In tune... Dizzy Gillespie wrote: “When I encountered the Bahai faith, it all went along with what I always believed. I believed in the oneness of mankind. I believed we all come from the same source, that no race of people is inherently superior to any other.”
@@dahalofreeek It believes Religions are like Chapters of One Book with Divine Educators coming every 500-1000 years. Baha'i is appealing because it's a modern "Update". (1863),
Because I thought Mongo Santamaria wrote this, I did a google search: "Manteca" is one of the earliest foundational tunes of Afro-Cuban jazz. Co-written by Dizzy Gillespie, Chano Pozo and Gil Fuller in 1947, it is among the most famous of Gillespie's recordings (along with the earlier "A Night in Tunisia") and is "one of the most important records ever made in the United States", according to Gary Giddins of The Village Voice. "Manteca" is the first tune rhythmically based on the clave to become a jazz standard. In 1947, Gillespie asked Mario Bauzá to recommend a Cuban percussionist for his big band. Bauzá suggested Pozo, a rough-living percussionist already famous in Cuba, and Gillespie hired him. They began to work Pozo's Cuban-style percussion into the band's arrangements. The band was touring in California when Pozo presented Gillespie with the idea for the tune. It featured a bridge of two eight-bar trumpet statements by Gillespie, percussion patterns played by Pozo, and horn lines from Gillespie's big band arranger Walter "Gil" Fuller. According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: "If I'd let it go like [Pozo] wanted it, it would have been strictly Afro-Cuban all the way. There wouldn't have been a bridge. I thought I was writing an eight-bar bridge, but after eight bars I hadn't resolved back to B-flat, so I had to keep going and ended up writing a sixteen-bar bridge." The rhythm of the 'A' section melody is identical to a common mambo bell pattern: Early performances of "Manteca" reveal that despite their enthusiasm for collaborating, Gillespie and Pozo were not very familiar with each other's music. The members of Gillespie's band were unaccustomed to guajeos, overly swinging and accenting them in an atypical fashion. Thomas Owens observes: "Once the theme ends and the improvisation begins... Gillespie and the full band continue the bebop mood, using swing eighths in spite of Pozo's continuing even eighths, until the final A section of the theme returns. Complete assimilation of Afro-Cuban rhythms and improvisations on a harmonic ostinato was still a few years away for the beboppers in 1947." "Manteca" was first performed by the big band at Carnegie Hall on September 29, 1947; it was very well received. The big band recorded the tune on December 22, 1947, and in early 1948 they toured Europe for a few months, without including the piece in their set list. Instead, they featured the two-part tune "Cubana-Be/Cubana-Bop", recorded eight days before "Manteca", as their nod to Afro-Cuban jazz. Resuming touring in the Spring 1948, the band replaced "Cubana-Be/Cubana-Bop" with "Manteca" in their set list, augmented with Pozo's abakuá chants; audiences and critics responded strongly. The New Yorker and Life both printed pictorials and reviews of the band. Life wrote that Pozo was a "frenzied drummer", "shouting incoherently" in apparent "bop transport". DownBeat said in September 1948 that "Manteca" was performed "almost as a tribal rite", making a primitive statement] On October 9, 1948, the song was recorded as part of a show at the Royal Roost in New York. Gillespie responded to the crowd's amusement at Pozo's chanting by mimicking Pozo's chants himself, evoking laughter from the audience. This type of clowning was common to Gillespie's stage presence but it was in contrast to his serious effort to incorporate Afro-Cuban elements into jazz.[5] On this recording, someone is heard playing the 3-2 son clave pattern on claves throughout a good portion of this 2-3 song. This recording is the last one Pozo made of "Manteca"; he was shot and killed in a Harlem bar two months later.[ *The Spanish word manteca (lard) is an Afro-Cuban slang term for heroin.* Because mainstream jazz audiences are generally not aware of the innovations of Machito's band, "Manteca" is often erroneously cited as the first authentic Latin jazz (or Afro-Cuban jazz) tune. Although "Tanga" preceded "Manteca" by several years, the former is a modal descarga (Cuban jam), lacking a typical jazz bridge, or B section, and is not well known enough to be considered a jazz standard.[9] When Gillespie first began experimenting with Afro-Cuban rhythms, the bebop pioneer called the subgenre cu-bop. The piece refers to racial tensions in America; Gillespie is heard singing, "I'll never go back to Georgia". In 1965, the Joe Cuba Sextet got their first crossover hit with the Latin and soul fusion of "El Pito (I'll Never Go Back to Georgia)". The "Never Go Back To Georgia" chant was taken from Dizzy Gillespie's introduction to this seminal Afro-Cuban tune, "Manteca".
