Dizzy Gillespie  

  Jazz Trumpet, U.S.A.
(1913 - 1993)                              

On January 6th Jazz Trumpet player 'Dizzy' (John Birks) Gillespie died in New Jersey, U.S.A. at the ripe old age of 75.

He was born in South Carolina, the 9th child of a bricklayer, who also had his own band. When he was 16 he won a scholarship to study harmony and theory at the Laurinsburg Institute in North Carolina.

Within two years he was playing professionally in Philadelphia. His early playing style was a deliberate imitation of Roy Eldridge, whom he was later to replace as trumpeter in Teddy Hill's orchestra. He earned his nick-name in the 30s for the joyful zanyness of his character and his clowning on stage, when playing in the big bands of Teddy Hill and Cab Calloway.

Dizzy Gillespie was the last living 'great' from the bebop pioneers, a group of musicians who created a revolution in jazz in the early 40's. Others in the group were Charlie Parker, Bud Powell, Kenny Clarke, Thelonious Monk and Miles Davis. Dizzy and Charlie Parker in particular, when they were playing in the orchestras of Earl Himmes and Billy Eckstine, or jamming in New York jazz clubs, developed the basic principles of bebop. Dizzy once said that Charlie Parker was the 'other half of my heartbeat'. Dizzy's contribution - apart from the bright blistering-paced trumpet playing and his ever-present 'style' - came from his thorough grasp of musical theory, and from his stage dress!
His sunglasses, beret, and goatee became the hall-marks of bebop. He would also vocalize phrases of the music, putting the trumpet aside and singing in a deep rich voice; baa oobede be-bop...

Because of the war and a strike in the record-making industry the results of these experiments were not widely known until 1946. First reactions were not promising. The whimsical melodies and complex nervous rhythms took some getting used to after the swings and riffs of classical jazz. In 1947 Dizzy established the first (and only) bebop big band, and in the 50s bebop won general acceptance.

Dizzy also played an important part in the introduction of Latin-American rhythms in Jazz, working with Cuban musicians. Many of his compositions became jazz classics: A Night in Tunisia, Woody 'n You, Groovin' High, Salt Peanuts, Manteca, Things to Come, Con Alma and Dizzy's Dance.

Dizzy was also known the world over for his bullfrog cheeks when playing in his crazy hats and with his bent trumpet (the result of an unfortunate fall), and his audience-friendly stage style. Between the virtuoso dancing phrases from his trumpet, he would intersperse sardonic jokes, silly announcements, and comic monologues. He once said that his cheeks had been studied by a scientist and had been given the name "Gillespie's pouches".

So popular did he become that at election-time in America T-shirts appeared with his portrait and the words "Dizzy for President".

He was a fierce opponent of racism: he once said that if he were ever elected he would rename the White House the Blues House and make jazz trumpeter Miles Davis, head of the CIA.

He continued to perform until a few months before his death, and would talk about his Bahá´í beliefs in interviews. While on tour, he often received Bahá´í s backstage or attended Bahá´í events. He wrote a biography, 'To be or not to bop'.

Excerpt from BAFA newsletter, March 1993, page 4.

The Spiritual Side of Dizzy by Lowell Johnson

...I first met Dizzy in 1963 in England. I was attending the first Bahá´í World congress at Albert Hall in London, and was invited to attend a press conference in honour of Dizzy and other jazz musicians who would be part of a jazz festival.

The press gathering was being held on a beautiful rolling estate just outside London. I arrived and signed the register "Lowell Johnson - jazz d.j. - South Africa", and was taken to one of about 20 umbrella-shaped tables on an expansive lawn. My guide explained that the musicians would visit the tables and we could talk with them as they came by. In the meantime we were supplied with drinks and snacks.
One by one the musicians visited our table, but I was primarily interested in meeting Dizzy. Eventually my very diplomatic guide came to my table and asked, "Are you Lowell Johnson from South Africa?"

I said yes, and the young man said: "I just came to warn you. Dizzy Gillespie is looking for you. He wants to punch you back to Johannesburg."

I waited asking myself how I was going to handle this situation. I really did not want to punched by Dizzy Gillespie.

...Soon Dizzy came to our table. I let the other four at the table introduce themeselves first. Then as I had decided not to introduce myself immediately, I said a few things like: "I am very happy to meet you at last. It has always been my hope to get a chance to do an interview with you. My jazz fans will really appreciate it if I could ask you a few questions on tape. Oh yes, my name is Lowell Johnson from South Africa."

When he heard my name and country, he clenched his fist and lifted his arm. He really wanted to punch me, but he kept his arm poised and aimed. "But, but... but you are American!", he said.