Relevant bibliographies by topics / Dizzy Gillespie

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  2. Dissertations / Theses
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Academic literature on the topic 'Dizzy Gillespie'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Dizzy Gillespie"

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MUELLER, DARREN. "The Ambassadorial LPs of Dizzy Gillespie:World StatesmanandDizzy in Greece." Journal of the Society for American Music 10, no. 3 (August 2016): 239–69. http://dx.doi.org/10.1017/s1752196316000201.

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AbstractIn 1956, trumpeter Dizzy Gillespie became the first jazz musician to participate in the State Department's Cultural Presentations program, a highly public aspect of U.S. Government's Cold War propaganda efforts abroad. Seeking to capitalize on this historic moment, Gillespie's record company issued two LPs featuring his ambassadorial ensemble: World Statesman (1956) and Dizzy in Greece (1957). To date, scholarship about the tours highlights how Gillespie skillfully navigated the shifting political landscape both on and off the bandstand. The role that commercial record making played in the renegotiation of African Americans’ social position during this era, however, remains undertheorized. This article reveals how, despite the albums’ claims of representation from abroad, the LPs contain only a small portion of Gillespie's tour repertoire. I argue that these LPs were never meant to document the tours with veracity; rather, they were products of a political and technological moment when Gillespie's record label could leverage musical diplomacy to circulate an elevated vision for jazz within the country's cultural hierarchy.
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Sautter, Fred. "Dizzy Gillespie: “A Night in Tunisia.”." Music Educators Journal 77, no. 8 (April 1991): 22. http://dx.doi.org/10.2307/3398145.

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GARCÍA, DAVID. "“We Both Speak African”: A Dialogic Study of Afro-Cuban Jazz." Journal of the Society for American Music 5, no. 2 (April 14, 2011): 195–233. http://dx.doi.org/10.1017/s1752196311000034.

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AbstractFrom 1947 to 1948 the Dizzy Gillespie orchestra with Chano Pozo produced some of the most important recordings that contributed to the development of Afro-Cuban jazz. Pozo had already led a successful career as a professional musician in Havana before he moved to New York City, where he met Gillespie and joined his bebop big band. The integration of a black Cuban percussionist into Gillespie's all-black band raises important questions about the racial politics enveloping the popularization of bebop, Afro-Cuban jazz, and the work of others in contemporaneous political, cultural, and intellectual arenas. This article provides new documentation of Pozo's performances with the Gillespie band in the United States and Europe and shows the ideological concerns that Pozo and Gillespie shared with West African political and cultural activists, Melville Herskovists and his students, and early jazz historians in the 1940s. The article suggests an alternative methodology for scholarship on jazz in the United States that approaches jazz's extensive engagements with Cuban and other Afro-Atlantic musicians as embodying the crux of jazz's place in the Afro-Atlantic.
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GIVAN, BENJAMIN. "Dizzy à la Mimi: Jazz, Text, and Translation." Journal of the Society for American Music 11, no. 2 (May 2017): 121–54. http://dx.doi.org/10.1017/s1752196317000049.

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AbstractThis article addresses issues of translation and transnational exchange, taking as a case study the two-pronged collaborative relationship between the French jazz singer, lyricist, and translator Mimi Perrin (1926–2010) and the African American trumpeter Dizzy Gillespie (1917–1993), whose memoir Perrin translated into French and with whom she collaborated on a 1963 jazz album. Perrin, who is the article's principal focus, founded the successful vocalese singing group Les Double Six in 1959 and then, after abandoning her musical career for health reasons in 1966, forged a new career as a literary translator. The article begins by examining her work as a translator of African American literature and demonstrates that her French edition of Gillespie's autobiography lacks some of the original's connotative cultural signification, in particular meanings conveyed through the book's use of black dialect. The article then turns to Perrin's work as a vocalese lyricist, which is notable in that she conceived of her lyricization of jazz improvisations as a sort of translation process, one that involved carefully selecting words in order to mimic the sounds of musical instruments. Her musical innovations are exemplified by a series of original French texts, set to Gillespie's music, on science fiction themes.
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MUELLER, DARREN. "The Ambassadorial LPs of Dizzy Gillespie: World Statesman and Dizzy in Greece—ERRATUM." Journal of the Society for American Music 10, no. 4 (October 27, 2016): 524. http://dx.doi.org/10.1017/s1752196316000468.

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Monson, Ingrid. "The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse." Journal of the American Musicological Society 48, no. 3 (1995): 396–422. http://dx.doi.org/10.2307/3519833.

