1. Dizzy Gillespie
By: Alex Altmann

2. Early Years Born in South Carolina in the fall of 1917
Father was a bandleader in local bands
Began to play trombone but arms were to short
Settled for trumpet instead
Dizzy’s given name is John Birks, and he was born in South Carolina in the fall of During his childhood, his father was a bandleader and music was very much a part of his life. He originally tried to pick up playing the trombone, but because of his short arms he was unable to play well. Therefore, he switched over to another instrument within the brass family, the trumpet.

3. Early Years Originally self taught
Attributes a majority of his musical foundations to Alice Wilson, one of his music teachers.
Credits religious services for musical foundations as well.
Although he originally taught himself how to play, he attributes much of his foundations in music to Alice Wilson one of his early music teachers in school, and church services he attended growing up.

4. Early Years
In 1933 he received a scholarship to the Laurinburg Institute spending two years studying:
Musical Theory
Harmony
In 1935 he moved to Philadelphia to be reunited with his family after two years at school.
At the Laurinburg Institute he spent most of his time learning musical theory and harmony. Two years after receiving his scholarship, he reunited with his family that since moved north to Philadelphia.

5. New Beginnings
Upon arrival in Philadelphia Dizzy began playing with local bands.
Finally settled in with band led by Frankie Fairfax
This is where he earned his nickname (Dizzy) due to his on stage antics.
Played with Fairfax’s band until 1937
He started playing with local bands and finally settled in with a band led by Frankie Fairfax. There was the spot where Dizzy earned his nickname, which was given to him because of his highly comedic antics that later became unappreciated by Jazz intellectuals because of its alleged degradation of the music.

6. Early Influences Roy Eldridge was one of Dizzy’s greatest influences.
Dizzy learned Eldridge’s style through the studying of his music from:
Radio Broadcasts
Records
In 1937 Dizzy replaced his idol in Teddy Hill’s band.
. Roy Eldrige was one of Gillespie’s strongest influences; Gillespie learned his songs and style from broadcasts and records. Ironically enough in 1937 Gillespie managed to replace his coveted idol Roy Eldrige in a band led by Teddy Hill.

7. Teddy Hill’s Band
Dizzy’s first recording debut came with his time spent with Hill’s rendition of King Porter Stomp.
Band toured throughout Europe
Upon returning stateside, Dizzy began playing freelance for a year or so.
During his time with Teddy Dizzy made his first recording debut with Hill’s rendition of “King Porter Stomp”. Dizzy spent a short period of time with the band, during which they managed to tour some of Europe. Upon return stateside Dizzy spent around a year playing freelance until he landed a position within Cab Calloway’s Big Band in 1939.

8. Cab Calloway’s Big Band
Joined Cab Calloway’s big band after a year of playing freelance
During this time Dizzy grew out from beneath Eldridge’s shadow and started to become an artist all his own.
The first piece that really set him apart was Pickin’ The Cabbage in 1940
Composed with Mario Bauz, and was a terrific combination of jazz with a hint of Latin influence, also known as “Afro-Cuban” .
Upon return stateside Dizzy spent around a year playing freelance until he landed a position within Cab Calloway’s Big Band in During the time he spent in Calloway’s Big Band Dizzy began to emerge from under Eldrige’s shadow and become an artist all of his own. His first piece that really set him apart was with “Pickin’ The Cabbage” in The piece, composed by Dizzy and his section mate Mario Bauz was a terrific combination of jazz with a hint of Latin influence, also known as “Afro-Cuban”.

9. Cab Calloway’s Big Band
1940 not only was a great year for Dizzy’s music, but for his personal life as well.
He met his wife Lorraine, whom was a chorus girl at the time, and married her.
The two stayed together for 53 years!
1940 was also the year Dizzy married his wife of 53 years, Lorraine, who was a chorus girl at the time. After spending only a few years in Calloway’s band, Dizzy’s temper got the best of him and he stabbed Calloway on stage, and thus, was removed from the band.

10. Earl Hine’s Big Band
After spending only a few short years with Calloway’s band, Dizzy’s temper got the best of him
He stabbed the bandleader while onstage and got removed from the band.
In 1943 he met up with Charlie Parker in Earl Hine’s big band.
This was the perfect canvas for the two independent artists to combine their separate projects and make musical history
After spending only a few years in Calloway’s band, Dizzy’s temper got the best of him and he stabbed Calloway on stage, and thus, was removed from the band. In 1943 Dizzy was finally touring with the other half of the Bebop mastermind team, Charlie Parker. Earl Hine’s big band was the canvas as to which the two put their separate musical ideals together to create magic.

