John Birks "Dizzy" Gillespie (pron.: /ɡɨˈlɛspi/; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer and occasional singer.
Allmusic's Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time , Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated . . . Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time."
Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic complexity previously unknown in jazz. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop.
In the 1940s Gillespie, together with Charlie Parker, became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Jon Faddis and Chuck Mangione
Gillespie was born in Cheraw, South Carolina, the youngest of nine children of James and Lottie Gillespie. James was a local bandleader, so instruments were made available to Dizzy. He started to play the piano at the age of four. Gillespie's father died when the boy was only ten years old. Gillespie taught himself how to play the trombone as well as the trumpet by the age of twelve. From the night he heard his idol, Roy Eldridge, play on the radio, he dreamed of becoming a jazz musician. He received a music scholarship to the Laurinburg Institute in Laurinburg, North Carolina, which he attended for two years before accompanying his family when they moved to Philadelphia.
Gillespie's first professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the respective orchestras of Edgar Hayes and Teddy Hill, essentially replacing Roy Eldridge as first trumpet in 1937. Teddy Hill’s band was where Gillespie made his first recording, King Porter Stomp. At this time, Dizzy met a young woman named Lorraine from the Apollo Theatre, whom he married in 1940. They remained married until his death in 1993. Dizzy stayed with Teddy Hill’s band for a year, then left and free-lanced with numerous other bands. In 1939, Gillespie joined Cab Calloway's orchestra, with which he recorded one of his earliest compositions, the instrumental Pickin' the Cabbage, in 1940. (Originally released on Paradiddle, a 78rpm backed with a co-composition with Cozy Cole, Calloway's drummer at the time, on the Vocalion label, No. 5467).
Tadd Dameron, Mary Lou Williams and Dizzy Gillespie in 1947
Dizzy was fired by Calloway in late 1941, after a notorious altercation between the two. The incident is recounted by Gillespie, along with fellow Calloway band members Milt Hinton and Jonah Jones, in Jean Bach's 1997 film, The Spitball Story. Calloway did not approve of Gillespie's mischievous humor, nor of his adventuresome approach to soloing; according to Jones, Calloway referred to it as “Chinese music.” During one performance, Calloway saw a spitball land on the stage, and accused Gillespie of having thrown it. Dizzy denied it, and the ensuing argument led to Calloway striking Gillespie, who then pulled out a switchblade knife and charged Calloway. The two were separated by other band members, during which scuffle Calloway was cut on the hand.
During his time in Calloway's band, Gillespie started writing big band music for bandleaders like Woody Herman and Jimmy Dorsey. He then freelanced with a few bands – most notably Ella Fitzgerald's orchestra, composed of members of the late Chick Webb's band, in 1942.
In 1943, Gillespie joined the Earl Hines band. Composer Gunther Schuller said:
... In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Gillespie runs in the trumpet section work. Two years later I read that that was 'bop' and the beginning of modern jazz ... but the band never made recordings.
Gillespie said of the Hines band, "People talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here ... naturally each age has got its own shit".
Next, Gillespie joined Billy Eckstine's (Earl Hines' long-time collaborator) big band and it was as a member of Eckstine's band that he was reunited with Charlie Parker, a fellow member of Hines's band. In 1945, Gillespie left Eckstine's band because he wanted to play with a small combo. A "small combo" typically comprised no more than five musicians, playing the trumpet, saxophone, piano, bass and drums.
Bebop was known as the first modern jazz style. However, it was unpopular in the beginning and was not viewed as positively as swing music was. Bebop was seen as an outgrowth of swing, not a revolution. Swing introduced a diversity of new musicians in the bebop era like Charlie Parker, Thelonious Monk, Bud Powell, Kenny Clarke, Oscar Pettiford, and Gillespie. Through these musicians, a new vocabulary of musical phrases was created. With Charlie Parker, Gillespie jammed at famous jazz clubs like Minton's Playhouse and Monroe's Uptown House. Charlie Parker's system also held methods of adding chords to existing chord progressions and implying additional chords within the improvised lines.
Gillespie compositions like "Groovin' High", "Woody n' You" and "Salt Peanuts" sounded radically different, harmonically and rhythmically, from the swing music popular at the time. "A Night in Tunisia", written in 1942, while Gillespie was playing with Earl Hines' band, is noted for having a feature that is common in today's music, a non-walking bass line. The song also displays Afro-Cuban rhythms. One of their first (and greatest) small-group performances together was only issued in 2005: a concert in New York's Town Hall on June 22, 1945. Gillespie taught many of the young musicians on 52nd Street, including Miles Davis and Max Roach, about the new style of jazz. After a lengthy gig at Billy Berg's club in Los Angeles, which left most of the audience ambivalent or hostile towards the new music, the band broke up. Unlike Parker, who was content to play in small groups and be an occasional featured soloist in big bands, Gillespie aimed to lead a big band himself; his first, unsuccessful, attempt to do this was in 1945.
