Dizzy Gillespie: Livein '58 & '70 (2006), part ofthe Jazz Icons series of DVDs, presents another gem with these two concerts ofDizzy Gillespie. In the earlier date from Belgium, Gillespie is in a smallgroup setting—a fantastic quintet with Sonny Stitt on sax, Lou Levy on piano,Ray Brown on bass, and Gus Johnson on drums. The hip repertoire includes “BluesAfter Dark" (penned by Benny Golson), “Blues Walk" (Clifford Brown's ultra-coolfavorite), and the standard “Cocktails for Two." Gillespie is his ebullientself throughout, but it is Stitt who gets the chance to shine, blowing somepowerful solos on tenor. He is featured on a wonderful torchy version of “LoverMan." Dizzy and Sonny belt out a comical vocal on “On the Sunny Side of the Street."
The 1970 date is fromDenmark, where we see Dizzy fronting the Francy Boland/Kenny Clarke Big Band.In addition to Boland on piano and Clarke on drums, the group included, among others, BillieMitchell and Ronnie Scott on tenor sax; Art Farmer and Idrees Sulieman ontrumpet; Jimmy Woode on bass; and Sahib Shihab on baritone. The band may bebig, but they produce a wonderfully tight sound on some complex blues and boparrangements. Gillespie is at ease blowing on all. A couple of Gillespieoriginals are featured, his Afro-Cuban influenced “Con Alma" and “Manteca." Aspecial highlight is a smoky, noirish version of Jimmy Woode's “Now Hear MyMeanin.'"
Throughout, the visuals are excellent andintimately close to the performers. The sound is crisp and crackling. Here's a sample—"Blues After Dark" from the 1958 gig.
The 1970 date is fromDenmark, where we see Dizzy fronting the Francy Boland/Kenny Clarke Big Band.In addition to Boland on piano and Clarke on drums, the group included, among others, BillieMitchell and Ronnie Scott on tenor sax; Art Farmer and Idrees Sulieman ontrumpet; Jimmy Woode on bass; and Sahib Shihab on baritone. The band may bebig, but they produce a wonderfully tight sound on some complex blues and boparrangements. Gillespie is at ease blowing on all. A couple of Gillespieoriginals are featured, his Afro-Cuban influenced “Con Alma" and “Manteca." Aspecial highlight is a smoky, noirish version of Jimmy Woode's “Now Hear MyMeanin.'"
Throughout, the visuals are excellent andintimately close to the performers. The sound is crisp and crackling. Here's a sample—"Blues After Dark" from the 1958 gig.
