Bebop jazz is a wonderful and uplifting, dynamic, and delightful form of music that offers a rich and nuanced listening experience. This long listening exercise presents four songs by the late great Dizzy Gillespie, playing with Sonny Stitt and the Dizzy Gillespie Quintet in Belgium in 1958. The songs are all analyzed in terms of the role of the instruments and the nature of the solo.
Jazz
Performance: "Blues After Dark," Dizzy Gillespie (trumpet), Sonny Stitt (tenor sax), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums). In Belgium, 1958
This dynamic performance starts rather tentatively with the trumpet and saxophone, before the band joins in earnestly. Piano, bass, and drums accompany the lead trumpet (Dizzy Gillespie) and tenor saxophone (Sonny Stitt). The introduction builds rather quickly after that, build around a central phrasing structure. There are deliberate and dynamic pauses inserted throughout, adding dimension and tension. The head or lead instruments, which remain the trumpet and saxophone, guide the jazz band. The same riff and phrase is echoed by trumpet and saxophone, as the two instruments play together in unison. The piano answers. Occasionally the piano provides a lead-in for the next measure, as if introducing the trumpet and the saxophone. The bass provides the rhythmic structure that keeps the band focused. Moreover, the bass serves to change the rhythm and tempo, when it is needed. The drum is so soft that it is barely there, more visible than it is audible.
There are three solos in the piece. The first solo is the trumpet solo, which is heralded by a few solo notes played by the saxophone. The trumpet solo is long, and is the feature of "Blues After Dark." Dizzy Gillespie is in full control. His solo is long, nuanced, and captivating. The bass provides the only accompaniment, and is the only necessary accompanying instrument to provide rhythm and structure as well as depth and nuance to the piece. The stand up bass is all walking over the place, reaching high and low registers just as Gillespie is with the horn. Meanwhile, the drummer is tapping his sticks but not brushing or tapping the drums at all.
The overall impact of the solo itself is dynamic joy. It fits in well within the overall song structure. Gillespie plays with control, and yet does not feel tight. With only the bass for guidance and counterpoint, the trumpet is free to play and yet does not wander far from the central phrasing. When it is time to join back with the band, the result is a seamless transition. Therefore, the solo is not only successful, but it is powerful. The impact on the listener is one of emotional catharsis, liberation, and genuine happiness.
Style = BeBop
Role of Piano = Stride and Comping
Role of the Bass = Walking
Role of the Drums = Brushing and Riding
Role of the Trumpet and Saxophone = Lead and Melody
Performance: "Sunny Side of the Street," Dizzie Gillespie (trumpet); Sonny Stitt (tenor sax), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums). In Belgium, 1958
"Sunny Side of the Street" begins with a dynamic harmonic, almost like a drone, as the trumpet and the tenor saxophone play one note, the same note, together and sustain it for several beats. Then the bass enters, the cymbals are twitched, and the song begins in earnest. With the soft, warm bass providing rhythmic structure, the saxophone and trumpet play the central melody as the lead instruments. In the background, the keys of the piano make their appearance along with the delicate brushing of the jazz drum kit. Suddenly, the trumpet and the saxophone begin to diverge. Whereas they were once playing the same melody in unison, they start to "talk" to one another. Dizzie Gillespie actually walks a few steps away to symbolize the changing relationship between the two lead instruments at this moment in the song. This relationship is solidified at the end of the song with the interesting vocals.
Style = BeBop
Role of Piano = Stride and Comping
Role of the Bass = Walking
Role of the Drums = Brushing and Riding
Role of the Trumpet and Saxophone = Lead and Melody
Performance: "Loverman," Dizzie Gillespie (trumpet), Sonny Stitt (tenor saxophone), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums). In Belgium 1958
"Loverman" begins with Sonny Stitt, and his saxophone doles out ribbons of sound in a flourish before launching gently into the main part of the melody. This is a down tempo number, and a little slow. However, Stitt lifts up the dynamics with his playing. The mood is sad, it is a ballad ideal for a slow dance. The sax, although unaccompanied by the trumpet or any other lead instrument yet, is not quite a solo, it is more of an introduction. The bass backs him up.
Style = Bebop ballad
Role of Piano = comping
Role of the Bass = rhythm and comping
Role of the Drums = Brushing
Role of the Saxophone = Lead and Melody
Performance: "Blues Walk." Dizzie Gillespie Quintet Live in Belgium 1958 with Dizzy Gillespie (trumpet) Sonny Stitt (tenor saxophone), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums)
The drums feature firmly here, especially at the beginning. The drummer taps in the song, at first indicating a low tempo but then quickening it for the introduction of the head instruments, saxophone and trumpet. This is a lively, upbeat introduction. The trumpet and the saxophone start together, singing loud and clear with one another for a few bars. The same phrase is repeated for another bar, connected by the drums in between.
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