Jazz Articles about Dizzy Reece

Dizzy Reece: Star Bright – 1959

by Marc Davis
January 18, 2016

In the 1950s and '60s, there were two jazz trumpeters named Dizzy. One was famous. This is the other guy. Dizzy Reece is a pretty obscure name, even among Blue Note fans. He was a young hard bop trumpeter from Jamaica who spent most of the 1950s playing in Europe, recorded four very good records as a leader from 1958 to 1962, mostly in America, then vanished for 20 years. Fortunately, some of Reece's best work ...

Dizzy Reece: From In to Out

by Clifford Allen
March 7, 2006

Born January 5, 1931, in Kingston, Jamaica, trumpeter Alphonso Son “Dizzy" Reece moved to England in 1948 to continue his jazz studies, as his countrymen alto saxophonist Joe Harriott and tenor man Ken Terroade would also do. Following some time in Paris, Reece recorded with Ronnie Scott, Victor Feldman and Tubby Hayes for the Tempo and Savoy labels before making his Blue Note debut in 1958. Reece moved to New York the following year on the recommendation of Miles Davis, ...

Dizzy Reece

by Clifford Allen
December 30, 2005

To grasp the art and life's work of trumpeter-composer-philosopher (not necessarily in that order) Alphonso Son “Dizzy Reece, a short biographical sketch and recording data, though not thrown completely out the window in terms of relevance, are only relevant insofar as one gets an idea of the artist as a whole. Facts of his birthplace (Kingston, Jamaica, 1931) and relocations to London (1948) and New York (1959) and the collection of recordings for Tempo, Savoy, Blue Note, Prestige, Futura, Beehive ...

Mosaic Select 11: Dizzy Reece

by C. Andrew Hovan
July 27, 2004

Dizzy Reece Mosaic Select 11 Mosaic Records

During the '50s and '60s there were any number of minor jazz legends recording actively for such independent labels as Prestige, Riverside, Savoy, and Blue Note. As far as trumpeters go, the names Richard Williams, Blue Mitchell, Carmell Jones , Booker Little, and Dizzy Reece come to mind. In the case of Reece, he might have fared much better with a different moniker. Oddly enough his own individual style ...

Hank Mobley: The Flip

by Germein Linares
January 17, 2004

Leonard Feather once hailed Hank Mobley as “the middleweight champion of the tenor saxophone." Mobley was better than that. An exquisite soul messenger, Mobley was criticized for not being as aggressive, voluminous, or trailblazing as his contemporaries. Indeed, he was not. Instead, his music was steeped in care, precision and nuances. In Mobley's hands, such treatment often dazzled, as on his latest Blue Note reissue, The Flip.

Recorded in 1969 at Studio Barclay in Paris, this album would be Mobley's ...