Gillespie with John Lewis, Cecil Payne, Miles Davis, and Ray Brown, between 1946 and 1948
A longtime resident of Englewood, New Jersey, he died of pancreatic cancer January 6, 1993, aged 75, and was buried in the Flushing Cemetery, Queens, New York. Mike Longo delivered a eulogy at his funeral. He was also with Gillespie on the night he died, along with Jon Faddis and a select few others.
At the time of his death, Gillespie was survived by his widow, Lorraine Willis Gillespie; a daughter, jazz singer Jeanie Bryson; and a grandson, Radji Birks Bryson-Barrett. Gillespie had two funerals. One was a Bahá'í funeral at his request, at which his closest friends and colleagues attended. The second was at the Cathedral of St. John the Divine in New York open to the public.
Gillespie, a Bahá'í since 1970, was one of the most famous adherents of the Bahá'í Faith which helped him make sense of his position in a succession of trumpeters as well as turning his life from knife-carrying roughneck to global citizen, and from alcohol to soul force, in the words of author Nat Hentoff, who knew Gillespie for forty years. He spoke about the Baha'i Faith frequently on his trips abroad. He is often called the Bahá'í Jazz Ambassador. He is honored with weekly jazz sessions at the New York Bahá'í Center in the memorial auditorium.
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The Dixie Hummingbirds are an influential American gospel music group, spanning more than 80 years from the jubilee quartet style of the 1920s, through the "hard gospel" quartet style of Gospel's golden age in the 1940s and 1950s, to the eclectic pop-tinged songs of today.
Formed in 1928 in Greenville, South Carolina, by James B. Davis and his classmates, they sang in local churches until they finished school, then started touring throughout the South.
Lead singer Ira Tucker joined the group in 1938 at age 13, and they signed with Decca Records. In addition to his formidable vocal skills, Tucker introduced the energetic showmanship - running through the aisles, jumping off stage, falling to his knees in prayer - copied by many quartets that followed. Tucker also took the lead in the stylistic innovations adopted by the group, combining gospel shouting and subtle melismas with the syncopated delivery made popular by The Golden Gate Quartet, as well as adventuresome harmonies, which the group called "trickeration", in which Paul Owens or another member of the group would pick up a note just as Tucker left off. The group relocated to Philadelphia, Pennsylvania in the 1940s.
During the years, a number of talented singers starred in the group—their bass, William Bobo (known as Thunder), tenor Beachy Thompson, James Walker (who replaced Owens), and Claude Jeter, who went on to star for The Swan Silvertones. The Hummingbirds added a guitarist, Howard Carroll, who added even more propulsive force to their high-flying vocals.
The Hummingbirds absorbed much from other artists as well, performing with Lester Young in the 1940s and sharing Django Reinhardt records with B.B. King in the 1950s. Tucker and the Hummingbirds inspired a number of imitators, such as Jackie Wilson and James Brown, who adapted the shouting style and enthusiastic showmanship of hard gospel to secular themes to help create soul music in the 1960s.
The group recorded for a number of different labels over the years, while touring the circuit of black churches and gospel extravaganzas. They occasionally came to the attention of white listeners—at Café Society, the integrated New York nightclub favored by jazz cognoscenti, in 1942, at the Newport Folk Festival in 1966, and as backup for Paul Simon on the 1973 single "Loves Me Like a Rock". For a long time, the group was signed to Don Robey's Peacock Records, based in Houston, Texas. In 1973, Robey sold Peacock to ABC Records, which released a cover of "Loves Me Like a Rock," produced by Walter "Kandor" Kahn and the group's lead vocalist Ira Tucker, which reached #72 on Billboard Magazine's Top 100 R&B Singles chart. The single also won a Grammy for "Best Soul Gospel Performance". Kahn and Tucker produced an album for ABC entitled We Love You Like A Rock. The album contained Stevie Wonder's "Jesus Children", on which Wonder played keyboards.
At that time, the group consisted of five vocalists: Ira Tucker Sr., James Davis, Beachy Thompson, James Walker and William Bobo. Howard Carroll was the group's guitarist. The group now consists of William Bright (vocals), Carlton Lewis, III (vocals), Torrey Nettles (drums/vocals),) and Lyndon Baines Jones (guitar & vocals and Ira Tucker, Jr (vocals)
In 1973 The group sang the backup vocals on Paul Simon's "Loves Me Like a Rock", and "Tenderness", from his album "There Goes Rhymin' Simon".
