Dizzy Gillespie

John Birks "Dizzy" Gillespie (/ɡɪˈlɛspi/; October 21,

1917 – January 6, 1993) was an American jazz trumpeter,
Dizzy Gillespie
bandleader, composer, and singer.[2] He was a trumpet
virtuoso and improviser, building on the virtuoso style of
Roy Eldridge[3] but adding layers of harmonic and
rhythmic complexity previously unheard in jazz. His
combination of musicianship, showmanship, and wit
made him a leading popularizer of the new music called
bebop. His beret and horn-rimmed spectacles, his scat
singing, his bent horn, pouched cheeks, and his light-
hearted personality provided some of bebop's most
prominent symbols.[2]
Gillespie in concert, Deauville, Normandy,
In the 1940s Gillespie, with Charlie Parker, became a
France, July 1991
major figure in the development of bebop and modern
jazz.[4] He taught and influenced many other musicians, Background information
including trumpeters Miles Davis, Jon Faddis, Fats Birth name John Birks Gillespie
Navarro, Clifford Brown, Arturo Sandoval, Lee
Born October 21, 1917
Morgan,[5] Chuck Mangione,[6] and balladeer Johnny
Cheraw, South Carolina, U.S.
Hartman.[7]
Died January 6, 1993 (aged 75)
Scott Yanow wrote, "Dizzy Gillespie's contributions to Englewood, New Jersey
jazz were huge. One of the greatest jazz trumpeters of all
Genres Jazz · Bebop · Afro-Cuban
time, Gillespie was such a complex player that his
contemporaries ended up being similar to those of Miles jazz
Davis and Fats Navarro instead, and it was not until Jon Occupation(s) Musician · Composer
Faddis's emergence in the 1970s that Dizzy's style was
Instruments Trumpet · Piano · Vocals
successfully recreated [....] Arguably Gillespie is
remembered, by both critics and fans alike, as one of the Years active 1935–1993
greatest jazz trumpeters of all time".[8] Labels Dee Gee · Pablo · RCA Victor ·
Savoy · Verve

Spouse(s) Lorraine Willis (m. 1940)

Contents Children Jeanie Bryson[1]
Biography
Early life and career
Rise of bebop
Afro-Cuban jazz
Politics and religion
Death and postmortem
Personal life
Artistry
Style
Bent trumpet
Awards and honors
In popular culture
List of works
References
External links

Biography

Early life and career

The youngest of nine children of Lottie and James Gillespie, Dizzy Gillespie was born in Cheraw, South
Carolina.[9] His father was a local bandleader,[10] so instruments were made available to the children.
Gillespie started to play the piano at the age of four.[11] Gillespie's father died when he was only ten years
old. He taught himself how to play the trombone as well as the trumpet by the age of twelve. From the night
he heard his idol, Roy Eldridge, on the radio, he dreamed of becoming a jazz musician.[12]

He won a music scholarship to the Laurinburg Institute in North Carolina which he attended for two years
before accompanying his family when they moved to Philadelphia in 1935.[13][14]

Gillespie's first professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the
respective orchestras of Edgar Hayes and later Teddy Hill, replacing Frankie Newton as second trumpet in
May 1937. Teddy Hill's band was where Gillespie made his first recording, "King Porter Stomp". In August
1937 while gigging with Hayes in Washington D.C., Gillespie met a young dancer named Lorraine Willis
who worked a Baltimore–Philadelphia–New York City circuit which included the Apollo Theater. Willis
was not immediately friendly but Gillespie was attracted anyway. The two married on May 9, 1940.[15]

Gillespie stayed with Teddy Hill's band for a year, then left and freelanced with other bands.[5] In 1939, with
the help of Willis, Gillespie joined Cab Calloway's orchestra.[13] He recorded one of his earliest
compositions, "Pickin' the Cabbage", with Calloway in 1940. After an altercation between the two,
Calloway fired Gillespie in late 1941. The incident is recounted by Gillespie and Calloway's band members
Milt Hinton and Jonah Jones in Jean Bach's 1997 film, The Spitball Story. Calloway disapproved of
Gillespie's mischievous humor and his adventuresome approach to soloing. According to Jones, Calloway
referred to it as "Chinese music". During rehearsal, someone in the band threw a spitball. Already in a foul
mood, Calloway blamed Gillespie, who refused to take the blame. Gillespie stabbed Calloway in the leg
with a knife. Calloway had minor cuts on the thigh and wrist. After the two were separated, Calloway fired
Gillespie. A few days later, Gillespie tried to apologize to Calloway, but he was dismissed.[16]

During his time in Calloway's band, Gillespie started writing big band music for Woody Herman and Jimmy
Dorsey.[5] He then freelanced with a few bands, most notably Ella Fitzgerald's orchestra, composed of
members of the Chick Webb's band.

