excerpt from 'Hear Me Talkin' To Ya: The Classic Story of Jazz as Told by the Men Who Made It' pp. 342-343 (199 words)
excerpt from 'Hear Me Talkin' To Ya: The Classic Story of Jazz as Told by the Men Who Made It' pp. 342-343 (199 words)
| part of | Hear Me Talkin' To Ya: The Classic Story of Jazz as Told by the Men Who Made It |
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| original language | |
| in pages | 342-343 |
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Dizzy Gillespie came into the Calloway band in the early 'forties. The first impression he made was that he was very progressive--even more than Chu Berry. Chu and Dizzy didn't hit it off too well. […] Dizzy was playing a new thing. But Chu's style was based on riff patterns and speed. Diz was working on a new harmonic structure. Dizzy's music was much more exciting. It was the beginning of a new trend. Dizzy hadn't perfected it yet. There were things he attempted to do that he couldn't, […] but he got to me, and I admired him for what he tried. Like he would try a long-range progression with a high note at the end and he missed it. [...] Most of [the band] didn't think he had anything or would amount to anything. I was a kind of laboratory for Diz in the Calloway band. It was easy to get a bass aside so I'd walk him on bass while he'd try different chords and progressions. At the College Club [may mean 'Cotton Club'], for example, during intermissions, we'd go up on the roof and practice. It was easy to bring a bass up on the roof. |
| appears in search results as | excerpt from 'Hear Me Talkin' To Ya: The Classic Story of Jazz as Told by the Men Who Made It' pp. 342-343 (199 words) |
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