In 2003, the Hummingbirds were the subject of an award-winning book about their 75-year career span, Great God A'Mighty! The Dixie Hummingbirds: Celebrating the Rise of Soul Gospel Music [Oxford University Press] by Jerry Zolten. The book was favorably reviewed in The New York Times. 2-26-2003.
In February 2008, the first feature-length documentary/concert film featuring the life and history of the Dixie Hummingbirds was released in commemoration of their extraordinary eighty years as performers. The Dixie Hummingbirds: Eighty Years Young has been shown on the Gospel Music Channel and has played at numerous film festivals. Produced and directed by award-winning filmmaker Jeff Scheftel, and executive produced by University of Hawaii musicologist Jay Junker, the film is now available on DVD, featuring extensive interviews with Ira Tucker, Sr., archival footage, and following the current group as they perform in numerous venues and rehearse under Mr. Tucker's spirited guidance, in their hometown of Philadelphia, and across the vast landscape of America.
Ira Tucker, Sr. died due to complications from heart disease on the morning of June 24, 2008, at the age of 83. The group will go on, thereby preserving the rich legacy left by Tucker, James Davis, William Bobo, Beachey Thompson, James Walker, Howard Carroll, et al., with possible new additions to their personnel down the road.
Lloyd Smith was born in Spartanburg, S.C., and moved to the area as a teenager with his family.
He joined the WHAT staff in 1955 and worked as a disc jockey until last September when he suffered a stroke. He played jazz, blues, rock, instrumentals and other music, sang and filled his broadcasts with humor. His most recent program was broadcast from 2 to 6 a.m.
"He was always very uplifting," said Leslie Rainear, an administrative assistant at WHAT. "He really cared about other people. He always said prayers do work and he would always pray for everybody."
He received his nickname, "Fatman," because he carried 290 pounds on his 6-foot-1 frame when he performed in nightclubs in the 1950s. "He used his weight as part of his comedy act on the radio and the stage," said McPherson. ''He later thinned down, but the name stuck."
He was also known as "the sheriff," because he wore cowboy boots, a holster, fringed jackets, a badge, and a cowboy hat for more than 20 years, McPherson said. "Everything but a horse, thank goodness," she added.
James “Guitar Slim” Stephens was born on March 10, 1915, near Spartanburg, South Carolina. He began to play the pump organ at the age of 5, and two years later he switched to piano. Slim was so small that his feet would not even reach the organ pedals, so he has one of his brothers do the pumping while he practiced the keys. In his early teens he joined the John Henry Davis Medicine Show. He soon picked up the guitar an instrument, which he truly mastered. It was his welcoming spirit that opened the doors of the Carolina blues, a world rarely seen by an outsider to Tim Duffy.
William McLeish Smith (November 25, 1910 – March 7, 1967) was one of the major alto saxophone players of the swing era. He also played clarinet and sang. He is generally referred to as Willie Smith.
Born in Charleston, South Carolina, but raised in Cleveland, Ohio, Smith's first instrument was clarinet and his education was in chemistry. He received his chemistry degree from Fisk University. Nevertheless in 1929 he became an alto saxophonist for Jimmie Lunceford's band. He would be one of the main stars in Lunceford's group and in 1940 had his own quintet as a side project. His success with Lunceford had lost its charms by 1942 as he now wanted more pay and less travel. He then switched to Harry James's orchestra, where he made more money, and stayed with him for seven years. After that he later worked with Duke Ellington and Billy May. He was also part of the Gene Krupa Trio, and can be heard on the 1952 live Verve album The Drum Battle - part of the Jazz at the Philharmonic series (battle is with Buddy Rich). In 1954 he returned to Harry James's band. Added to all this he was involved in Jazz at the Philharmonic and worked with Nat King Cole.
He died of cancer in 1967, in Los Angeles, California, at the age of 56.
Howard "Louie Bluie" Armstrong (March 4, 1909 – July 30, 2003) was an African American string band and country blues musician, who played fiddle, mandolin, and guitar and also sang. He was also a notable visual artist and raconteur.
William Howard Taft Armstrong was born in Dayton, Tennessee, and grew up in LaFollette, Tennessee. As a young teenager he taught himself to play the fiddle, and joined a band led by Blind Roland Martin and his brother Carl. They toured the United States performing a wide range of music, from work songs and spirituals through popular Tin Pan Alley tunes and foreign language songs.
In 1929 he recorded with Sleepy John Estes and Yank Rachell. The following year he recorded in Knoxville for Vocalion Records, with his brother Roland Armstrong and Carl Martin, billed as the Tennessee Chocolate Drops. Adding guitarist Ted Bogan, the band toured as part of a medicine show and backed blues musicians such as Big Bill Broonzy and Memphis Minnie. As Martin, Bogan and Armstrong, they also performed at the 1933 World's Fair in Chicago. In 1934 Armstrong and Bogan recorded "State Street Rag" and "Ted's Stomp" on the Bluebird label, with Armstrong using the stage name "Louie Bluie" which he had been given by a fan.