Gillespie did not serve in World War II. At his Selective Service interview, he told the local board, "in this
stage of my life here in the United States whose foot has been in my ass?" and "So if you put me out there
with a gun in my hand and tell me to shoot at the enemy, I'm liable to create a case of 'mistaken identity' of
who I might shoot." He was classified 4-F.[17][18] In 1943, he joined the Earl Hines band. Composer
Gunther Schuller said,
 ... In 1943 I heard the great Earl Hines band which had Bird in it and all those other great
musicians. They were playing all the flatted fifth chords and all the modern harmonies and
substitutions and Gillespie runs in the trumpet section work. Two years later I read that that was
'bop' and the beginning of modern jazz ... but the band never made recordings.[19]

Gillespie said of the Hines band, "[p]eople talk about the Hines band being 'the incubator of bop' and the
leading exponents of that music ended up in the Hines band. But people also have the erroneous impression
that the music was new. It was not. The music evolved from what went before. It was the same basic music.
The difference was in how you got from here to here to here ... naturally each age has got its own shit."[20]

Gillespie joined the big band of Hines' long-time collaborator Billy Eckstine, and it was as a member of
Eckstine's band that he was reunited with Charlie Parker, a fellow member. In 1945, Gillespie left Eckstine's
band because he wanted to play with a small combo. A "small combo" typically comprised no more than
five musicians, playing the trumpet, saxophone, piano, bass and drums.

Rise of bebop

Bebop was known as the first modern jazz style. However, it was
unpopular in the beginning and was not viewed as positively as
swing music was. Bebop was seen as an outgrowth of swing, not a
revolution. Swing introduced a diversity of new musicians in the
bebop era like Charlie Parker, Thelonious Monk, Bud Powell,
Kenny Clarke, Oscar Pettiford, and Gillespie. Through these
musicians, a new vocabulary of musical phrases was created. With
Parker, Gillespie jammed at famous jazz clubs like Minton's
Playhouse and Monroe's Uptown House. Parker's system also held
methods of adding chords to existing chord progressions and
implying additional chords within the improvised lines
Gillespie with John Lewis, Cecil Gillespie compositions like "Groovin' High", "Woody 'n' You", and
Payne, Miles Davis, and Ray Brown, "Salt Peanuts" sounded radically different, harmonically and
between 1946 and 1948 rhythmically, from the swing music popular at the time. "A Night in
Tunisia", written in 1942, while he was playing with Earl Hines'
band, is noted for having a feature that is common in today's music:
a syncopated bass line. [21] "Woody 'n' You" was recorded in a session led by Coleman Hawkins with
Gillespie as a featured sideman on February 16, 1944 (Apollo), the first formal recording of bebop. He
appeared in recordings by the Billy Eckstine band and started recording prolifically as a leader and sideman
in early 1945. He was not content to let bebop sit in a niche of small groups in small clubs. A concert by one
of his small groups in New York's Town Hall on June 22, 1945 presented bebop to a broad audience;
recordings of it were released in 2005. He started to organize big bands in late 1945. Dizzy Gillespie and his
Bebop Six, which included Parker, started an extended gig at Billy Berg's club in Los Angeles in December
1945. Reception was mixed and the band broke up. In February 1946 he signed a contract with Bluebird,
gaining the distribution power of RCA for his music. He and his big band headlined the 1946 film Jivin' in
Be-Bop.[22]

After his work with Parker, Gillespie led other small combos (including ones with Milt Jackson, John
Coltrane, Lalo Schifrin, Ray Brown, Kenny Clarke, James Moody, J.J. Johnson, and Yusef Lateef) and put
together his successful big bands starting in 1947. He and his big bands, with arrangements provided by
Tadd Dameron, Gil Fuller, and George Russell, popularized bebop and made him a symbol of the new
music.[23]
His big bands of the late 1940s also featured Cuban rumberos Chano Pozo
and Sabu Martinez, sparking interest in Afro-Cuban jazz. He appeared
frequently as a soloist with Norman Granz's Jazz at the Philharmonic.

