In tune... Dizzy Gillespie wrote: “When I encountered the Bahai faith, it all went along with what I always believed. I believed in the oneness of mankind. I believed we all come from the same source, that no race of people is inherently superior to any other.”
@@dahalofreeek It believes Religions are like Chapters of One Book with Divine Educators coming every 500-1000 years. Baha'i is appealing because it's a modern "Update". (1863),
Manteca played by Dizzy is one of the most powerful numbers in Jazz and what a brilliant arrangement. It’s also good to see the late Ronnie Scott on the sax in this version.
Manteca is not a composition made by Dizzy. İt was a composition made by Chano Pozo a Cuban empirical percussionist jazz percussionist of Afro-Cuban jazz. th-cam.com/video/IMipw5NWSZk/w-d-xo.html
@@jibsmokestack1 Indeed he did, after the innovations of Mario Bauza and Machito on TANGA and other songs. Mario introduced Dizzy to Cab Calloway and also to Chano Pozo!
Excelente versión de este tema. Gillespie es, sin duda, uno de los grandes trompetistas de esta música maravillosa. La más importante del siglo veinte.
It was gorgeous, and I've seen Dizzys early 80's bands. Charlie Parker might be the Father of BeBob, but Dizzy outlived Parker by decades, expounded on his music, and became a Civil Rights equality leader in his own right. My man.
Because I thought Mongo Santamaria wrote this, I did a google search: "Manteca" is one of the earliest foundational tunes of Afro-Cuban jazz. Co-written by Dizzy Gillespie, Chano Pozo and Gil Fuller in 1947, it is among the most famous of Gillespie's recordings (along with the earlier "A Night in Tunisia") and is "one of the most important records ever made in the United States", according to Gary Giddins of The Village Voice. "Manteca" is the first tune rhythmically based on the clave to become a jazz standard. In 1947, Gillespie asked Mario Bauzá to recommend a Cuban percussionist for his big band. Bauzá suggested Pozo, a rough-living percussionist already famous in Cuba, and Gillespie hired him. They began to work Pozo's Cuban-style percussion into the band's arrangements. The band was touring in California when Pozo presented Gillespie with the idea for the tune. It featured a bridge of two eight-bar trumpet statements by Gillespie, percussion patterns played by Pozo, and horn lines from Gillespie's big band arranger Walter "Gil" Fuller. According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: "If I'd let it go like [Pozo] wanted it, it would have been strictly Afro-Cuban all the way. There wouldn't have been a bridge. I thought I was writing an eight-bar bridge, but after eight bars I hadn't resolved back to B-flat, so I had to keep going and ended up writing a sixteen-bar bridge." The rhythm of the 'A' section melody is identical to a common mambo bell pattern: Early performances of "Manteca" reveal that despite their enthusiasm for collaborating, Gillespie and Pozo were not very familiar with each other's music. The members of Gillespie's band were unaccustomed to guajeos, overly swinging and accenting them in an atypical fashion. Thomas Owens observes: "Once the theme ends and the improvisation begins... Gillespie and the full band continue the bebop mood, using swing eighths in spite of Pozo's continuing even eighths, until the final A section of the theme returns. Complete assimilation of Afro-Cuban rhythms and improvisations on a harmonic ostinato was still a few years away for the beboppers in 1947." "Manteca" was first performed by the big band at Carnegie Hall on September 29, 1947; it was very well received. The big band recorded the tune on December 22, 1947, and in early 1948 they toured Europe for a few months, without including the piece in their set list. Instead, they featured the two-part tune "Cubana-Be/Cubana-Bop", recorded eight days before "Manteca", as their nod to Afro-Cuban jazz. Resuming touring in the Spring 1948, the band replaced "Cubana-Be/Cubana-Bop" with "Manteca" in their set list, augmented with Pozo's abakuá chants; audiences and critics responded strongly. The New Yorker and Life both printed pictorials and reviews of the band. Life wrote that Pozo was a "frenzied drummer", "shouting incoherently" in apparent "bop transport". DownBeat said in September 1948 that "Manteca" was performed "almost as a tribal rite", making a primitive statement] On October 9, 1948, the song was recorded as part of a show at the Royal Roost in New York. Gillespie responded to the crowd's amusement at Pozo's chanting by mimicking Pozo's chants himself, evoking laughter from the audience. This type of clowning was common to Gillespie's stage presence but it was in contrast to his serious effort to incorporate Afro-Cuban elements into jazz.[5] On this recording, someone is heard playing the 3-2 son clave pattern on claves throughout a good portion of this 2-3 song. This recording is the last one Pozo made of "Manteca"; he was shot and killed in a Harlem bar two months later.[ *The Spanish word manteca (lard) is an Afro-Cuban slang term for heroin.* Because mainstream jazz audiences are generally not aware of the innovations of Machito's band, "Manteca" is often erroneously cited as the first authentic Latin jazz (or Afro-Cuban jazz) tune. Although "Tanga" preceded "Manteca" by several years, the former is a modal descarga (Cuban jam), lacking a typical jazz bridge, or B section, and is not well known enough to be considered a jazz standard.[9] When Gillespie first began experimenting with Afro-Cuban rhythms, the bebop pioneer called the subgenre cu-bop. The piece refers to racial tensions in America; Gillespie is heard singing, "I'll never go back to Georgia". In 1965, the Joe Cuba Sextet got their first crossover hit with the Latin and soul fusion of "El Pito (I'll Never Go Back to Georgia)". The "Never Go Back To Georgia" chant was taken from Dizzy Gillespie's introduction to this seminal Afro-Cuban tune, "Manteca".
