- #DIZZY GILLESPIE IN THE BEGINNING REVERB LP ARCHIVE#
- #DIZZY GILLESPIE IN THE BEGINNING REVERB LP PLUS#
He and Charlie Byrd, the co-leaders, were joined by Byrd’s working rhythm section: Keter Betts on bass and Buddy Deppenschmidt on drums. In our day Jazz Samba has been overshadowed by 1964’s Getz/Gilberto, the undisputed masterpiece of the genre, with its monster hit “The Girl from Ipanema.” Jazz Samba, in contrast, featured Getz with American, not Brazilian, musicians. The record netted Stan Getz a Grammy Award in 1963 for Best Solo Jazz Performance, bolstered Creed Taylor’s reputation as an emerging star producer and gave Getz and Byrd career hooks to hang their hats on for years to come. 1 on the Billboard pop chart, and it remained on the charts for 70 weeks. Jazz Samba, on the other hand, sold half a million copies in 18 months and became the only jazz album ever to hit No. Dizzy Gillespie, Herbie Mann, Curtis Fuller, Bud Shank and Stan Kenton (with Laurindo Almeida) had recorded Brazilian music before, but without much notice or commercial success. Stan Getz and Charlie Byrd’s Jazz Samba, released by Verve in April of 1962, was not the first Brazilian-inspired jazz effort by Americans. In time it would become, in Morales’ phrase, “the first truly panhemispheric music of the Americas.” The new idiom’s seductive sound, unusual song forms and suitability for jazz improvisation had a profound impact on most American jazzers who heard it. He and guitarist and vocalist João Gilberto pioneered a new, urban, sophisticated music called bossa nova, derived from the faster, more symmetrical samba rhythm. Antonio Carlos Jobim had been influenced by West Coast “cool” well before his first in-the-flesh collaborations with American jazz musicians. The role of jazz in fostering amity and exchange between the two nations cannot be overstated. “Ahead of the rest of Latin America, Brazil posited itself as another country in the Americas with a strong enough history and cultural development to become a cultural peer of the United States,” writes Ed Morales in The Latin Beat (Da Capo, 2003). In the process, he’s raising new questions about how the ’60s bossa nova craze came into being. At around 2:19, Hinton takes a short solo to help the song amble to its conclusion.Buddy Deppenschmidt and friends, Brazil, 1961ĭrummer Buddy Deppenschmidt is speaking out about his role in the recording of Stan Getz and Charlie Byrd’s 1962 classic Jazz Samba.
#DIZZY GILLESPIE IN THE BEGINNING REVERB LP PLUS#
This record includes Hinton plus six colleagues.Īmong them is pianist Dave Rivera, who composed “Just Plain Blues.” The wonderfully lackadaisical trumpet solo is by Jonah Jones. Just Plain Blues was a 10-inch 78 rpm featuring the “Milt Hinton Orchestra,” one of those monikers that record companies and nightclubs invented to market pick-up ensembles of freelance musicians.
#DIZZY GILLESPIE IN THE BEGINNING REVERB LP ARCHIVE#
He took tens of thousands of photos of jazz icons in their working environment, creating a valuable archive for posterity.Įnjoy these eight great tracks by Milt Hinton. As an avid photographer, he always brought his camera to rehearsals and gigs. One of Hinton’s greatest contributions to jazz history was not strictly musical. After a long and illustrious career, Milt Hinton died in 2000 at the age of 90. As his career progressed, he became known as the Dean of the jazz bass. He was sought after by all the greats, who gave him the nickname The Judge. It was the most innovative musicians, like trumpeter Dizzy Gillespie and multi-instrumentalist and arranger Benny Carter, who inspired him the most.Īfter Calloway’s big band dissolved in the early 1950s, Hinton supported himself with session work. Hinton stayed with that band for 15 years, putting him in contact with everyone in the industry. The first huge break in his career happened in 1936, when Cab Calloway hired him to play bass in his orchestra. When in 1930 he made the fateful choice to learn the double bass, he was on his way to the jazz pantheon. Hinton started on violin, then learned bass saxophone and tuba in high school, which gave him a chance to play with Lionel Hampton.
His mother and aunts, who all played piano, used to take young Milt to the Vendome Theater in Chicago to hear incredible acts like Duke Ellington and Louis Armstrong. Thanks to his determination and his skill on the upright bass, he became one of the greatest masters of that instrument. His mother, who raised him, moved the family out of poverty and into Chicago in 1919, which by contrast put Hinton in a prime location for opportunity in the world of jazz. Hinton once told a reporter that he saw a lynching when he was a child. When Milt Hinton was born in 1910, Mississippi was far from a welcoming place for Black people.
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