Gillespie and his Bee Bop Orchestra was the featured star of the 4th
Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was
produced by Leon Hefflin, Sr. on September 12, 1948.[24] The young
maestro had recently returned from Europe where his music rocked the
continent. The program description noted "the musicianship, inventive
technique, and daring of this young man has created a new style, which can
be defined as off the chord solo gymnastics." Also on the program that day
were Frankie Laine, Little Miss Cornshucks, The Sweethearts of Rhythm,
The Honeydrippers, Big Joe Turner, Jimmy Witherspoon, The Blenders, and
The Sensations.[25] Gillespie performing in 1955

In 1948, Gillespie was involved in a traffic accident when the bicycle he was
riding was bumped by an automobile. He was slightly injured and found that
he could no longer hit the B-flat above high C. He won the case, but the jury awarded him only $1000 in
view of his high earnings up to that point.[26]

In 1951, Gillespie founded his record label, Dee Gee Records; it closed in 1953.[27]

On January 6, 1953, he threw a party for his wife Lorraine at Snookie's, a club in Manhattan, where his
trumpet's bell got bent upward in an accident, but he liked the sound so much he had a special trumpet made
with a 45 degree raised bell, becoming his trademark.

In 1956 Gillespie organized a band to go on a State Department tour of the Middle East which was well-
received internationally and earned him the nickname "the Ambassador of Jazz".[28][29] During this time, he
also continued to lead a big band that performed throughout the United States and featured musicians
including Pee Wee Moore and others. This band recorded a live album at the 1957 Newport jazz festival that
featured Mary Lou Williams as a guest artist on piano.[30]

Afro-Cuban jazz

In the late 1940s, Gillespie was involved in the movement called Afro-Cuban music, bringing Afro-Latin
American music and elements to greater prominence in jazz and even pop music, particularly salsa. Afro-
Cuban jazz is based on traditional Afro-Cuban rhythms. Gillespie was introduced to Chano Pozo in 1947 by
Mario Bauza, a Latin jazz trumpet player. Chano Pozo became Gillespie's conga drummer for his band.
Gillespie also worked with Mario Bauza in New York jazz clubs on 52nd Street and several famous dance
clubs such as the Palladium and the Apollo Theater in Harlem. They played together in the Chick Webb
band and Cab Calloway's band, where Gillespie and Bauza became lifelong friends. Gillespie helped
develop and mature the Afro-Cuban jazz style. Afro-Cuban jazz was considered bebop-oriented, and some
musicians classified it as a modern style. Afro-Cuban jazz was successful because it never decreased in
popularity and it always attracted people to dance.[31]

Gillespie's most famous contributions to Afro-Cuban music are "Manteca" and "Tin Tin Deo" (both co-
written with Chano Pozo); he was responsible for commissioning George Russell's "Cubano Be, Cubano
Bop", which featured Pozo. In 1977, Gillespie met Arturo Sandoval during a jazz cruise to Havana.[32]
Sandoval toured with Gillespie and defected in Rome in 1990 while touring with Gillespie and the United
Nations Orchestra.[33]
Politics and religion

During the 1964 United States presidential campaign, Gillespie put himself forward as an independent
write-in candidate.[34][35] He promised that if he were elected, the White House would be renamed the Blues
House, and he would have a cabinet composed of Duke Ellington (Secretary of State), Miles Davis (Director
of the CIA), Max Roach (Secretary of Defense), Charles Mingus (Secretary of Peace), Ray Charles
(Librarian of Congress), Louis Armstrong (Secretary of Agriculture), Mary Lou Williams (Ambassador to
the Vatican), Thelonious Monk (Travelling Ambassador) and Malcolm X (Attorney General).[36][37] He said
his running mate would be Phyllis Diller. Campaign buttons had been manufactured years before by
Gillespie's booking agency as a joke[38] but proceeds went to Congress of Racial Equality, Southern
Christian Leadership Conference and Martin Luther King, Jr.;[39] in later years they became a collector's
item.[40] In 1971, he announced he would run again[41][42] but withdrew before the election.[43]