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This essay situates hipness within a broader range of African American history and moral debate than is generally presented in accounts of jazz history. The perspectives of Amiri Baraka, Mezz Mezzrow, Norman Mailer, and Dizzy Gillespie are used to develop the thesis that there is a problem with white presumptions about how hipness relates to African American cultural life and history. This problem requires addressing interrelationships between race and gender, as well as the legacy of primitivism embedded in common assumptions about how jazz since World War II relates to social consciousness, sexual liberation, and dignity.
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Porter, Lewis, and Coleman Hawkins Quartet. "Dizzy Gillespie and His Big Band: Live in Hi-Fi from Birdland, Summer 1956." Black Perspective in Music 13, no. 2 (1985): 238. http://dx.doi.org/10.2307/1214593.

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Malcolm. ""Myriad Subtleties": Subverting Racism through Irony in the Music of Duke Ellington and Dizzy Gillespie." Black Music Research Journal 35, no. 2 (2015): 185. http://dx.doi.org/10.5406/blacmusiresej.35.2.0185.

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Horeau, Thomas. "Dizzy Gillespie dans la Guerre froide : la Promotion du monde libre à l’épreuve de la ségrégation." Double jeu, no. 17 (December 31, 2020): 57–70. http://dx.doi.org/10.4000/doublejeu.2733.

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Squinobal, Jason. "Sonic Grounding and Internalizing Structure: Themes of Continuity in the Music of John Coltrane." Journal of Jazz Studies 12, no. 1 (December 9, 2019): 1–50. http://dx.doi.org/10.14713/jjs.v12i1.116.

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(Opening paragraph): Examining the musical development of John Coltrane, one often gets a deep sense of change. Respected Coltrane scholar Lewis Porter characterizes Coltrane’s career by the “fact that he was constantly developing and changing.” To account for this perception of change, the tendency is to divide Coltrane's music into segmented stylistic periods. This allows us a greater understanding of Coltrane’s developmental building blocks, and the specific elements that he focused on while creating his music. For example, Eric Nisenson divides Coltrane’s work into “Early Coltrane” including his work with Dizzy Gillespie, Miles Davis, and his first recordings for Atlantic, a “Middle Period” including his work with Thelonious Monk and the early Impulse recordings, and finally a “Late Period” including Coltrane’s avant-garde albums. In The Dawn of Indian Music in the West Peter Lavezzoli states “Coltrane’s music went through more evolutionary stages during his ten years as a solo recording artist than many musicians realize in a fuller lifetime.” Historical and bibliographical references including the New Grove Dictionary of Music and Musicians also characterized Coltrane’s development as moving from one period to the next.
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Dissertations / Theses on the topic "Dizzy Gillespie"

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Sweeney, Dwight Paul. "The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2823.

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Explains how Afro-Cuban culture influenced African-American jazzmen and led to the formation of Afro-Cuban or Latin jazz in 1947 by Dizzy Gillespie and Chano Pozo. Explores the musical connections between the physical plane of Cuba and the United States, and the esoteric spiritual world of the orishas and myths coming to life in sacred and secular music forms.
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Hicks, Keisha. "Sumptuous Soul: The Music of Donny Hathaway Everything is Everything Donny Hathaway, 1970." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400519910.

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Books on the topic "Dizzy Gillespie"

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Dizzy Gillespie. Hockessin, Del: Mitchell Lane Publishers, 2013.

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Dizzy Gillespie. Los Angeles, Calif: Melrose Square Pub. Co., 1993.

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Gillespie, Dizzy. Dizzy Gillespie. [Italy]: Musica Jazz, 1987.

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Leymarie, Isabelle. Dizzy Gillespie. Paris: CDLivre, 1998.

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Gillespie, Dizzy. Dizzy Gillespie. [New York]: Verve Music Group, 2000.

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Koster, Piet. Dizzy Gillespie. [Amsterdam]: Micrography, 1985.

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Dizzy Gillespie. New York: Chelsea House Publishers, 1991.

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Gillespie, Dizzy. Dizzy atmosphere: Conversations avec Dizzy Gillespie. Arles: Institut national de l'audiovisuel, 1990.

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Gillespie, Dizzy. Dizzy Gillespie at Newport. New York: Verve Records, 1992.

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Gignoux, Dany. Dizzy Gillespie: Fotografien = photographs. Kiel: Nieswand, 1993.

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Book chapters on the topic "Dizzy Gillespie"

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"GILLESPIE, DIZZY." In Music in the 20th Century (3 Vol Set), 249. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-173.

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"DIZZY GILLESPIE." In Jazz and Blues Musicians of South Carolina, 24–31. University of South Carolina Press, 2021. http://dx.doi.org/10.2307/j.ctv1gt940s.9.

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Martin, Henry. "32-Bar Rhythm Changes Compositions." In Charlie Parker, Composer, 55–80. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.003.0003.

