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Sonothèque/Jazz/Dizzy Gillespie/The Ebullient Mr Gillespie



  Dizzy Gillespie - The Ebullient Mr. Gillespie
Track Title Year Length Comment Mode Codec Bitrate Size
01 Swing Low Sweet Cadillac 1959 07:09
Stereo Vorbis 278 14,28 MB
02 Always 1959 05:36
Stereo Vorbis 260 10,48 MB
03 Willow Weep for Me 1959 07:22
Stereo Vorbis 249 13,15 MB
04 Oo-Shoo-Be-Doo-Be 1959 03:25
Stereo Vorbis 238 5,87 MB
06 Girl of My Dreams 1959 07:40
Stereo Vorbis 263 14,50 MB
07 Constantinople 1959 07:03
Stereo Vorbis 253 12,81 MB
08 The Umbrella Man 1959 02:40
Stereo Vorbis 261 5,04 MB
  7 file(s) Length: 00:40:55 Size: 76,13 MB

The Ebullient Mr. Gillespie is a studio album by trumpeter Dizzy Gillespie
Recorded in New York City, February 17, 18 & 20, 1959 - Length: 44:54 - Label: Verve MGV 8328 - Producer: Norman Granz

Track listing All compositions by Dizzy Gillespie except as indicated:

  1. "Swing Low, Sweet Cadillac" - 7:06
  2. "Always" (Irving Berlin) - 5:34
  3. "Willow Weep for Me" (Ann Ronell) - 7:20
  4. "Ungawa" (Gillespie, Oswaldo Nuñez) - 3:19
  5. "Lorraine" - 4:14
  6. "Girl of My Dreams" (Sunny Clapp) - 7:41
  7. "Constantinople" - 7:00
  8. "Umbrella Man" (Vincent Rose, Larry Stock, James Cavanaugh) - 2:40


Personnel:

  • Dizzy Gillespie - trumpet, vocals
  • Junior Mance - piano
  • Les Spann - guitar, flute
  • Sam Jones - bass
  • Lex Humphries - drums
  • Carlos "Patato" Valdes - congas


Liner notes:

In reviewing a London performance of the Newport Jazz Festival troupe in a September New Statesman, Francis Newton referred to the fact that Dizzy Gillespie plays “with effortless technical command and musical intelligence... He played everybody else in the program under the table with contemptuous case. I rather think that he is a great man” And Whitney Balliett, in an extended review of several Gillespie recordings in The New Yorker, described Dizzy as “an extraordinary innovator who remains one of the handful of supreme jazz soloists.”

Balliett lamented, however, that Dizzy seems “'to have quickly been put to pasture" in recent years, presumably in so far as the writers on jazz are concerned. Yet his own, Newton and Ralph Gleason's continuing encomiums would seem to indicate the balance is changing. Dizzy himself is as active on the club and concert trails as ever. He “keeps up with everything that happens,” as he puts it, and s far from complacent about his own work. Underneath the frequent satiric comedy is a serious musician, serious in the sense that he is conscious and of his place in jazz and has no intention of putting himself “out to pasture.”

This program, recorded in New York in February, 1959 with the combo he was then leading is a representative cross-section of a set with Dizzy in a club. There's some clowning and also a considerable amount of first-rate playing by a musician who has matured strongly both in technique and in the way he now uses that technique.

Dizzy has been doing Swing Low, Sweet Cadillac for years, “At first,” he said, “I figured they'd give me a new Cadillac. You know, the way products are plugged in movies. But they never did.” This version begins with exuberant, if thoroughly fanciful chanting by Dizzy —and answers from the band — that an unsuspecting ‘scholar might regard as a full-fledged return of the “original call-and-response patterns to jazz" If the parody intentions of the first part aren't clear, Junior Mance's brief piano interlude before the piece proper starts should remove all doubts. Note, by the way, in the middle of these antics, how relaxed and powerfully swinging Dizzy's solo is.

The date as a whole is regarded by Dizzy as one of the most tension-free he's had in a long time. “We'd been doing these numbers in clubs for some time, and we weren't trying for anything way out just because it was a record date. I don’t like this business of going into a studio with all new music. It just doesn't come off. You don't have time to squat on it.”

Always is further evidence of how much at case the combo, and especially Dizzy, was in the studio. Unlike many younger men who have been decisively influenced by him, Dizzy can play imaginatively melodic horn at this kind of ambling, medium tempo, and when he does unleash a swift run of notes, as occasionally here, they're in place, and are not just juggling demonstrations.

Willow Weep for Me is mainly Junior Mance's, It begins as a series of warmly romance Reflections but becomes more and more blues-inflected until Junior has turned the ballad into a stomper. It was his work at this date, incidentally, that led to Norman Granz' decision to give Junior his first album under his own name, Junior (Verve MG V-8319). Junior, thirty-one, is among those relatively young modernists whose predilection for bringing blues feeling into much of what he plays sounds as if it's based on more than “modern funk.” Junior explained to the British Melody Maker that at the time he started in Chicago, “everybody listened to the blues singers and I am still very partial to the music.”!

Ungawa was written by Dizzy and Oswaldo Nuñes whom Dizzy met when his big band played Rio de Janeiro as part of its South American tour for the State Department in 1956. It's an airy blending of Latin-American rhythms and jazz, getting the Latin-American emphasis across without grunting.

Lorraine is named for Dizzy's wife and also has echoes of Dizzy's South American journey, Dizzy's playing contains a gentle, reflective quality that some listeners tend to forget can be as characteristic of him as his more virtuosic bursts of blazing exuberance. It's an unusually attractive theme and makes this listener wish that Dizzy would try other lyrical originals.

Girl of My Dreams and Constantinople, a blues, seem to me 1o best illustrate the relaxation that Dizzy emphasizes in discussing this date. Both arc among the more mellow modern small combo performances in some time with Dizzy, as throughout the album, giving an advanced lecture on the art of developing rhythmic patterns and then filling them in and executing them as a whole with such accurate placement as to create a swinging pulsation that is among the most exhilarating in jazz history. It shouldn't be forgotten that Dizzy is one of the swingers in jazz. Note too how confidently the rest of the band falls into the groove on both numbers, leading to a satisfying integration of collective feeling and beat.

Umbrella Man has been part of the more music hall section of Dizzy's repertory for some time. Here too, listen to the beat Dizzy generates — in singing as well as playing. The sidemen on this session, except for Junior, have since scattered. Les Spann went with the Quincy Jones big band; Sam Jones joined the new Cannonball Adderley unit; and Lex Humphries has been playing around Philadelphia.

The point this album makes clear is that Dizzy, like all jazzmen who have anything to say, reflects all the qualities of his personality in his music — wit, mocking good humor, emotional intensity and strength, and the knowledge that no matter what's written for or against him these days, who, alter all, is going to cut him now at what he can best do?

—Nat Hentoff


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