11. Quintet
Charlie Parker and Dizzy broke off from Earl Hine’s big band and formed a quintet.
Some creations of the quintet were:
Bebop
A night in Tunisia
Even though there was some great music created, the band broke up after a short while due to Charlie Parker’s drug addictions.
The two went on to form a quintet which while it was together captivated audiences. However, the band did not last long due to Charlie Parker’s drug addictions. In light of its short lifespan there is an upside, some great music was created, such pieces as “bebop” and “a night in Tunisia” were products of the band.

12. Dizzy’s Big Band
After the quintet broke up, Dizzy went on to form his own big band
The band lasted only four short years
Although record companies were pushing Bebop mainstream, it lacked following to become cool
Unfortunately in 1950 Dizzy was forced to close the doors on yet another one of his projects
After the bands dismemberment, Dizzy went on to form his own Big Band which had another relatively short run of four years. Even though record companies were pushing to make Bebop cool, there was not a lot of mainstream success. In 1950 Dizzy was forced to put an end to yet another of his bands, this time due to financial struggle.

13. The Final Years
In 1956 Dizzy was sanctioned by the State Department to lead an orchestra overseas
This lasted until 1958
After that, he stuck with heading small groups throughout the 1960’s
He had been a staple at Jazz festivals throughout the 1970’s
1956 was the year that Dizzy was sanctioned by the state department to lead an orchestra overseas; this operation only lasted a mere 2 years. Afterwards, he stuck with heading small groups throughout the 60’s and was a staple at Jazz festivals throughout the 1970’s.

14. The Final Years The 1980’s signified the decline of Dizzy’s career
His playing began to deteriorate and his works became very erratic.
In spite of his decline in playing ability, he remained teaching and spent most of this time traveling the world.
In the last few years of his life, he was the leader of the United Nation Orchestra
The 1980’s were the decline of Dizzy’s musical career. His playing began to deteriorate, and his works were very erratic throughout this time period. Even though his musical talents were in decline, he was able to teach and travel the world. As a matter of fact, he was the leader of the United Nation Orchestra for the last few years of his life.

15. Fun Facts
In 1953 someone accidentally sat on Dizzy’s trumpet and bent the bell up at a 45 degree angle.
After playing with it for a while, he decided it produced a better sound and allowed him to read music better.
From then on out he requested all of his instruments to be fashioned similarly.
One of the most interesting things about Dizzy was the shape of his trumpet. In 1953 someone accidentally sat on his trumpet and bent the bell upwards at about a 45 degree angle. After testing out his “damaged” trumpet for a little while, Dizzy discovered he actually preferred the new setup of his instrument. He felt it produced a better sound and was easier to read line music with the bell up and out of the way. He continued playing with the trumpet set up that way, and even requested all trumpets thereafter to be fashioned the same way.

16. Fun Facts
Another fun fact about Dizzy is that he’s an accomplished ambassador as well:
“In 1956 he led an orchestra on two international tours as cultural missions for the U.S. State Department. He was featured at the White House jazz party hosted by President Carter in 1979, and he received numerous official honors from the U.S. and European governments.”(University of Virginia)
Some other interesting things to be said about Dizzy Gillespie is that he was accomplished ambassador as well:
“In 1956 he led an orchestra on two international tours as cultural missions for the U.S. State Department. He was featured at the White House jazz party hosted by President Carter in 1979, and he received numerous official honors from the U.S. and European governments.”(University of Virginia)

17. Closing Thoughts
Dizzy was a phenomenally talented musician and teacher
He lived a full and eventful life
Participated in government, teaching, and jazz festivals
I’m certainly glad I chose him for this project!
Overall, Dizzy had led a very extraordinary life. His life was filled with numerous ups and downs, along with this opportunity to play alongside of some of the greatest musicians of his time. It seems that he, along with a majority of the most successful people in any given discipline, did it for the love of the music, not for money or fame. This can be seen in his activities with the government, and his teachings to younger generations up until his end of the road. Overall, I’m certainly glad that I chose someone that I knew little to nothing about, that plays in a genre I’m not particularly familiar with. I feel that it’s given me the opportunity to expand my horizons and deepen my knowledge of music.

18. Listening Guide A Night in Tunisia One of his most famous works
Written in 1942 while with Earl Hine’s band
Though to be iconic, as well as a “jazz standard”
Since, has had lyrical adaptations
Also featured in albums across the world
To begin, the first piece I will review is a classic example of Dizzy’s big band performances. The piece is called A Night In Tunisia. This is one of his most famous works of his career, and it was produced shortly after he began to really settle into his own personal style. This piece was originally written by Dizzy in 1942 while playing in Earl Hines’ band. Sarah Vaughan was the individual that first recorded it for the Continental label. The song has become iconic throughout the music community especially within Jazz groups, so much so, that it’s considered a “Jazz Standard”. Since its original composition, it has had lyrical adaptation and has been featured in innumerable albums across the world.

