DIZZY GILLESPIE QUINTET - A Musical Safari
Solar Records 4569957
Dizzy Gillespie ( tpt ) Leo Wright ( alto / flute ) Lalo Schifrin ( pno ) Bob Cunningham ( bass ) Chuck Lampkin ( drs ) Joe Carroll ( vocal ) on one track
Recorded at the Monterey Jazz Festival, California, 23rd September 1961
Dizzy Gillespie was one of the great architects of the Be-Bop movement along with Charlie Parker, Thelonious Monk and many others but by the Sixties he was no longer had the influence he once had even though was still playing magnificently. There were players on the scene such as Lee Morgan, Donald Byrd and Freddie Hubbard who were major influences on younger trumpet players even though thet had in some been influenced By Dizzy Gillespie themselves.
The quintet Dizzy Gillespie is leading on this album was his regular group at the time and therefore they were well versed in the repertoire. Pianist Lalo Schifrin who was from Buenos Aires met Dizzy in Argentina and joined his group playing and touring with his group for three years. Dizzy had always had an affinity with Latin Music and admired Schifrin’s work.
The numbers on this album were part of Dizzy’s regular programme and the group is very much at ease with the material.
After an open announcement by Duke Ellington in his usal over the top manner Dizzy introduces the first number “Desafinado” which the group had already recorded on the album “Dizzy On The French Riviera”, there is a nicely played flute solo by Leo Wright and Dizzy uses his mute throughout as he does for the two opening numbers.
“Long, Long Summer” is a Lalo Schifrin composition which has an interesting theme and has powerful solos by Leo Wright on alto and Dizzy on open trumpet, the composers dynamic solo is full of twists and turns.
There is a nonsense vocal by Dizzy and Joe Carroll on ”Oo-Pop-A-Da” brings a little light relief which probably was more fun at the live performance.
The two versions of “Kush” are substantially different the first version is mostly a showcase for Leo Wright and Lalo Schifrin and the second version features much more Dizzy’s trumpet both open and muted.
“Salt Peanuts” always appears to work well for Dizzy this is straight ahead bop with everybody joining in the fun and drummer Chuck Lampkin really moves things along. This the most exciting track on the album with Dizzy’s trumpet playing gaining some of the old fire.
The bonus track recorded at a different concert was previously issued on the album “An Electrifying Evening With The Dizzy Gillespie Quintet” complete with the balance of the concert.
The title of the album does not carry any great significance but is really a peg to hang the numbers on. This album is very much a snapshot of Dizzy’s quintet of the period and is well worth a punt.
Reviewed by Roy Booth
Solar Records 4569957
Dizzy Gillespie ( tpt ) Leo Wright ( alto / flute ) Lalo Schifrin ( pno ) Bob Cunningham ( bass ) Chuck Lampkin ( drs ) Joe Carroll ( vocal ) on one track
Recorded at the Monterey Jazz Festival, California, 23rd September 1961
Dizzy Gillespie was one of the great architects of the Be-Bop movement along with Charlie Parker, Thelonious Monk and many others but by the Sixties he was no longer had the influence he once had even though was still playing magnificently. There were players on the scene such as Lee Morgan, Donald Byrd and Freddie Hubbard who were major influences on younger trumpet players even though thet had in some been influenced By Dizzy Gillespie themselves.
The quintet Dizzy Gillespie is leading on this album was his regular group at the time and therefore they were well versed in the repertoire. Pianist Lalo Schifrin who was from Buenos Aires met Dizzy in Argentina and joined his group playing and touring with his group for three years. Dizzy had always had an affinity with Latin Music and admired Schifrin’s work.
The numbers on this album were part of Dizzy’s regular programme and the group is very much at ease with the material.
After an open announcement by Duke Ellington in his usal over the top manner Dizzy introduces the first number “Desafinado” which the group had already recorded on the album “Dizzy On The French Riviera”, there is a nicely played flute solo by Leo Wright and Dizzy uses his mute throughout as he does for the two opening numbers.
“Long, Long Summer” is a Lalo Schifrin composition which has an interesting theme and has powerful solos by Leo Wright on alto and Dizzy on open trumpet, the composers dynamic solo is full of twists and turns.
There is a nonsense vocal by Dizzy and Joe Carroll on ”Oo-Pop-A-Da” brings a little light relief which probably was more fun at the live performance.
The two versions of “Kush” are substantially different the first version is mostly a showcase for Leo Wright and Lalo Schifrin and the second version features much more Dizzy’s trumpet both open and muted.
“Salt Peanuts” always appears to work well for Dizzy this is straight ahead bop with everybody joining in the fun and drummer Chuck Lampkin really moves things along. This the most exciting track on the album with Dizzy’s trumpet playing gaining some of the old fire.
The bonus track recorded at a different concert was previously issued on the album “An Electrifying Evening With The Dizzy Gillespie Quintet” complete with the balance of the concert.
The title of the album does not carry any great significance but is really a peg to hang the numbers on. This album is very much a snapshot of Dizzy’s quintet of the period and is well worth a punt.
Reviewed by Roy Booth
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