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Dizzy Gillespie – Professor Bop (1995)

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Dizzy Gillespie – Professor Bop (1995)


01.	Blue’n’Boogie
02.	Grovin’ High
03.	All The Things You Are
04.	Dizzy Atmoshere
05.	Hot Mouse
06.	Our Delight
07.	Good Dues Blues
08.	Ray’s Idea
09.	Things To Come
10.	Emanom
11.	Blue And Sentimental
12.	When It’s Sleepy Time Down South
13.	Blue Moon
14.	Night And Day
15.	The Man I Love
16.	Sweet And Lovely
17.	My Old Flame
18.	The Very Thought Of You
19.	Pennies From Heaven
20.	Jealousy

Dizzy Gillespie - Trumpet
Abrams - Sax (Tenor)
Taswell Baird - Trombone
Gabriel Beauvais - Viola
Joe Benjamin - Bass
John Brown - Sax (Alto)
Ray Brown - Bass
Dave Burns - Trumpet
Don Byas - Sax (Tenor)
Scoops Carey - Sax (Alto)
Big Sid Catlett - Drums
Bill Clark - Drums
Kenny Clarke - Drums
Cozy Cole - Drums
Talib Dawud - Trumpet
Kenny Dorham - Trumpet
Bill Frazier - Sax (Tenor)
Dexter Gordon - Sax (Tenor)
Charles "Majeed" Greenlee - Trombone
Lou Hackney - Bass
Al Haig - Piano
Joe Harris - Drums
Clyde Hart - Piano
Milt Jackson - Piano, Vibraphone
Howard E. Johnson - Sax (Alto)
Al Jones - Drums
Irv Kluger - Drums
Wade Legge - Piano
John Lewis - Piano
Leon Locatelli - Violin
Warren Luckey 	- Sax (Tenor)
John Lynch - Trumpet
Matthew McKay - Trumpet
James Moody - Sax (Tenor)
Al Moore - Trombone
Alton Moore - Trumpet
Pee Wee Moore - Sax (Baritone)
Raymond Orr - Trumpet
Remo Palmieri - Guitar
Frank Paparelli 	- Piano
Charlie Parker - Sax (Alto)
Leo Parker - Sax (Baritone)
Alice Roberts - Vocals
Arnold Ross - Piano
Curly Russell - Bass
Murray Shipinski - Bass
Art Simmons - Piano
Slam Stewart - Bass
Sonny Stitt - Sax (Alto)
Gordon Thomas - Trombone
Benny Vasseur 	- Trombone
Chuck Wayne - Guitar
Elmon Wright - Trumpet

 

Possibilities for collecting Dizzy Gillespie material are as varied as harmonic inversions on a set of bebop choruses. These 20 tracks first showed up in this sequence circa 1994 as a release on the Atlantis label. The French Le Jazz imprint did a repackaging variation the following year, then again as the '90s came to a close and the legend of the man with the bent horn passed into another century. The original label perhaps sinking into the ocean, another firm calling itself Recall came up with a 2002 expansion, this time titled Professor Bebop and consisting of two discs, 45 tracks, and expanded portions of Gillespie silliness such as the carnivorous "Hey Pete! Let's Eat More Meat." In both cases the program sticks to material recorded between the mid-'40s and early-'50s, meaning that many of the popular compositions that show up in bebop fake books are unveiled in their full glory. The trumpeter's prominence in this "Dizzy Atmosphere" of progressive creativity earned him the "professor" nickname, also exploited on other available compilations with confusingly similar names such as Bebop Professor. In all cases the producer is faced with a similar juggling act, the balls in the air being Gillespie's mind-blowing relationship with alto saxophonist Charlie Parker, his ambitious attempts at large ensembles including a '40s orchestra, and his stage persona as a goofball and associated theme songs.

Some listeners may find the latter kind of material as far from the glories of "Groovin' High" as Gillespie's South Carolina birthplace is from southern Borneo. The trimmer Atlantis program tends to stick to more substantial material, including music recorded during one of Gillespie's first big band escapades. In slightly less than an hour he tangles with a half-dozen bass players alone, one of whom sings along with his arco solos as if munching on a horsefly. On drums there are legends of both the swing and bebop styles as well as relatively unknown journeymen. Tadd Dameron and Gil Fuller are among the fine arrangers Gillespie brought in to assist in managing the nearly 100 different musicians lucky and skilled enough to have been involved in these tracks. The first six solid bopping blasts are a curtain opening on a Shakespeare play; Dameron bounces his theme "Our Delight" until it becomes just that. A taste of Fuller's concoctions ensues, the leader's at times frantic horn figures sent to rescue a damsel from the mouth of a carnivorous beast half trombone, half baritone sax. Like a melodrama with a flabby last reel, the second half of the program flounders in comparison due to a reliance on Tin Pan Alley interpretations, even considering the habit both sidemen and leader have of tossing off short inventions with the intricacy of an evening raga. Even when based on similar chord changes, the new themes concocted by bebop henchmen were detached from mushy sentimentality in a way that inevitably must have made jazz seem like a threat to mankind, to some people anyway. What is essentially just aesthetic power transmits easily through any and despite too many repackagings. --- Eugene Chadbourne, Rovi

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