@@orlygarcia3922 Thanks, but the credit should go to whoever updated Wikipedia. I copied pieces I found interesting as others found interesting as well. Here you go - from Dizzy on Manteca ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Vlagk-LDXq0.html
Thank you for all that information One question: what you say about the slang meaning of manteca (which in Spanish is butter, not "'lard"), do you imply that this tune was an hymn to drug in its authors' mind?
Manteca is not a composition made by Dizzy. İt was a composition made by Chano Pozo a Cuban empirical percussionist jazz percussionist of Afro-Cuban jazz. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-IMipw5NWSZk.html
I’m 23 and grew up listening to today’s music (r&b, pop, hip hop), the stuff you guys probably hate, but after taking a jazz history course this semester, I’ve fallen in love with this art. Been adding this song along with many others to my playlists and playing it for my friends. They don’t seem as fond of it as I am, but I’m sure they’ll come around. Or at least I hope (they’d be missing out). My favorite artists I’ve come across so far are Dizzy Gillespie and Dexter Gordon
@@jibsmokestack1 Indeed he did, after the innovations of Mario Bauza and Machito on TANGA and other songs. Mario introduced Dizzy to Cab Calloway and also to Chano Pozo!
Manteca played by Dizzy is one of the most powerful numbers in Jazz and what a brilliant arrangement. It’s also good to see the late Ronnie Scott on the sax in this version.
Great. I had the privilege to sit next to him in the Island of Goree in 1976. The first ever jazz fest in that Island. He patiently listened and wrote my name on a bit of paper as I spelt it for an autograph, and then he went back to play Night in Tunisia, on a warm African night full of stars.
I had the owner and pleasure of watching Dizzy Gillespie live at Blues Alley in Washington, D.C, for a jazz appreciation class. He and those big cheeks of his were just feet away from me. I'll never forget it!
That's Kenny Clarke on drums, duh! He is a master at the bebop drum, changing bass drum for snare sounds he changed the way bebop drums are played.... Sat in with the cat at KC one night..,,
Covered this song last semester in H.S as one of our set works. Damn I love songs like this which overlap layers of instruments to create a chaotic feeling.
Bossa Nova’s prime progenitors were Antonio Carlos Jobim, João Gilberto, and Bonfá. They were heavily influenced by Bebop music of Dizzy, Charlie Parker, and Bud Powell. But Joabim, Gilberto & Bonifá were stars in the era of great music in Brazil. They were instrumental in bringing the sound of Latin Jazz & Bossa Nova to North American audiences. Some of the songs written by Carlos Jobim took their inspiration from works by Dizzy, Bird, and Bud Powell, but they were very different. Dizzy would never consider himself the father of Bossa Nova, Salsa or Latin Jazz. Why would he? Dizzy Gillespie was an innovator in his own right. Bebop was Bird & Dizzy's milieu. They developed the famed Jazz genre. ♡
@@91Kingscrib84 Bossa nova really a stripped-down samba rhythm on acoustic guitar. All Brazilian. Listen to the first recordings in 1958/59. Right that Dizzy had nothing to do with its origin. Salsa too. As we know it was NYC in the 60s/70s, but it goes back to Cubans like Beny Moré and others long before.
Excelente versión de este tema. Gillespie es, sin duda, uno de los grandes trompetistas de esta música maravillosa. La más importante del siglo veinte.
Manteca is not a composition made by Dizzy. İt was a composition made by Chano Pozo a Cuban empirical percussionist jazz percussionist of Afro-Cuban jazz. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-IMipw5NWSZk.html
@@nicoledavies8506 I was intrigued, so I had to look it up. It's in Striking Vipers - not sure which scene since I don't really want to watch that episode again LOL. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Ipb9huZT51Y.html
una de sus tremendas joyas de este genio .del jazz junto miles davis y charlie bird parker tremenda música espara mi el mejor jazz como spicodelico ..como la música de teorías monk .geniales grasias x compartir este pedazo de historia ..dese chile un fraternozo abrazo ..atte jose luis garcia
"MANTECAAAA!" Damn Kenny Clarke is drumming on this? That guy changed drumming from time keeping with the feet to using the high hats. Oop Bob Shabam Klookamop!
Oh true. My bad. Yes you're right Joe Jones did the high hat swing drumming. Klook hit the ride. Very interesting how it all developed and not just what drums they hit but also how the rhythms changed too.
Wait for the break at 1:50, for 10 seconds and counting after that time stamp. They only do it one smooth time in this version. Better than none. Such a stylish contrast.
I burst out laughing reading what you wrote. You have a point! This is an old jazz song, but certainly one of the most intense ever composed or played.
Manteca is not a composition made by Dizzy. İt was a composition made by Chano Pozo a Cuban empirical percussionist jazz percussionist of Afro-Cuban jazz. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-IMipw5NWSZk.html
