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Is Dizzy the coolest cat of all time? #jazz #jazzcat #dizzygillespie
Is Dizzy the coolest cat of all time? #jazz #jazzcat #dizzygillespie
In 1984, Dizzy Gillespie brought his trumpet to Sesame Street on PBS — showing kids the joy of jazz and giving them a real musical moment they’ll never forget. Do you remember your earliest introduction to jazz? #wbgojazz #publicmedia #dizzygillespie #jazzeducation #sesamestreet
In 1984, Dizzy Gillespie brought his trumpet to Sesame Street on PBS — showing kids the joy of jazz and giving them a real musical moment they’ll never forget. Do you remember your earliest introduction to jazz? #wbgojazz #publicmedia #dizzygillespie #jazzeducation #sesamestreet
Reviver a obra de Dizzy Gillespie é mergulhar na história da inovação musical. Um dos registros mais emblemáticos dessa jornada é o álbum "The Dizzy Gillespie Quintet on Jazz 625" (1966), gravado originalmente para a lendária série da BBC que imortalizou os gigantes do jazz nos anos 60. Neste trabalho, a performance de "Tin Tin Deo" se destaca como um manifesto do jazz afro-cubano. Composta por Chano Pozo e Gil Fuller, a peça é o exemplo perfeito da genialidade de Gillespie em unir a complexidade do bebop aos ritmos pulsantes do Caribe. Gostou de relembrar esse clássico? Deixe nos comentários qual a sua composição favorita do mestre Dizzy! 🎺✨ #dizzygillespie #bebop #jazz #jazznoteblues #saulojazz
Reviver a obra de Dizzy Gillespie é mergulhar na história da inovação musical. Um dos registros mais emblemáticos dessa jornada é o álbum "The Dizzy Gillespie Quintet on Jazz 625" (1966), gravado originalmente para a lendária série da BBC que imortalizou os gigantes do jazz nos anos 60. Neste trabalho, a performance de "Tin Tin Deo" se destaca como um manifesto do jazz afro-cubano. Composta por Chano Pozo e Gil Fuller, a peça é o exemplo perfeito da genialidade de Gillespie em unir a complexidade do bebop aos ritmos pulsantes do Caribe. Gostou de relembrar esse clássico? Deixe nos comentários qual a sua composição favorita do mestre Dizzy! 🎺✨ #dizzygillespie #bebop #jazz #jazznoteblues #saulojazz
He Ran For President With A Bent Trumpet | Black History Dizzy Gillespie ran for president, played a trumpet bent by accident, and funded civil rights groups through campaign buttons. Here are 5 shocking facts. Important sources: Wikipedia, LAist, Polar Music Prize, History News Network. This video uses AI-assisted visuals and narration. All scripts, research, and creative direction are original human work. #DizzyGillespie, #JazzHistory, #BlackHistory, #BebopLegend, #MusicFacts Dizzy Gillespie facts, bebop jazz history, Dizzy Gillespie president campaign, bent trumpet story, Black jazz legends
He Ran For President With A Bent Trumpet | Black History Dizzy Gillespie ran for president, played a trumpet bent by accident, and funded civil rights groups through campaign buttons. Here are 5 shocking facts. Important sources: Wikipedia, LAist, Polar Music Prize, History News Network. This video uses AI-assisted visuals and narration. All scripts, research, and creative direction are original human work. #DizzyGillespie, #JazzHistory, #BlackHistory, #BebopLegend, #MusicFacts Dizzy Gillespie facts, bebop jazz history, Dizzy Gillespie president campaign, bent trumpet story, Black jazz legends
Today we bring you the great Dizzy Gillespie accompanied by Rudy Collins, Christopher White, Kenny Barren, and James Moody, performing “Tin Tin Deo”. Enjoy it🍸🎺 Disclaimer: We do not own the rights to this video. It is shared for educational purposes only. Message or email us for removal. #mindthejazz #jazz #jazzmusic #jazzlovers #liveperformance #trumpet #dizzygillespie
