The Giants of Jazz was an all-star band assembled by promoter George Wein in 1971. While Dizzy and Monk were the most celebrated members, the band also included Art Blakey (drums), Sonny Stitt (sax), Kai Winding (trombone) and Al McKibbon (bass).
By the time it arrived at the Monterey Jazz Festival in September of 1972, Gillespie had to absent himself to return to his own band and the group had inspired substitutions in the trumpet chairhere both Clark Terry and Roy Eldridge are present. While Eldridge was a Swing Era star, the the style practiced is a classic mainstream spanning late swing and early bop. Each of the horns get a ballad feature and each is a masterpiece of melodic improvisation: Terry's lustrous and barely accompanied "Stardust"; Winding's "Lover Man" with its warm cadenza; the sudden burst of Bird-inspired alto in Stitt's "I Can't Get Started" and Eldridge's "The Man I Love," all burnished brass and scorching highs. There are three up-tempo blowing tunes: Juan Tizol's "Perdido" (which favors the Ellingtonian in Terry) and two composed by the absent Gillespie, the opening "Blue 'n' Boogie" and the flag-waving conclusion (and Blakey anthem) "A Night in Tunisia." It's superb music-making, driven as much by camaraderie as competition (the latter quality one for which Eldridge and Stitt might be equally celebrated).
Monk, who would perform little after this, is in great form, turning in a beautiful "'Round Midnight" and comping with his usual rhythmic acuity. He combines with Blakey and McKibbon to provide drive and authority. Blakey is thunderous and there's little sense of a mere string of solos here. It's a real band with an enthused and slightly ragged vitality to the theme statements and occasional backing riffs, a combination of excitement and familiarity that could only be achieved by the best musicians saturated in their material. It might be the "Twilight of the Gods," but the musicians don't seem to know it.
Track Listing: Introduction by Jimmy Lyons; Blue 'n' Boogie; 'Round Midnight; Perdido; Stardust; Lover Man; I Can't Get Started with You; The Man I Love; A Night in Tunisia.
Personnel: Art Blakey: drums; Sonny Stitt: alto and tenor saxophones; Roy Eldridge: trumpet; Clark Terry: trumpet and flugelhorn; Kai Winding: trombone; Thelonious Monk: piano; Al McKibbon: bass.
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.