Shortly after the death of Charlie Parker, Gillespie encountered an audience member after a show. They had
a conversation about the oneness of humanity and the elimination of racism from the perspective of the
Baháʼí Faith. Impacted by the assassination of Dr. Martin Luther King in 1968, he became a Baháʼí in
1968.[44][45] The universalist emphasis of his religion prodded him to see himself more as a global citizen
and humanitarian, expanding on his interest in his African heritage. His spirituality brought out generosity
and what author Nat Hentoff called an inner strength, discipline, and "soul force".[46]

Gillespie's conversion was most affected by Bill Sears' book Thief in the Night.[44] Gillespie spoke about the
Baháʼí Faith frequently on his trips abroad.[47][48][49] He is honored with weekly jazz sessions at the New
York Baháʼí Center in the memorial auditorium.[50]

In the 1980s, Gillespie led the United Nation Orchestra. For three years Flora Purim toured with the
Orchestra. She credits Gillespie with improving her understanding of jazz.[51]

In December 1991, during an engagement at Kimball's East in Emeryville, California, he suffered a crisis
from what turned out to be pancreatic cancer. He performed one more night but cancelled the rest of the tour
due to his medical problem, ending his 56-year touring career. He led his last recording session on January
25, 1992.[52]

On November 26, 1992, Carnegie Hall, following the Second Baháʼí World Congress, celebrated Gillespie's
75th birthday concert and his offering to the celebration of the centenary of the passing of Baháʼu'lláh.
Gillespie was to appear at Carnegie Hall for the 33rd time. The line-up included Jon Faddis, James Moody,
Paquito D'Rivera, and the Mike Longo Trio with Ben Brown on bass and Mickey Roker on drums. Gillespie
did not make it because he was in bed suffering from pancreatic cancer. "But the musicians played their real
hearts out for him, no doubt suspecting that he would not play again. Each musician gave tribute to their
friend, this great soul and innovator in the world of jazz."[53]

Death and postmortem

A longtime resident of Englewood, New Jersey,[54] Gillespie died of pancreatic cancer on January 6, 1993 at
the age of 75 and was buried in Flushing Cemetery, Queens, New York City. Mike Longo delivered a eulogy
at his funeral.

He starred in a film called The Winter in Lisbon that was released in 2004.[55]

On June 25, 2019, The New York Times Magazine listed Dizzy Gillespie among hundreds of artists whose
material was reportedly destroyed in the 2008 Universal fire.[56]
Personal life
Gillespie married dancer Lorraine Willis in Boston on May 9, 1940.[13] They remained together until his
death in 1993.[15] Willis managed his business and personal affairs.[57] The couple had no children, but
Gillespie fathered a daughter, jazz singer Jeanie Bryson, born in 1958 from an affair with songwriter Connie
Bryson.[58][59] Gillespie met Connie Bryson, a Juilliard-trained pianist, at the jazz club Birdland in New
York City.[59] Although the paternity of his daughter was kept a secret from the public, Gillespie
sporadically communicated with her though the years. Through Bryson, Gillespie was a grandfather to Radji
Birks Bryson-Barrett.[60]

Artistry

Style

Gillespie has been described as the "sound of surprise".[46] The Rough Guide to Jazz describes his musical
style:

The whole essence of a Gillespie solo was cliff-hanging suspense: the phrases and the angle of
the approach were perpetually varied, breakneck runs were followed by pauses, by huge
interval leaps, by long, immensely high notes, by slurs and smears and bluesy phrases; he
always took listeners by surprise, always shocking them with a new thought. His lightning
reflexes and superb ear meant his instrumental execution matched his thoughts in its power and
speed. And he was concerned at all times with swing—even taking the most daring liberties
with pulse or beat, his phrases never failed to swing. Gillespie's magnificent sense of time and
emotional intensity of his playing came from childhood roots. His parents were Methodists, but
as a boy he used to sneak off every Sunday to the uninhibited Sanctified Church. He said later,
"The Sanctified Church had deep significance for me musically. I first learned the significance
of rhythm there and all about how music can transport people spiritually."[61]

In Gillespie's obituary, Peter Watrous describes his performance style:

In the naturally effervescent Mr. Gillespie, opposites existed. His playing—and he performed
constantly until nearly the end of his life—was meteoric, full of virtuosic invention and deadly
serious. But with his endlessly funny asides, his huge variety of facial expressions and his
natural comic gifts, he was as much a pure entertainer as an accomplished artist.[2]

Wynton Marsalis summarized Gillespie as a player and teacher:

His playing showcases the importance of intelligence. His rhythmic sophistication was
unequaled. He was a master of harmony—and fascinated with studying it. He took in all the
music of his youth—from Roy Eldridge to Duke Ellington—and developed a unique style built
on complex rhythm and harmony balanced by wit. Gillespie was so quick-minded, he could
create an endless flow of ideas at unusually fast tempo. Nobody had ever even considered
playing a trumpet that way, let alone had actually tried. All the musicians respected him
because, in addition to outplaying everyone, he knew so much and was so generous with that
knowledge...[62]
Bent trumpet

Gillespie's trademark trumpet featured a bell which bent upward at a

Gillespie performs with his bent
trumpet in 1988.
45-degree angle rather than pointing straight ahead as in the
conventional design. According to Gillespie's autobiography, this
was originally the result of accidental damage caused by the dancers
Stump and Stumpy falling onto the instrument while it was on a
trumpet stand on stage at Snookie's in Manhattan on January 6,
1953, during a birthday party for Gillespie's wife Lorraine.[63] The
constriction caused by the bending altered the tone of the instrument,
and Gillespie liked the effect. He had the trumpet straightened out
the next day, but he could not forget the tone. Gillespie sent a request
to Martin to make him a "bent" trumpet from a sketch produced by
Lorraine, and from that time forward played a trumpet with an
upturned bell.[64]

By June 1954 he was using a professionally manufactured horn of this design, and it was to become a
trademark for the rest of his life.[46]:258–259 Such trumpets were made for him by Martin (from 1954), King
Musical Instruments (from 1972) and Renold Schilke (from 1982, a gift from Jon Faddis).[64] Gillespie
favored mouthpieces made by Al Cass. In December 1986 Gillespie gave the National Museum of American
History his 1972 King "Silver Flair" trumpet with a Cass mouthpiece.[64][65]

In April 1995, Gillespie's Martin trumpet was auctioned at Christie's in New York City with instruments
used by Coleman Hawkins, Jimi Hendrix, and Elvis Presley.[66] An image of Gillespie's trumpet was
selected for the cover of the auction program. The battered instrument was sold to Manhattan builder Jeffery
Brown for $63,000, the proceeds benefiting jazz musicians with cancer.[67][68][69]

Awards and honors

He was given the Grammy Lifetime Achievement Award. The next year, at the
Kennedy Center for the Performing Arts ceremonies celebrating the centennial of
American jazz, Gillespie received the Kennedy Center Honors Award and the
American Society of Composers, Authors, and Publishers Duke Ellington Award
for 50 years of achievement as a composer, performer, and bandleader.[70][71]

In 1989, Gillespie was awarded with an honorary doctorate of music from Berklee
College of Music.[72]

In 1993 he received the Polar Music Prize in Sweden.[73] In 2002, he was

posthumously inducted into the International Latin Music Hall of Fame for his Statue of Gillespie in
contributions to Afro-Cuban music.[74] He was honored on December 31, 2006 in his hometown of
A Jazz New Year's Eve: Freddy Cole & the Dizzy Gillespie All-Star Big Band at Cheraw, South
The John F. Kennedy Center for the Performing Arts.[75] In 2014, Gillespie was Carolina
inducted into the New Jersey Hall of Fame.[76]

In popular culture
Samuel E. Wright played Dizzy Gillespie in the film Bird (1988), about Charlie Parker.[77] Kevin Hanchard
portrayed Gillespie in the Chet Baker biopic Born to Be Blue (2015).[78] Charles S. Dutton played him in
For Love or Country: The Arturo Sandoval Story (2000).

List of works

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External links
Interview with Les Tomkins in 1973 (https://web.archive.org/web/20061018090339/http://www.j
azzprofessional.com/interviews/Dizzy%20Gillespie.htm)
Articles at NPR Music (https://www.npr.org/artists/15368367/dizzy-gillespie)
Short biography by C.J Shearn (https://newyorkjazzworkshop.com/dizzy-gillespie/)
Media related to Dizzy Gillespie at Wikimedia Commons

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