Today we bring you the great Dizzy Gillespie accompanied by Rudy Collins, Christopher White, Kenny Barren, and James Moody, performing “Tin Tin Deo”. Enjoy it🍸🎺 Disclaimer: We do not own the rights to this video. It is shared for educational purposes only. Message or email us for removal. #mindthejazz #jazz #jazzmusic #jazzlovers #liveperformance #trumpet #dizzygillespie
Reviver a obra de Dizzy Gillespie é mergulhar na história da inovação musical. Um dos registros mais emblemáticos dessa jornada é o álbum "The Dizzy Gillespie Quintet on Jazz 625" (1966), gravado originalmente para a lendária série da BBC que imortalizou os gigantes do jazz nos anos 60. Neste trabalho, a performance de "Tin Tin Deo" se destaca como um manifesto do jazz afro-cubano. Composta por Chano Pozo e Gil Fuller, a peça é o exemplo perfeito da genialidade de Gillespie em unir a complexidade do bebop aos ritmos pulsantes do Caribe. Gostou de relembrar esse clássico? Deixe nos comentários qual a sua composição favorita do mestre Dizzy! 🎺✨ #dizzygillespie #bebop #jazz #jazznoteblues #saulojazz
Reviver a obra de Dizzy Gillespie é mergulhar na história da inovação musical. Um dos registros mais emblemáticos dessa jornada é o álbum "The Dizzy Gillespie Quintet on Jazz 625" (1966), gravado originalmente para a lendária série da BBC que imortalizou os gigantes do jazz nos anos 60. Neste trabalho, a performance de "Tin Tin Deo" se destaca como um manifesto do jazz afro-cubano. Composta por Chano Pozo e Gil Fuller, a peça é o exemplo perfeito da genialidade de Gillespie em unir a complexidade do bebop aos ritmos pulsantes do Caribe. Gostou de relembrar esse clássico? Deixe nos comentários qual a sua composição favorita do mestre Dizzy! 🎺✨ #dizzygillespie #bebop #jazz #jazznoteblues #saulojazz
LATIN FIRE!!! Let’s get extra spicy and groove. Gotta love the bossa nova vibe on this one. Dizzy is a genius, and mastered many different styles in his illustrious career. Here he’s got his buddies James Moody on sax, Kenny Barron on keys Christopher White on bass, and Rudy Collins on drums, and they give you an earful of latin swing. The song’s called “No More Blues”, and it was originally written by Antonio Carlos Jobim in 1958. It appears on Dizzy’s album “Dizzy on the French Riviera” from 1962, and by then it had become a celebrated bossa nova standard. This performance comes from the BBC’s iconic 1960s series “Jazz 625” from 1966. The “625” refers to the higher tv resolution, and the program was famous for capturing artists in an intimate, authentic setting, rather than in a tv studio. I love the camera work and overall vibe of the show, it really makes you feel like you’re right there with the band. This tune really packs a punch and fills your ears with some tasty latin spice! #dizzygillespie #latinjazz #bossanova #jazztrumpet #livejazz
LATIN FIRE!!! Let’s get extra spicy and groove. Gotta love the bossa nova vibe on this one. Dizzy is a genius, and mastered many different styles in his illustrious career. Here he’s got his buddies James Moody on sax, Kenny Barron on keys Christopher White on bass, and Rudy Collins on drums, and they give you an earful of latin swing. The song’s called “No More Blues”, and it was originally written by Antonio Carlos Jobim in 1958. It appears on Dizzy’s album “Dizzy on the French Riviera” from 1962, and by then it had become a celebrated bossa nova standard. This performance comes from the BBC’s iconic 1960s series “Jazz 625” from 1966. The “625” refers to the higher tv resolution, and the program was famous for capturing artists in an intimate, authentic setting, rather than in a tv studio. I love the camera work and overall vibe of the show, it really makes you feel like you’re right there with the band. This tune really packs a punch and fills your ears with some tasty latin spice! #dizzygillespie #latinjazz #bossanova #jazztrumpet #livejazz
