The Dizzy Gillespie Quintet went out blazing with 'Blues Walk' at the end of their 1958 Concert in Belgium. Dizzy Gillespie - Trumpet Sonny Stitt - Tenor Saxophone Lou Levy - Piano Ray Brown - Bass Gus Johnson - Drums
Blessings to you and your father - I'm a long-time drummer and only now learning about his contribution -- one of the greatest swingers, and always seemed just cool and relaxed.
can never forget one of the few times I heard him live swinging the Texas tenors (Jacquet, Cobb & Tate, with Eddie Jones on bass and Ray Bryant on piano) at the Nice JVC Jazz festival, I believe it was in 1983. He was one of the greatest swing drummers ever , and did not get all the recogintion he deserved, despite his illustrious career.
See Gus & Dizzy smiling a each other round 50 seconds, & how they just beam? They say it all without a word. "We're HERE, Brother!" There's a level of something being reached here that never had been and may never be again. I'm glad I can see and hear it. They're gone but they achieved and created something timeless. It's amazing. They were giants, & I don't think that's hype. Thanks for your time..
Yes, indeed he was amazing....The great Gus Johnson who played drums with the famous Jay McShann Orchestra with Charlie Parker in 1939-40 and then with Basie. I was lucky enough to hear him playing like crazy in the mid 1980s in Nice, France while on tour with Lionel Hampton.
Sonny Stitt left a mark so high that nobody will probably ever come anywhere near that in terms of sheer swing and soul, not to mention a technique and facility on all of the saxophones that is magnificent. Sonny could WAIL on the blues in any key and in any tempo. Young players should really take note of this amazing master musician.
This is the difference between blowing a lot of notes and actually having something to SAY. Technique, phrasing, ideas, sound, feel. Check the finger placement. Stitt has it all. An underacknowledged master.
absolutely smoking' and swinging from here to Timbuktu and back again - everyone staying cool and calm but just killing' it. Very very few can play this way now, please -- let's keep this music alive forever.
Absolutely magnificent. It won't be any better! Thank you gentlemen. Wherever you are. I have been listening to jazz all my life. It really keeps me going.
defnitlty not. Not to discredit the OP but alot of people underestimate the hours players like stitt etc put in everyday, along with being in a time where you could live see and breath jazz everywhere. id take a while to get to stitts level here @@Mr.DorianMoore
Stitt's solo.....my gosh, how abundant of swinging ideas one after another. I have heard Stitt countless times, but this solo is one of the most impressive.
Alto, tenor and baritone saxophone practitioner of "Gibraltaric" magnificience is Sonny Stitt - being his own man all the way. This identical tune, with a different title, was played by Clifford Brown and Lou Donaldson in 1954/56 at Bird Land in New York, New York, USA The album is titled Art Blakey and The Jazz Messengers: "A Night At Bird Land featuring the new trumpet sensation Clifford Brown". Lou and Clifford tore the Club down musically. It was a musical inferno of which the arsonists also included Art Blakey - of course on "pyrotechnic" Drums
Em 1958 era difícil adquirir um Disco de 78 rpm aqui no Rio de Janeiro, imagine em Niterói, uma cidade ao lado e que era Capital do Estado do Rio de Janeiro. Eu estava no Ginasial, fazendo esforço, pois o ensino era rigoroso. Mas já gostava de ouvir alguns discos na casa de um colega, cujo pai era apaixonado, por Jazz. Mas, naquele tempo havia ora para tudo e muitas vezes não se ouvia quase nada, Hoje idoso, tenho oportunidade de ver o que ouvi nos velhos discos - o melhor do Jazz !!!!!
That stage is packed with talent, I love that Ludwig drum kit, No matter what style of music Ludwig Drums always put out the right sound when tuned properly. Dizzy was so young there I remember seeing him on Johnny Carson in the 70's, Like most great musician's his talent keep on growing.
Acabei de ouvir agora, no carro. No mesmo disco tem "É o Cid", "Na Onda do Berimbau", "O Ganso", "Pergunte ao João"... Gostaria de saber o quê pensaria o compositor de The Blues Walk ao saber que sua música, ainda hoje, é usada nas paradas para intervalo das orquestras dos bailes de carnaval de clubes. Só uma observação, acho que o baterista da gravação do Ed Lincoln não ajudou muito. Se fosse o Edison Machado, não teria pra ninguém, nem para o Gus Johnson.
Ricardo, O fantástico Edson Machado nós vamos encontrar junto a outros fantásticos como: Luiz Carlos Vinhas (piano) e Sebastião Neto (baixo); no conjunto " Os Bossa Três", em 1963. Muito Bom! Ainda assim, não desprezo a versão do Ed. Lincoln, mesmo sem saber quem é o baterista.
Maurici, um "Luiz" criou um blog, que já está parado desde 07/2012, para divulgar trabalhos do Edison Machado. Apesar do tempo de inatividade, muitos links ainda estão ativos. Consegui baixar muita coisa legal, pois o "Luiz" disponibiliza discos em que o Edison participou nas gravações, não necessariamente como integrante de um grupo próprio. Tem os do "Os Bossa Três" e o do "Quarteto Edison Machado", claro, mas também outros discos em que ele foi contratado apenas como baterista. Dê uma olhada lá: edisonmachado.blogspot.com.br/ Quanto ao baterista da versão do Ed Lincoln, que eu também não sei quem é, parece que as baquetas dele pesam 20 kg cada, e esse é o tipo de música que todo baterista deveria adorar tocar, pois a virada é só dele. Quem deve saber o nome do baterista e da tia que servia café no estúdio são os japoneses. De música brasileira eles têm tudo e sabem tudo. Nós... bem, nós somos nós, os "espertos". Abração
What's up with Dizzy yacking during Sonny's solo? Gus didn't miss a beat however. True professional he is. Sonny could steal a show. Might have worried Diz. Thanks for these wonderful postings. Great stuff. .
that's pretty common in jazz. Listen to any studio recording you can hear cats in the background jiving. Plus it's Dizzy Gillespie. I doubt he's worried of his thunder being stolen.
its like in church, at least in the black church, the congregation members urge the pastor on. they engage in call and response as well. these things are all connected and flow into jazz.
Who wrote it? Sonny Stitt? Lou Donaldson? Those are the two main suspects. There's even an argument about the title - Is it "Blues Walk" or "Loose Walk"?
from what i've heard its actually supposed to be loose walk, theres a recording of Dexter where he says " a song written by Sonny Stitt named Loose walk or walk loosely" either way blues walk and loose walk are both killin tunes for sure
Of all the great saxophone players in modern jazz i always thought Sonny Stitt was the most underated and not taken too seriously in his younger days because he copied Parker.
