1. Billie’s Bounce
2. Bebop
3. Ornithology
4. Anthropology
5. Oo Pa Pa Da
6. The Diamond Jubilee Blues
7. The Theme
Dizzy Gillespie – Trumpet, rhythm stick, vocals
Danilo Perez – Piano
George Mraz – Bass
Lewis Nash – Drums (tracks 2-7)
Kenny Washington – Drums (track 1)
Benny Golson, David Sanchez – Tenor saxes
(track 1)
Clifford Jordan – Tenor sax (tracks 2, 3)
Antonio Hart – Alto sax (tracks 2, 3)
Paquito D’Rivera, Jackie McLean – Alto saxes
(tracks 4-7)
Bobby McFerrin – Vocals (track 5)
Dizzy Gillespie’s 75th
birthday was celebrated in January 1992 at
the Blue Note club in New York with an all-star
line-up. They performed tunes associated with
the bebop era, in which Gillespie played such
a vital role. Despite his years, Dizzy showed
on the opening Billie’s Bounce that
he could still play interesting solos, with
a tone which had mellowed over the years –
although he could still hit those high notes
that make your eyes water. On this track,
two tenorists flanked him – Benny Golson in
powerful mode and the much younger David Sanchez,
displaying the influence of John Coltrane.
This is followed by the frantic
and demanding Bebop, with Clifford
Jordan exploring the tenor sax from top to
bottom, Antonio Hart wailing on the alto,
and Dizzy playing mainly close to his chest
although with occasional outbursts. Here and
elsewhere, the rhythm section keeps the cooker
burning with gas. The tempo eases somewhat
for Ornithology, where the whole front
line plays restrained solos which are nevertheless
eloquent.
Anthropology pumps
up the speed again, with a rather ragged theme
statement followed by assured solos from Paquito
D’Rivera (high up on the alto), Gillespie
in cheeky mood, and Jackie McLean making his
alto sounding almost as reedy as an oboe.
Bobby McFerrin comes on stage to match Dizzy
in vocal gymnastics on Oo Pa Pa Da,
followed by a masterly clarinet solo from
Paquito D’Rivera which unexpectedly goes into
half-time for a chorus – a practice followed
by subsequent soloists. Jackie McLean’s solo
echoes Charlie Parker’s style, while Dizzy
has hints of Latin-American rhythms in his
daringly dexterous solo before reprising his
eccentric vocals.
After five long tracks (none
less than ten minutes), the CD closes with
the short Diamond Jubilee Blues (more
jokey Gillespie vocals) and the traditional
closer The Theme. The recording quality
is OK for a concert session, although Dizzy’s
vocals at the end of Oo Pa Pa Da come
through very faintly. At any rate, it sounds
like a good time was had by all, and listeners
can easily join in the fun by obtaining this
mid-price album.
Tony Augarde
CD Reviews
Telarc CD 83316