19. Listening Guide A Night in Tunisia
0:00- Song begins with melody being set with bass and piano
0:08- Percussion is introduced
0:10- Saxophone comes in
0:13- Trumpet joins
0:14- Verse 1 Begins with strong dynamics, fast rhythm
0:34- Trumpet and Saxophone solo with percussion and piano playing melody
0:46- Verse 2 Begins, same as Verse 1
0:57- Another Trumpet and Saxophone solo with percussion and piano playing melody
1:12- Trumpet breaks off solo with a hard spike in dynamics
1:58- Saxophone takes over solo from trumpet
2:27- Percussion then takes solo
2:37- Verse 3 Begins, same as others
2:47- Rhythm is slowed in verse
2:50- Rhythm slows almost to a standstill; individual instruments begin to taper off
A Night in Tunisia
0:00- Song begins with melody being set with bass and piano
0:08- Percussion is introduced
0:10- Saxophone comes in
0:13- Trumpet joins
0:14- Verse 1 Begins with strong dynamics, fast rhythm
0:34- Trumpet and Saxophone solo with percussion and piano playing melody
0:46- Verse 2 Begins, same as Verse 1
0:57- Another Trumpet and Saxophone solo with percussion and piano playing melody
1:12- Trumpet breaks off solo with a hard spike in dynamics
1:58- Saxophone takes over solo from trumpet
2:27- Percussion then takes solo
2:37- Verse 3 Begins, same as others
2:47- Rhythm is slowed in verse
2:50- Rhythm slows almost to a standstill; individual instruments begin to taper off

20. Listening Guide Salt Peanuts Yet another iconic piece
Featured on the album The Complete Jazz at Massey Hall
Original concert didn’t generate enough money to pay musicians, so they received the recording in exchange for playing.
Turned down by the label Verve, but finally produced by Debut Records
Helped Jumpstart Debut as a label as well
Salt Peanuts is yet another one of Dizzy Gillespie’s famous works. It has quite an interesting back story behind it as well. To begin with, this composition was recorded at Massey Hall in Toronto, and is featured on the album The Complete Jazz at Massey Hall. The concert was held by the New Jazz Society of Toronto; and Dizzy Gillespie, Charlie Parker, Max Roach, Charles Mingus, and Bud Powell were set to perform. The whole concert didn’t actually generate enough revenue to pay the musicians, so instead the society offered the recordings to the band as consolation. Originally the label Verve was approached to produce the given recordings; however the group’s asking price was declined. They next moved onto Debut records and surprisingly enough, Debut signed them. Debut at the time was a relatively new and small record label with the intent of helping bolster creative freedoms within the Jazz culture. Luckily, the recording at Massey Hall not only helped the group out, but helped get Debut jump started as a company. However subtle it may be, you can hear the words “salt peanuts” being chirped out in the background throughout the song, I feel it sheds a whole new light on the piece.

21. Listening Guide Salt Peanuts 0:00- Rhythm is fast set by percussion
0:09- Trumpets help set melody
0:14- Piano is introduced to melody as well
0:19- Verse 1 begins, strong dynamics
0:30- Bridge
0:36- Verse 2 begins
0:43- Bridge
0:51- Verse 3 begins, vocals ”salt peanuts” introduced
1:05- Trumpet solo
1:10- Verse 4
1:28- Piano solo, with percussion on melody
2:48- Trumpet takes over solo
4:12- Second trumpet accompanies first, brings in great dynamics, excellent timbre
4:17- Percussion comes up from melody, accompanies trumpet in solo with harmony
4:30- Percussion falls back to melody
6:06- Percussion takes over for trumpet, excellent texture, quick rhythm, lacking dynamics
6:46- Trumpet finishes out
6:52- One last hoorah with “salt peanuts” vocals
Salt Peanuts
0:00- Rhythm is fast set by percussion
0:09- Trumpets help set melody
0:14- Piano is introduced to melody as well
0:19- Verse 1 begins, strong dynamics
0:30- Bridge
0:36- Verse 2 begins
0:43- Bridge
0:51- Verse 3 begins, vocals ”salt peanuts” introduced
1:05- Trumpet solo
1:10- Verse 4
1:28- Piano solo, with percussion on melody
2:48- Trumpet takes over solo
4:12- Second trumpet accompanies first, brings in great dynamics, excellent timbre
4:17- Percussion comes up from melody, accompanies trumpet in solo with harmony
4:30- Percussion falls back to melody
6:06- Percussion takes over for trumpet, excellent texture, quick rhythm, lacking dynamics
6:46- Trumpet finishes out
6:52- One last hoorah with “salt peanuts” vocals