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Chapter 2 begins with an overview of Parker’s fully composed 32-bar rhythm changes compositions. Parker is strongly associated with improvising on rhythm changes (the chord changes of “I Got Rhythm,” by George and Ira Gershwin), but there are only six such pieces, and they are all in B♭ major: “Red Cross,” “Shaw ’Nuff,” (co-composed with Dizzy Gillespie), “Moose the Mooche,” “Thrivin’ from a Riff,” “Dexterity,” and “Passport.” This allows for convenient comparison among them. Among the various conclusions, the analyses show that despite being contrafacts on rhythm changes—all in the same key and using straightforward bebop harmony—these pieces are satisfyingly different.
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Gioia, Ted. "Modern Jazz." In The History of Jazz, 237–326. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190087210.003.0006.

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The rise of modern jazz—or “bebop” as it was called—dramatically changed the landscape of the music in the 1940s, transforming the genre into a truly progressive and experimental idiom. But this came at a cost, marking a shift from jazz’s predominance as a popular music, and turning it into an art music addressing a much smaller audience. This chapter looks at the innovations of the leading bebop musicians, especially Charlie Parker, Dizzy Gillespie, and Thelonious Monk. Other artists addressed include Bud Powell, Lennie Tristano, Sarah Vaughan, and Dave Brubeck. The chapter concludes with an assessment of big band jazz during the post–World War II era, including the work of Woody Herman and Stan Kenton.
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Washburne, Christopher. "The “Othering” of Latin Jazz." In Latin Jazz, 112–41. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.003.0006.

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This chapter discusses various ways the Caribbean and Latin American music styles continued to share a common history with jazz from the 1940s to the 1960s, intersecting, cross-influencing, and at times seeming inseparable, as each has played seminal roles in the other’s development. Three case studies are discussed: the collaboration of Dizzy Gillespie and Chano Pozo, the Jazz Samba recording by Charlie Byrd and Stan Getz, and Mongo Santamaría’s “Watermelon Man” recording. In much of the jazz literature, these musicians and their seminal roles have been diminished or downright ignored. This chapter explores the reasons for these omissions and the systematic “othering” of Latin jazz. It examines the forces at play in their continued exclusion; explores how this omission is tied to the economic marginalization of jazz, racism, nationalism, tensions between art and popular music, and canon construction; and identifies what is at stake when Latin jazz is included.
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Washburne, Christopher. "Epilogue." In Latin Jazz, 175–78. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.003.0008.

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This chapter serves as the epilogue and offers a new conception of jazz and Latin jazz that embraces a rhizomic model accentuating the entanglement of the histories of the Caribbean and the Americas (North and South) and how all manifestations of jazz/Latin jazz are intercultural, transnational, and multivocal at their core. Conceived of in this way, Duke Ellington, Louis Armstrong, Tito Puente, Machito, Mario Bauzá, Dizzy Gillespie, Chano Pozo, and every other musician discussed in this book are unified and interconnected on the most fundamental and foundational level. The music is a product of the black, brown, tan, mulatto, beige, and white experience throughout the Americas and the Caribbean. By paying tribute to and celebrating the diversity of culture, experience, and perspectives that are foundational to jazz, the music’s legacy is shown to transcend far beyond stylistic distinction, national borders, and the imposition of the black/ white racial divide that has only served to maintain the status quo in the United States.
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Wells, Christi Jay. "“Counter-Bopaganda” and “Torn Riffs”." In Between Beats, 109–49. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197559277.003.0004.

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This chapter focuses on the subculture of young African Americans who developed forms of social dancing to bebop music as recounted to the author in oral history interviews with self-identified bebop dancers and as documented by Russian modern dancer/choreographer Mura Dehn in her film The Spirit Moves and in her drafts for an unfinished study on jazz dance. Dehn’s work reveals fascinating creative adaptations to bebop’s accelerating tempos and complex melodic structures in new and expanded dances such as the applejack, Jersey bounce, and bop lindy. Through these developments, dancers engaged in intricate metric and hypermetric play with bebop music—which they refer to as dancing “off-time”—while also embodying bebop’s “cool” aesthetic and the emergent cynicism and radicalism that shaped postwar African American political culture. Their experiences, and Dehn’s work to document them, demand a re-examination of the discursive work performed by bebop’s reputation as a music innately hostile to social dancing, a label that has less to do with the music’s difficulty than with a desire to position bebop as “art” rather than “entertainment.” The chapter closes with a discussion of “the problem of Dizzy Gillespie” to highlight and explore the historiographic challenges that discussion of social dance poses to canonic narrative positionings of bebop. It suggests that bebop is better understood as part of a contiguous spectrum of Black popular culture that thrived alongside, rather than in opposition to, rhythm & blues and other popular music genres.
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