dizzy gillespie from the doc en clave from ‘92. at the time the new exciting breed of jazz musicians making a splash was most definitely latino. for the reasons dizzy states - bilingual in many ways. their ears being much more open to new things as well to experiment and able to grasp. the young lions that they wanted yu to be impress with were stuck in pure simulation of yesteryear including wearing brooks brother suits! aye pero joseito - isn’t this a blast from the past tambien. claro as they surely were honored to be on the united nation orchestra but on their own recordings were striking into territory lead down by dizzy, mario bauza and chano pozo but with a new sense of confidence they were going further into the jungle with a vitality to lead others in their journey that had rewards along the way. dizzy was handing over the baton to these guys - he saw the future. years later some young lions circled back but way too late to the party. ray mantilla said after dizzy had chano it became the sound desirable to have the conga or percussion in the mix. saying made it urban and added a significant difference even if it was straight ahead jazz. dizzy introduced these cats to europe - paquito d’rivera, arturo sandoval, claudio roditi, danilo perez, ignacio berroa, giovanni hidalgo, papo vazquez, william cepeda, charlie sepulveda, mario rivera, steve turre and david sanchez. the few americans like james moody who goes way back with dizzy during those bebop years had made an album with chano pozo. he was long on board. jazz was no longer an image of a jazz musician in a straight cut suit in conservative dark colors wearing a pork pie hat or fedora. now it was a panama hat and the smithsonian’s national museum of american history would acquire paquito’s hat to commemorate his contributions to latin jazz. but yu and i know it’s just the best jazz - punto #dizzygillespie #paquitodrivera #unitednationorchestra #cubop #joseitoshideaway
dizzy gillespie from the doc en clave from ‘92. at the time the new exciting breed of jazz musicians making a splash was most definitely latino. for the reasons dizzy states - bilingual in many ways. their ears being much more open to new things as well to experiment and able to grasp. the young lions that they wanted yu to be impress with were stuck in pure simulation of yesteryear including wearing brooks brother suits! aye pero joseito - isn’t this a blast from the past tambien. claro as they surely were honored to be on the united nation orchestra but on their own recordings were striking into territory lead down by dizzy, mario bauza and chano pozo but with a new sense of confidence they were going further into the jungle with a vitality to lead others in their journey that had rewards along the way. dizzy was handing over the baton to these guys - he saw the future. years later some young lions circled back but way too late to the party. ray mantilla said after dizzy had chano it became the sound desirable to have the conga or percussion in the mix. saying made it urban and added a significant difference even if it was straight ahead jazz. dizzy introduced these cats to europe - paquito d’rivera, arturo sandoval, claudio roditi, danilo perez, ignacio berroa, giovanni hidalgo, papo vazquez, william cepeda, charlie sepulveda, mario rivera, steve turre and david sanchez. the few americans like james moody who goes way back with dizzy during those bebop years had made an album with chano pozo. he was long on board. jazz was no longer an image of a jazz musician in a straight cut suit in conservative dark colors wearing a pork pie hat or fedora. now it was a panama hat and the smithsonian’s national museum of american history would acquire paquito’s hat to commemorate his contributions to latin jazz. but yu and i know it’s just the best jazz - punto #dizzygillespie #paquitodrivera #unitednationorchestra #cubop #joseitoshideaway