22. Listening Guide Manteca Produced by RCA Victor in 1947
Classic example of “Afro-Cuban” Jazz
Collaboration between Dizzy and percussionist Chano Pozo
Recorded on the world renowned steps of Carnegie Hall
The last composition I’d like to go over is Manteca, which was produced by RCA Victor in This piece is an example of the “Afro-Cuban” style of jazz. This was a collaboration between Gillespie and a percussionist from Cuba that went by the name of Chano Pozo. Not only was this a classic example of this new style of jazz that was emerging, it was recorded on the world renowned steps of Carnegie Hall. Gillespie and Pozo played alongside many others in this classic example of “Afro-Cuban” Jazz.

23. Listening Guide Manteca 0:00- Percussion and Bass setting melody
0:05- “Manteca” vocals
0:08- “Manteca” again, trumpet introduced, low dynamics, subtle texture
0:13- Second trumpet introduced, playing polyphonically
0:17- Third Trumpet introduced, different rhythm, harmony, and dynamic, while first two join in with percussion in the melody
0:30- All three combine polyphonically
0:33- Percussion solo
0:41- Verse 1, polyphony again
1:00- Saxophone comes in as bridge with trumpets with varying melodies and rhythms
1:23- Verse 2
1:37- Trombone comes in, varied texture
1:43- Almost all instruments playing varied melodies simultaneously, excellent timbre
1:55- Saxophone solo
2:13- Trumpets bridge
2:20- Trumpet solo, with two trumpets and percussion in melody
2:33- Verse 3
2:37- “Manteca” vocals
2:43- Trombone with high dynamics
2:50- Percussion still carrying melody, rhythm overall slows, bass slowly enters
3:04- Two loud beats from drum
Manteca
0:00- Percussion and Bass setting melody
0:05- “Manteca” vocals
0:08- “Manteca” again, trumpet introduced, low dynamics, subtle texture
0:13- Second trumpet introduced, playing polyphonically
0:17- Third Trumpet introduced, different rhythm, harmony, and dynamic, while first two join in with percussion in the melody
0:30- All three combine polyphonically
0:33- Percussion solo
0:41- Verse 1, polyphony again
1:00- Saxophone comes in as bridge with trumpets with varying melodies and rhythms
1:23- Verse 2
1:37- Trombone comes in, varied texture
1:43- Almost all instruments playing varied melodies simultaneously, excellent timbre
1:55- Saxophone solo
2:13- Trumpets bridge
2:20- Trumpet solo, with two trumpets and percussion in melody
2:33- Verse 3
2:37- “Manteca” vocals
2:43- Trombone with high dynamics
2:50- Percussion still carrying melody, rhythm overall slows, bass slowly enters
3:04- Two loud beats from drum

24. Reference
McElrath , K.J. "Night in Tunisia (1942)." Jazz Standards: Songs. Jazzstandards.com, Web. 27 Jun <
Bailey, C.Michael. "The Complete Jazz at Massey Hall." All About Jazz. All About Jazz, 08 Aug Web. 27 Jun <
Gioia, Ted. "DIZZY GILLESPIE: MANTECA (1947 VERSION)." Jazz.com. jazz.com, n.d. Web. 27 Jun <

25. Reference
Carter, Kenny. "Dizzy Gillespie's Trumpet at the Smithsonian." Kenny Carter's Pbase Profile. Kenny Carter, n.d. Web. 26 Jun <
"Cool Jazz and Hard Bop Artists." Jazz: Marking Time in American Culture. University of Virginia, Web. 26 Jun <
Yanow, Scott. "Biography: Dizzy Gillespie."Allmusic. Rovi Corporation, Web. 26 Jun <
Troupe, Quincy. "dizzy gillespie . american jazz musician." The Jazz and Blues Masters. Mason Editions, Web. 26 Jun <
"John Birks ( ) Trumpeter, composer, and bandleader." Biographies:The life and times of the great ones. Oxford University Press, n.d. Web. 26 Jun <
Lomanno, Mark. "Gillespie, Dizzy (John Birks)."ENCYCLOPEDIA OF JAZZ MUSICIANS. jazz.com, Web. 26 Jun <

26. Reference