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Journal articles on the topic 'Dizzy Gillespie'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Vucetic, Radina. "Trumpeting through the iron curtain: The breakthrough of jazz in socialist Yugoslavia." Muzikologija, no. 13 (2012): 53–77. http://dx.doi.org/10.2298/muz120229012v.

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During the Cold War, jazz became a powerful propaganda weapon in the battle for ?hearts and minds?. As early as the 1950s, the American administration began its Cold War ?jazz campaign?, by broadcasting the popular jazz radio show Music USA over the Voice of America, and by sending its top jazz artists on world tours. In this specific cultural Cold War, Yugoslavia was, as in its overall politics, in a specific position between the East and the West. The postwar period in Yugoslavia, following the establishment of the new (socialist) government, was characterized by strong resistance towards jazz as ?decadent? music, until 1948 when ?no? to Stalin became ?yes? to jazz. From the 1950s, jazz entered Yugoslav institutions and media, and during the following two decades, completely conquered the radio, TV, and record industry, as well as the manifestations such as the Youth Day. On account of the openness of the regime during the 1950s and 1960s, Yugoslavia was frequently visited by the greatest jazz stars, such as Dizzy Gillespie, Louis Armstrong and Ella Fitzgerald. In the context of the Cold War, the promotion of jazz in Yugoslavia proved to be beneficial for both sides - by exporting jazz, America also exported its freedom, culture and system of values, while Yugoslavia showed the West to what extent its political system was open and liberal, at least concerning this type of music.

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12

Fisher, Angelica Nikolaevna. "Dizzy Gillespie’s Creative Portrait in the Context of “Be-Bop Revolution” of the 1940-1950s." Manuskript, no. 12 (December 2020): 278–82. http://dx.doi.org/10.30853/mns200554.

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13

"Dizzy Gillespie, his life & times." Choice Reviews Online 27, no. 01 (September 1, 1989): 27–0228. http://dx.doi.org/10.5860/choice.27-0228a.

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14

"Groovin' high: the life of Dizzy Gillespie." Choice Reviews Online 37, no. 07 (March 1, 2000): 37–3839. http://dx.doi.org/10.5860/choice.37-3839.

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15

Laver, Mark T. ""The Greatest Jazz Concert Ever:" Pierre Bourdieu and the Shifting Ontology of Bebop." Critical Studies in Improvisation / Études critiques en improvisation 5, no. 1 (December 1, 2009). http://dx.doi.org/10.21083/csieci.v5i1.972.

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On May 15, 1953, Toronto’s Massey Hall played host to what has become widely known in text books and collectors guides as “The Greatest Jazz Concert Ever.” The concert featured iconic bebop musicians Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus, and Max Roach – a stunning assemblage of musicians whom Downbeat Magazine proclaimed to be the “Quintet of the Year.” Curiously, however, the contemporary critical reaction was decidedly lukewarm. According to 1950s Globe and Mail critic Alex Barris, for instance, “All in all, it was neither a great concert nor a bad one.” How, then, has such an apparently pedestrian event come to be known as the “greatest jazz concert ever”? This paper pursues an answer to that question by drawing on the socially-grounded aesthetic theorization of Pierre Bourdieu to help unpack the complex web of social and textual factors involved in the aesthetic valorization of the bebop. In the first section, I establish the theoretical framework, briefly explaining those elements of Bourdieu’s terminology and theory that are most germane to my study. In the second section, I apply Bourdieu’s concept of consecration to examine how music journalists, critics, and scholars discursively constructed bebop as a high art form. In the third section, I consider the musicians’ own effort to affirm their high art credentials. In the fourth and final section, I interrogate the consequences of the valorization of a primarily black music according to the aesthetic terminology and values of a primarily white establishment.

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