Dizzy Gillespie
Dizzy Gillespie
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Full Name and Common Aliases
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John Birks "Dizzy" Gillespie was an American jazz trumpeter, bandleader, and composer.
Birth and Death Dates
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Born: October 21, 1917, in Cheraw, South Carolina
Died: January 6, 1993, in Englewood, New Jersey
Nationality and Profession(s)
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American, Musician (Trumpeter), Bandleader, Composer
Early Life and Background
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Gillespie's early life was marked by a passion for music. Growing up in South Carolina, he began playing the cornet at age 8. His mother, Lottie Routt Gillespie, encouraged his musical endeavors, and he eventually joined the local school band. After high school, Gillespie moved to New York City in 1937 to pursue a career in jazz.
Major Accomplishments
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Gillespie's accomplishments are numerous:
Developed Bebop style of jazz with Charlie Parker, a movement that transformed the music landscape.
Introduced new techniques for playing the trumpet, such as "tremolo" and "staccato."
Composed over 100 jazz standards, including "A Night in Tunisia" and "Salt Peanuts."Notable Works or Actions
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Some of Gillespie's notable works include:
A Night in Tunisia (1940) - a signature piece that showcased his mastery of Bebop.
Salt Peanuts (1945) - a hit single that became one of the first jazz records to sell over 1 million copies.Impact and Legacy
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Gillespie's impact on jazz is immense:
His innovations in trumpet playing paved the way for modern musicians.
* He was one of the most influential bandleaders, inspiring generations of musicians.
Why They Are Widely Quoted or Remembered
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Dizzy Gillespie is widely quoted and remembered for his groundbreaking contributions to jazz.
Quotes by Dizzy Gillespie
Dizzy Gillespie's insights on:
They’re not particular whether you’re playing a flat 5th or a ruptured 129th as long as they can dance.
Miles got a mystique about him-plus he’s at the top of his profession. And he’s got way, way, way more money.
Nothing surpasses my performances with small bands, especially with Charlie Parker. A small band doesn’t forestall creativity.
I think the idea is now for blacks to write about the history of our music. It’s time for that, because whites have been doing it all the time. It’s time for us to do it ourselves and tell it like it is.
Everyone wants to put people on, I think. And get away with it! That’s the thing: put people on and get away with it! That’s a science in itself.
I know all the Latin-American rhythms quite well, but I don’t play them exactly like they do in their own country – I add my personal touch.
How do I know why Miles walks off the stage? Why don’t you ask him? And besides, maybe we’d all like to be like Miles, and just haven’t got the guts.