When did jazz become so boring? it’s 2026, bring back stage presence 👏🏻 #jazzsinger #jazztok #jazzmusicians #jazzvocalist #dizzygillespie
When did jazz become so boring? it’s 2026, bring back stage presence 👏🏻 #jazzsinger #jazztok #jazzmusicians #jazzvocalist #dizzygillespie
Dizzy Gillespie esteve no Brasil em diversas ocasiões. Em 1956, conheceu de perto o samba e as escolas de samba do Rio. Em 1961, retornou ao país e aprofundou seu contato com a Bossa Nova e o samba-jazz. Pouco depois, apresentou “Desafinado” no Monterey Jazz Festival e, em 1963, lançou New Wave!, álbum que traz referências à música brasileira, incluindo “Chega de Saudade (No More Blues)”. No vídeo, o Dizzy Gillespie Quintet apresenta “No More Blues (Chega de Saudade)” no programa Jazz 625, da BBC2, originalmente exibido em agosto de 1966. Trompete: Dizzy Gillespie | Saxofone: James Moody | Piano: Kenny Barron | Contrabaixo: Christopher White | Bateria: Rudy Collins Dizzy Gillespie visited Brazil on several occasions. In 1956, he experienced the samba and Rio’s samba schools firsthand. In 1961, he returned to the country and deepened his connection with Bossa Nova and samba-jazz. Soon after, he performed “Desafinado” at the Monterey Jazz Festival, and in 1963 he released New Wave!, an album featuring Brazilian influences, including “Chega de Saudade (No More Blues).” In the video, the Dizzy Gillespie Quintet performs “No More Blues (Chega de Saudade)” on the BBC2 program Jazz 625, originally broadcast in August 1966. Trumpet: Dizzy Gillespie | Saxophone: James Moody | Piano: Kenny Barron | Bass: Christopher White | Drums: Rudy Collins #dizzygillespie #nomoreblues #tomjobim #viniciusdemoraes
Dizzy Gillespie esteve no Brasil em diversas ocasiões. Em 1956, conheceu de perto o samba e as escolas de samba do Rio. Em 1961, retornou ao país e aprofundou seu contato com a Bossa Nova e o samba-jazz. Pouco depois, apresentou “Desafinado” no Monterey Jazz Festival e, em 1963, lançou New Wave!, álbum que traz referências à música brasileira, incluindo “Chega de Saudade (No More Blues)”. No vídeo, o Dizzy Gillespie Quintet apresenta “No More Blues (Chega de Saudade)” no programa Jazz 625, da BBC2, originalmente exibido em agosto de 1966. Trompete: Dizzy Gillespie | Saxofone: James Moody | Piano: Kenny Barron | Contrabaixo: Christopher White | Bateria: Rudy Collins Dizzy Gillespie visited Brazil on several occasions. In 1956, he experienced the samba and Rio’s samba schools firsthand. In 1961, he returned to the country and deepened his connection with Bossa Nova and samba-jazz. Soon after, he performed “Desafinado” at the Monterey Jazz Festival, and in 1963 he released New Wave!, an album featuring Brazilian influences, including “Chega de Saudade (No More Blues).” In the video, the Dizzy Gillespie Quintet performs “No More Blues (Chega de Saudade)” on the BBC2 program Jazz 625, originally broadcast in August 1966. Trumpet: Dizzy Gillespie | Saxophone: James Moody | Piano: Kenny Barron | Bass: Christopher White | Drums: Rudy Collins #dizzygillespie #nomoreblues #tomjobim #viniciusdemoraes
