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Dizzy's musical intelligence is broad and his curiousity is intense. There is little of the world's musical forms which he has not examined and considered for its potential rhythmic integration with jazz; this is particularly true of Latin American rhythms. Generosity is one of Dizzy's personal traits. He has consistently shared his fund of musical knowledge and values with historical jazz figues and new learners/players, literally teaching them and setting them in fresh directions he helped to develop. What was thought unorthodox and chaotic in the forties when Dizzy was playing "all those strange unheard of things" has emerged as vital classical aspects of modern music.
This record was made two days prior to Dizzy's performance at the Second International Jazz Salon at the Salle Pleyel in France, with a quintet including expatriate Don Byas on tenor, Arnold Ross on piano, Joe Benjamin on bass, Bill Clark on drums, and Humberto Canto on congas. The second half was recorded the next month, done with a different group including Byas, Bill Tamper on trombone, Hubert Fol on alto, Tarmond Fol on piano, Pierre Michelot on bass, and Pierre Lemarchand on drums. This rare recording is sure to delight.
Arguably the greatest jazz trumpeter of all time and certainly among a select few, Dizzy Gillespie was not only a pioneer of bebop but of Afro-Cuban jazz. His choice of notes when he soloed still sound advanced today. He had the ability to hit notes that might have been considered “wrong,” hold on to them, and make them fit. He developed his own radical harmonic language and taught it to the next generation, moving the mainstream of jazz from swing to bop. And he did all of this with a very strong sense of humor, entertaining audiences who might otherwise have been scared away by his adventurous playing.
John Birks “Dizzy” Gillespie was born in 1917, grew up in the swing era, and was initially inspired by Roy Eldridge. He began recording in 1937 and, through his records with the big bands of Teddy Hill and Cab Calloway, one can hear his evolution as he gradually developed his own style. By 1941-42, his solos were based on chords more advanced than that played by his rhythm sections, so he taught pianists, bassists and drummer what to play. After meeting his musical soul mate in Charlie Parker, Gillespie played with the big bands of Earl Hines and Billy Eckstine and in 1945 was considered (along with Parker) the young leader of modern jazz. His 1946-49 bebop orchestra was years ahead of its time.
After the band broke up, Gillespie led a series of small groups in the 1950s before he had a new orchestra in 1956. Havin' A Good Time In Paris features Gillespie in 1952 when he was visiting Paris. At the age of 35, his playing could not be equaled by any of his contemporaries. He is featured with a quintet with tenor-saxophonist Don Byas and pianist Arnold Ross, and a septet with Byas and altoist Hubert Fol. Great as Byas was, his role is minor on these performances for Gillespie is the star.
Three songs (“Hurry Home,” “Afro Paris” and “Say Eh!”) from the first date are heard twice with each trumpet solo being a lot different than the previous one. Gillespie's humor can be heard on the alternate takes and his vocal on “Say Eh!” The second session includes a low down blues vocal by Dizzy on “Cripple Crapple Crutch” and a version of “Lady Bird” that is titled “Dizzy Song.”
"A major innovator on the trumpet and one of the founders of bebop and Afro-Cuban jazz, Dizzy Gillespie certainly ranks among the all-time greats of jazz. Havin’ A Good time In Paris was recorded in 1952 and features Gillespie leading a pair of small groups. Gillespie is in enthusiastic and often exuberant form on such numbers as “Hurry Home,” “Say Eh,” and “Dizzy’s Song,” taking a low down blues vocal on “Cripple Crapple Crutch.” Best of all are his magnificent solos on “Somebody Loves Me,” “I Cover The Waterfront” and two versions of “She’s Funny That Way” on which he reshapes the melodies and develops strikingly original ideas.
But best are Dizzy Gillespie's classic trumpet solos on a trio of swing tunes (“Somebody Loves Me,” “I Cover The Waterfront” and two versions of “She's Funny That Way”) that really show how he permanently changed American music and jazz. His originality and brilliance on these nearly 60-year old performances are still very impressive today". -Scott Yanow
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