumpet with a bent bell, and it became his signature instrument. Apart from his sound, Dizzy Gillespie's fame as a trumpeter stemmed from the fact that he was unbelievably talented at improvisation.
Improv is one of the cornerstones of jazz music, and Gillespie's style was undeniably unique. At all times he was focused on rhythm - stretching it, bending it, and pushing it to the limits of what was possible in jazz music. Now, just so we're all on the same page, improv is when a musician makes up the melody on the spot, all while staying in key, meeting the chord changes of the rest of the band, and maintaining the tempo.
Dizzy Gillespie was one of the fastest improv musicians in jazz, inventing melodies that ran up and down and all over the place, all at a tempo many musicians simply avoided. And it wasn't just mindless chord progressions that he was playing; a Gillespie improvisation had personality. It was happy or sad, suspenseful or comedic, with unexpected pauses and complex rhythms. Now, we know that Dizzy Gillespie was a jazz musician, but there are several kinds of jazz music.
The style we most often associate with Dizzy is bebop , a fast-tempo jazz style with melodies and solos that often seemed unrelated but were actually connected. Bebop was just emerging in the s, and Gillespie was one of the key figures in popularizing it. This wasn't easy to do. At the time, the most popular styles of jazz music were all focused on dancing.
Swing, especially, was very popular because people could dance to it. But you can't dance to bebop. It's too fast, too erratic, too improvised. This was a change in what people expected out of jazz music. Between his complex solos and his pleasant, likeable personality, Dizzy Gillespie was one of the main reasons that bebop grew as a respected and popular style of jazz music. In particular, his album Shaw 'Nuff , which featured major hits like 'Groovin' High' today considered a classic , shocked the jazz community enough to make them start taking bebop seriously.
But bebop was not the limit of Dizzy Gillespie's talents. Dizzy was also heavily involved in the musical style of Afro-Cuban jazz , a variation of Latin jazz based on traditional Afro-Cuban rhythms that were entering the United States in the s. Now, jazz music has always been based on African musical traditions, but up until the s, this mostly meant African-American music. As more Afro-Cubans moved to New York, the sounds and rhythms of the Caribbean came with them, bringing music that fused Spanish, Latin, and African elements into a lively mixture.
Gillespie was attracted to the sounds, instruments and rhythms of Afro-Cuban jazz and soon was a major composer and performer of the genre. Although Afro-Cuban jazz was related to bebop through the upbeat tempos and complex melodies, it was also very different. Gillespie was a trumpet virtuoso and improviser , building on the virtuoso style of Roy Eldridge  but adding layers of harmonic and rhythmic complexity previously unheard in jazz.
His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, his scat singing , his bent horn, pouched cheeks, and his light-hearted personality provided some of bebop's most prominent symbols.
In the s Gillespie, with Charlie Parker , became a major figure in the development of bebop and modern jazz. Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge.
One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of Miles Davis and Fats Navarro instead, and it was not until Jon Faddis 's emergence in the s that Dizzy's style was successfully recreated [ Gillespie started to play the piano at the age of four. He taught himself how to play the trombone as well as the trumpet by the age of twelve. From the night he heard his idol, Roy Eldridge , on the radio, he dreamed of becoming a jazz musician.
He won a music scholarship to the Laurinburg Institute in North Carolina which he attended for two years before accompanying his family when they moved to Philadelphia in Gillespie's first professional job was with the Frank Fairfax Orchestra in , after which he joined the respective orchestras of Edgar Hayes and later Teddy Hill , replacing Frankie Newton as second trumpet in May In August while gigging with Hayes in Washington D.
Willis was not immediately friendly but Gillespie was attracted anyway. The two married on May 9, Gillespie stayed with Teddy Hill's band for a year, then left and freelanced with other bands. After an altercation between the two, Calloway fired Gillespie in late Calloway disapproved of Gillespie's mischievous humor and his adventuresome approach to soloing.
According to Jones, Calloway referred to it as "Chinese music". During rehearsal, someone in the band threw a spitball. Already in a foul mood, Calloway blamed Gillespie, who refused to take the blame. Gillespie stabbed Calloway in the leg with a knife. Calloway had minor cuts on the thigh and wrist. After the two were separated, Calloway fired Gillespie.
A few days later, Gillespie tried to apologize to Calloway, but he was dismissed. Gillespie did not serve in World War II. At his Selective Service interview, he told the local board, "in this stage of my life here in the United States whose foot has been in my ass? Composer Gunther Schuller said,. In I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Gillespie runs in the trumpet section work.
Two years later I read that that was 'bop' and the beginning of modern jazz Gillespie said of the Hines band, "[p]eople talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here Gillespie joined the big band of Hines' long-time collaborator Billy Eckstine , and it was as a member of Eckstine's band that he was reunited with Charlie Parker , a fellow member.
In , Gillespie left Eckstine's band because he wanted to play with a small combo. A "small combo" typically comprised no more than five musicians, playing the trumpet, saxophone, piano, bass and drums. Although Diz was 72 at the time, he blows his trumpet with great passion and invention. The electrifying interplay between trumpet master and disciple on "And Then She Stopped" should be heard by anyone with a love for the instrument. There are many other highlights throughout the set as well.
Steve Turre conjures up exotic sounds from the shells on a virtuoso performance of his own "Dizzy Shells. A long but not overlong version of "Night In Tunisia" closes out the set with Dizzy leading the orchestra through diverse changes in rhythm, wonderful solo spotlights and maybe a little too much playfulness. And in that respect, it succeeds triumphantly. What did Thelonious Monk play and what was so unique about his:.