Although Armstrong's early recordings were in the style of country rags or blues, this was not his sole repertoire as a performer. According to his sometime accompanist, author Elijah Wald, his early theme song was the Gershwin standard "Lady Be Good", and his group's repertoire included a wide range of hit songs of the period, including Italian, Polish, Mexican and country songs which he would play to meet the varying demands of his audience.
After serving in World War II, Armstrong moved to Detroit and worked in the auto industry until 1971. With a revival of interest in oldtime African American music, Martin, Bogan and Armstrong reunited to perform. The band recorded, performed at clubs and festivals and went on a tour of South America sponsored by the U.S. State Department. They played together until Martin's death in 1979.
Around this time, both Armstrong and Bogan were contacted by Terry Zwigoff, a fan of their "State Street Rag" recording. Zwigoff's interest in Armstrong eventually blossomed into a one-hour documentary, Louie Bluie, released in 1985. Armstrong was later the subject of another documentary, Sweet Old Song. He continued to perform with a younger generation of musicians, and released his first solo album Louie Bluie on Blue Suit Records in 1995, earning him a W.C. Handy Award nomination.
Along with his music, Armstrong was an expert painter, designing album covers for his group and occasionally for other artists, including Elijah Wald. He also made necklaces from beads, pipe cleaners and "found objects." He also spoke several languages.
He died in Boston, Massachusetts, aged 94, following a heart attack.
Julian Dash (9 April 1916–25 February 1974) was an American swing music jazz tenor saxophonist born in Charleston, South Carolina, probably better known for his work with Erskine Hawkins and Buck Clayton.
Julian Dash was a member of the Bama State Collegians, which later became the Erskine Hawkins orchestra. In the late 1940s and early 1950s, Julian Dash recorded for Sittin' In With records and later was on the Vee Jay label with his sextets. His renditions of "Devil's Lament" and "Dance of the Mother Bird" on Sittin' In With and his "Zig Zag" on the Vee Jay label were hits in the Black community.
Julian Dash can be heard at his best on the 1953 Buck Clayton Jam Session Columbia LPs, a 2-album session, one featuring an appearance by Woody Herman, among other leading jazz musicians.
Julian Dash's tenor sax sound was Hawkins-like, but with less rough edges than Hawk's.
Toy Talmadge Caldwell Jr. (November 13, 1947 - February 25, 1993) was the lead guitarist, main songwriter and a founding member of the 1970s Southern Rock group The Marshall Tucker Band. He was a member of the band from its formation to 1983.
Caldwell was born November 13, 1947 in Spartanburg, South Carolina, to Mr. and Mrs. Toy Talmadge Caldwell Sr. He began playing guitar before his teen years with his younger brother Tommy Caldwell. He developed a unique style of playing, playing the electric guitar using his thumb rather than a pick. Toy played basketball and football in high school with friends George McCorkle, Jerry Eubanks, and Doug Gray. While very involved in sports, the boys eventually became interested in music including jazz and blues. By age sixteen, Toy was passionate about music, sports, and his other obsession, motorcycles. He also enjoyed hunting and fishing. Caldwell decided to serve his country and enlisted in the United States Marine Corps. In 1966, he reported for recruit training at Parris Island, South Carolina. After being wounded in Vietnam in September 1968, he was evacuated for 2 weeks, then returned for duty. Caldwell was discharged in 1969 and once again began playing music with his high school buddies. The Spartanburg chapter of the Marine Corps League is named the Hutchings-Caldwells Detachment in honor of Toy, his brother Tommy and another Marine
He later formed the Toy Caldwell Band and released an eponymous CD in 1992; the record was later renamed Son of the South by Southern country rocker and Caldwell's personal friend, Charlie Daniels. The album was digitally re-released in 2009 through Hopesong Digital / GMV Nashville.
Caldwell died on February 25, 1993, at his home in Moore, South Carolina. The cause of death was reported as cardio-respiratory arrest due to cocaine use, according to Spartanburg County Coroner Jim Burnett.
Caldwell married his wife Abbie on September 12, 1969. The song, AB's Song from The Marshall Tucker Band's debut album was written for her.
He was the older brother of both Marshall Tucker co-founder and bass guitarist Tommy Caldwell, who was killed in an automobile accident in 1980, and to Tim Caldwell, who a month prior to Tommy's death, was killed in a collision with a Spartanburg County garbage truck on S.C. Highway
