Jazz Performance: "Blues After Dark," Dizzy Gillespie Term Paper

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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.

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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….....

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