www.dizzygillespie.org

For John Birks “Dizzy” Gillespie, playing in a small combo was never enough. His artistry compelled him to seek and to create larger ensembles. Dizzy needed a Big Band for self-expression as a composer and arranger. Given that the final 75of his career took place after 1950 when Big Band Jazz no longer predominated, it’s remarkable that Dizzy Gillespie often created brilliant Jazz using grand-scale Big Bands and Orchestras right up to the end of his life in 1993.

And the Dizzy Gillespie Big Band tradition still lives, zestfully nurtured by Gillespie alumni, Slide Hampton and John Lee. They are, respectively, Musical Director and trumpeter, and Program Director and bassist of the Dizzy Gillespie All-Star Big Band. The Dizzy Gillespie All-Stars began in 1997; the Big Band debuted in 1998. Today, the Dizzy Gillespie All-Star Big Band is taking us to the next phase for Dizzy’s music – Big Band style.

That excursion began with Dizzy’s professional emergence with the best Big Bands of The Swing Era. Dizzy placed his compositions and arrangements into the repertoire of the bands in which he played – for example, “Ratamacue” and “Pickin’ The Cabbage” with Cab Calloway, and as well as other name bands – for example, “Grand Central Getaway” with Jimmy Dorsey.

Dizzy’s partnership with Charlie Parker in the creation of BeBop found its expression in smaller groups. Yet at the zenith of their tandem, even as they introduced BeBop in a Gillespie-led quintet, Dizzy had a rehearsal Big Band on the side. This adventurous Big Band toured professionally in the summer of 1945.

That 1945 Big Band would be the training ground for the definitive Big Band of Bebop, the Dizzy Gillespie Orchestra of 1946-1950. As important as the Dizzy Gillespie Orchestra was, it did not escape the economic demise of the Big Bands.

Dizzy Gillespie might never of had a full-time Big Band again if it hadn’t been for the United States State Department’s recognition at that time of the unique role music, especially Jazz, could play internationally. In 1956, the U.S. State Department sponsored, for cultural exchange and good will touring, a new incarnation of the Dizzy Gillespie Orchestra. Both Quincy Jones and Benny Golson, among others, added music to Dizzy’s own book during this time.

Although critically acclaimed and popularly received, the Dizzy Gillespie Orchestra would again founder when federal funding expired – keeping a Big Band together, much less touring, is a challenge. Yet Dizzy persisted, presenting his music for Big Band now and again in special ensembles assembled for a given tour, concert, or recording.

The Dizzy Gillespie All-Star Big Band is the direct descendant of such “Diz ventures” and, happily, features his senior statesman: Slide Hampton; Jimmy Heath; James Moody and Frank Wess. To fully express himself musically, Dizzy Gillespie often chose the context of a Big Band, and so, blessedly, do his prestigious alumni.

Slide Hampton, a master trombonist, composer, arranger and teacher is a formidable champion of the jazz tradition. His mission to bring jazz to audiences around the world has placed him as the international ambassador of jazz. Hampton worked with Gillespie on and off since the 1960’s, spending a significant amount of time with Gillespie starting in 1988 while serving as musical director, along with Paquito D’Rivera, of the United Nation Orchestra. Hampton also served as musical director for “Dizzy’s Diamond Jubilee”, a year-long celebration in honor of Gillespie’s 75 th birthday year.

John Lee, bassist, composer, education and producer is the program director for “’Dizzy’: The Man and the Music”, the official concert and clinic program celebrating the life and work of John Birks “Dizzy” Gillespie. Lee joined the Dizzy Gillespie Group in 1984 and was a member of Gillespie’s various bands including the Dizzy Gillespie Quintet, the 70 th Anniversary Big Band and the United Nation Orchestra. Lee played with Gillespie until he became ill in 1992.

James Moody, received an alto saxophone as a gift from his uncle at the age of 16. With in a few years, Moody moved to the deeper sound of the tenor saxophone after hearing Buddy Tate and Don Byas. Upon his discharge from the United States Air Force in 1947, Moody joined the influential bebop big band of Dizzy Gillespie and then recorded with trumpeter Howard McGhee and vibraphonist Milt Jackson. The following year, Moody made his recording debut as a band leader in “James Moody and His Bop Men” for Blue Note, using players for the Gillespie big band. While living in Europe, Moody recorded his famous, “Moody’s Mood For Love”. Upon returning to the United States, Moody rejoined Gillespie in 1963 performing with Gillespie for the rest of the 1960’s.