Play : Unorthodox melodies, challenging chord progressions in improv, logical and symmetric, concise, most original, clashing tones Person : Unconventional, odd personality. Name two artists and records that established the new style of cool jazz.
When did cool jazz begin and Miles Davis record came out from this period that has gone on to become the biggest selling jazz record of all time? Who was the famous alto saxophonist in the Dave Brubeck Quartet and what famous jazz tune did he write? In general terms, what type of sounds did cool jazz players use? What unusual instruments are found on some of the cool jazz recordings? What swing era musicians influenced cool jazz styles.
What region of the country are many cool jazz artists associated with? What recording is often associated with the start of cool jazz.
Absolut empfehlenswert! Ein Kompendium von Uwe Ladwig 4. Uwe Ladwig hat die 4. Der Hauptteil des Buchs dekliniert dann die verschiedenen Hersteller durch. Neben kurzen Firmengeschichten klassifiziert er dabei die produzierten Instrumente und liefert zugleich einen Seriennummernkatalog, anhand dessen sich Instrumente datieren lassen.
Zum Schluss gibt er noch Tipps zur Mikrophonierung von Saxophonen. Neben all dem Wissen, das Ladwig in die Seiten packt, liest man sich dabei immer wieder an kuriosen Aspekten von Firmen- oder Baugeschichten fest. The speakers have been chosen; here is an overview of the papers. Jazz used to be a predominantly male music. Not only were most of the musicians male, but its aesthetics and social environment was dominated by male ideals and male players as well.
Strong female instrumental voices, for instance, or musicians with a LGBT background were marginalized both by the media and by the jazz scene, seen as an exception or celebrated as a fig-leaf for the alleged openness of the music. And yet our identity which we acquired in our respective environments are highly influential on how we express our creativity, how we think about art and music, which associations we may have with specific genres if not even with specific sounds.
How, then, is our identity forming our understanding of jazz? And if so, where exactly do its male attributes come from? Is some kind of emphasis on masculinity in the African-American community one of the reasons for the stereotype of jazz as a male art form? How can such an attitude be described — and how does it translate into other cultures? Are there musical qualities which are determined through identity if not through gender?
We know about and acknowledge gender-typical approaches and methods of problem-solving in many other fields; can we identify such in music? Do men play more aggressively, are women more anxious to reach a consensus?
What is the difference between the self-view and the independent view of this topic? At our 14th Darmstadt Jazzforum we plan to look at different views on this complex field of topics.
We will focus on three thematic blocks. The view of jazz musicians and their art may be distorted if we reduce them to any parts of their identity, be it their gender, their sexual orientation, their ethnicity, or anything else.
At the 14th Darmstadt Jazzforum we hope to contribute to a discourse which is and remains important in our changing modern world. Please find Darmstadt Jazzforum on Facebook. The We are co-operating for the All papers of the 14th Darmstadt Jazzforum — except for the three presentations on the morning of 3 October — will be presented in English.
Stephanie Wagner is one of just a few jazz flutists in Germany. He supports and enriches the trio in his nuanced and creative approach. The exhibition Spontaneous. In his introductory paper, Wolfram Knauer asks about the stereotypes of identity. Knauer categorizes musical features which might represent identity to the listener and reflects both upon the explicit and implicit vocabulary jazz musicians have at their disposal to frame identity. Wolfram Knauer is a musicologist and the director of the Jazzinstitut Darmstadt since its inception in He has written and edited more than 14 books on jazz and serves on the board of editors for the scholarly journal Jazz Perspectives.
His most recent books are critical biographies of the trumpeter Louis Armstrong and the saxophonist Charlie Parker Mario Dunkel argues that rather than revising the largely masculinist and sexist representations of eroticism in early texts on jazz, jazz writers of the s and s sought to legitimize jazz by entirely denying its erotic appeal.
Besides leading to a largely de-eroticized jazz tradition, their de-sexualization of jazz continues to complicate attempts to re-inscribe eroticism into the jazz tradition. His current research interests include the practice and repercussions of transnational music diplomacy as well as the conceptualization and performance of music history in Europe and the U. Katherine Williams looks at the British saxophonists Kathy Stobart and Trish Clowes to explore how they, representing different generations in jazz history, negotiated their path through the traditionally male jazz environment.
She draws upon existing jazz literature and original interviews to explore the challenges and rewards of their gendered and musical environments, offering a reworked narrative of the female role in jazz history.
Her research specialisms are jazz, gender, popular music, digital cultures, and music and geography, and she has published in many of these fields.
Her first monograph Rufus Wainwright , is forthcoming with Equinox in spring , and she is editor and contributor to the Cambridge Companion to the Singer-Songwriter also forthcoming Katherine is an active saxophonist, and practices in the idioms of jazz, classical and new music.
Monika Bloss asks how the thinking about women in jazz is being shaped by its coverage through the media. She takes the example of four female musicians, Hazel Scott, Diana Krall, Maria Baptist and Esperanza Spalding, and discusses the way their public representation is shaped by subtle forms of discrimination through both words and photos.
She also discusses what actions female musicians can take to change the way in which they are being portrayed by the mainstream or the specialized jazz press. Monika Bloss has published extensively about pop music and gender. Michael Kahr focuses on the pianist and composer Clare Fischer who has developed a highly individual style characterized by voice-leading and chromaticism. That Old Black Magic. Dizzier and Dizzier.
Jump Di-Le-Ba. Hey Pete! Let's Eat More Meat. Jumpin' With Symphony Sid. Lester Young.View credits, reviews, tracks and shop for the Vinyl release of Vol. 1 () "When Be-Bop Met The Big Band" on Discogs/5(2).