🎥 Dizzy Gillespie performs "Tin Tin Deo" with bassist Christopher White, 1966. From an episode of the BBC’s Jazz 625, London. "Tin Tin Deo" is a song composed by Dizzy Gillespie, Gil Fuller, and Luciano "Chano" Pozo, first recorded on October 25, 1948. Along with Manteca, written in 1947, it is one of the foremost contributions of Gillespie to Afro-Cuban jazz. Afro-Cuban jazz is the earliest form of Latin jazz. It mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban music has deep roots in African ritual and rhythm. The genre emerged in the early 1940s with the Cuban musicians Mario Bauzá and Frank Grillo "Machito" in the band Machito and his Afro-Cubans in New York City. In 1947, the collaborations of bebop trumpeter Dizzy Gillespie and percussionist Chano Pozo brought Afro-Cuban rhythms and instruments, such as the tumbadora and the bongo, into the East Coast jazz scene. Early combinations of jazz with Cuban music, such as "Manteca" and "Mangó Mangüé", were commonly referred to as "Cubop" for Cuban bebop. During its first decades, the Afro-Cuban jazz movement was stronger in the United States than in Cuba.  In the early 1970s, Kenny Dorham and his Orquesta Cubana de Música Moderna, and later Irakere, brought Afro-Cuban jazz into the Cuban music scene, influencing styles such as songo. 🎷 Join the @jazzphotoarchives & @thejazzlibrary Collective! 🔗 Support the collective through the store. (Click on the link in bio) #dizzygillespie #jazzlegend #trumpet #trumpetsolo #trumpetvirtuoso #musichistory #livemusic #musicvirtuoso #historicalfootage #jazzhistory #jazz #livejazz #afrocuban #mutedtrumpet
🎥 Dizzy Gillespie performs "Tin Tin Deo" with bassist Christopher White, 1966. From an episode of the BBC’s Jazz 625, London. "Tin Tin Deo" is a song composed by Dizzy Gillespie, Gil Fuller, and Luciano "Chano" Pozo, first recorded on October 25, 1948. Along with Manteca, written in 1947, it is one of the foremost contributions of Gillespie to Afro-Cuban jazz. Afro-Cuban jazz is the earliest form of Latin jazz. It mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban music has deep roots in African ritual and rhythm. The genre emerged in the early 1940s with the Cuban musicians Mario Bauzá and Frank Grillo "Machito" in the band Machito and his Afro-Cubans in New York City. In 1947, the collaborations of bebop trumpeter Dizzy Gillespie and percussionist Chano Pozo brought Afro-Cuban rhythms and instruments, such as the tumbadora and the bongo, into the East Coast jazz scene. Early combinations of jazz with Cuban music, such as "Manteca" and "Mangó Mangüé", were commonly referred to as "Cubop" for Cuban bebop. During its first decades, the Afro-Cuban jazz movement was stronger in the United States than in Cuba.  In the early 1970s, Kenny Dorham and his Orquesta Cubana de Música Moderna, and later Irakere, brought Afro-Cuban jazz into the Cuban music scene, influencing styles such as songo. 🎷 Join the @jazzphotoarchives & @thejazzlibrary Collective! 🔗 Support the collective through the store. (Click on the link in bio) #dizzygillespie #jazzlegend #trumpet #trumpetsolo #trumpetvirtuoso #musichistory #livemusic #musicvirtuoso #historicalfootage #jazzhistory #jazz #livejazz #afrocuban #mutedtrumpet
O jazz em ebulição. O Dizzy Gillespie Quintet surge em cena com a energia de quem ajudou a reinventar a música moderna. Mais do que um concerto, é um retrato vivo de uma era em transformação. Apresentado por Neneh Cherry em uma versão restaurada de um programa clássico dos anos 60, o grupo reúne uma formação afiada: Dizzy Gillespie - Trompete James Moody - Saxofone Kenny Barron - Piano Christopher White - Baixo Rudyz Collins - Bateria #DizzyGillespie #Jazz #JazzLive #Bebop #JazzHistory
O jazz em ebulição. O Dizzy Gillespie Quintet surge em cena com a energia de quem ajudou a reinventar a música moderna. Mais do que um concerto, é um retrato vivo de uma era em transformação. Apresentado por Neneh Cherry em uma versão restaurada de um programa clássico dos anos 60, o grupo reúne uma formação afiada: Dizzy Gillespie - Trompete James Moody - Saxofone Kenny Barron - Piano Christopher White - Baixo Rudyz Collins - Bateria #DizzyGillespie #Jazz #JazzLive #Bebop #JazzHistory
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