@@orlygarcia3922 Thanks, but the credit should go to whoever updated Wikipedia. I copied pieces I found interesting as others found interesting as well. Here you go - from Dizzy on Manteca th-cam.com/video/Vlagk-LDXq0/w-d-xo.html
Thank you for all that information One question: what you say about the slang meaning of manteca (which in Spanish is butter, not "'lard"), do you imply that this tune was an hymn to drug in its authors' mind?
That's Kenny Clarke on drums, duh! He is a master at the bebop drum, changing bass drum for snare sounds he changed the way bebop drums are played.... Sat in with the cat at KC one night..,,
I’m 23 and grew up listening to today’s music (r&b, pop, hip hop), the stuff you guys probably hate, but after taking a jazz history course this semester, I’ve fallen in love with this art. Been adding this song along with many others to my playlists and playing it for my friends. They don’t seem as fond of it as I am, but I’m sure they’ll come around. Or at least I hope (they’d be missing out). My favorite artists I’ve come across so far are Dizzy Gillespie and Dexter Gordon
"MANTECAAAA!" Damn Kenny Clarke is drumming on this? That guy changed drumming from time keeping with the feet to using the high hats. Oop Bob Shabam Klookamop!
Oh true. My bad. Yes you're right Joe Jones did the high hat swing drumming. Klook hit the ride. Very interesting how it all developed and not just what drums they hit but also how the rhythms changed too.
I had the owner and pleasure of watching Dizzy Gillespie live at Blues Alley in Washington, D.C, for a jazz appreciation class. He and those big cheeks of his were just feet away from me. I'll never forget it!
El término manteca parece referirse en esta pieza a la marihuana, ya que es así como se le conocía en términos familiares en el medio afrocubano de la época (Chano Pozo mismo murió durante una pelea en un club de Harlem con un vendedor de marihuana). La pieza sin embargo, se refiere a las tensiones raciales en Estados Unidos. Gillespie en una de sus grabaciones dice: "I'll never go back to Georgia" (Nunca Regresaré a Georgia).
Bossa Nova’s prime progenitors were Antonio Carlos Jobim, João Gilberto, and Bonfá. They were heavily influenced by Bebop music of Dizzy, Charlie Parker, and Bud Powell. But Joabim, Gilberto & Bonifá were stars in the era of great music in Brazil. They were instrumental in bringing the sound of Latin Jazz & Bossa Nova to North American audiences. Some of the songs written by Carlos Jobim took their inspiration from works by Dizzy, Bird, and Bud Powell, but they were very different. Dizzy would never consider himself the father of Bossa Nova, Salsa or Latin Jazz. Why would he? Dizzy Gillespie was an innovator in his own right. Bebop was Bird & Dizzy's milieu. They developed the famed Jazz genre. ♡
@@91Kingscrib84 Bossa nova really a stripped-down samba rhythm on acoustic guitar. All Brazilian. Listen to the first recordings in 1958/59. Right that Dizzy had nothing to do with its origin. Salsa too. As we know it was NYC in the 60s/70s, but it goes back to Cubans like Beny Moré and others long before.
Great. I had the privilege to sit next to him in the Island of Goree in 1976. The first ever jazz fest in that Island. He patiently listened and wrote my name on a bit of paper as I spelt it for an autograph, and then he went back to play Night in Tunisia, on a warm African night full of stars.
I met him with my wife around the same time, but was too shell-shocked to speak. Dizzy expounded on his music, was at the forefront of human equality, and continued his proffership until he passed away. My man.
Oh "Dizzy" John Gillespie what a jazz musician you were aside of Charlie "bird" Parker ...Thelonious "sphere" Monk ....Maximilian "Max" Roach and what a beautiful Manteca here with among your band a certain Ronnie Scott who waw the owner of this jazz temple in London....🥰😍
it does add that mix, but this is just "pure" jazz, I like the add but this is the best origin there could be recorded of Manteca, Dizzy fills in the gap with his legacy solos, and composing on this song is just so good
To my ear, it becomes a little more generic when you replace the congas with a regular kit and bass. The change of pace that the congas brought to the rhythm section and how their own sound bolstered the lower end gave the piece more flavor, it was more interesting for me to listen to it with congas.
Covered this song last semester in H.S as one of our set works. Damn I love songs like this which overlap layers of instruments to create a chaotic feeling.
I heard this song on the now defunct npr and realized I really like Jazz this was in the nineties now because of the changes in politics from the left I sadly cannot stomach NPR
Wait for the break at 1:50, for 10 seconds and counting after that time stamp. They only do it one smooth time in this version. Better than none. Such a stylish contrast.
I think he’s referring to his cheeks not his improv because you aren’t supposed to puff your cheeks like that but he is still one of the greatest trumpet players of all time
LEGENDARY. like one of the first Salsa Songs. People forget he was a Pioneer. Black man from Harlem. Larry Harlow, White guy from Harlem. Willie Colon always said Salsa was not really just a music, but a universal culture born in NYC. And growing up in NYC I've always said the same about Disco and Hip Hop.
I had the pleasure of playing this arrangement with Dizzy when I was in college. What an experience!
damn, that's awesome.
What a great memory to have.
And I filmed this show.
I played it at CCNY in ‘87 w/Ray Santos conducting.
How old are you
In tune... Dizzy Gillespie wrote: “When I encountered the Bahai faith, it all went along with what I always believed. I believed in the oneness of mankind. I believed we all come from the same source, that no race of people is inherently superior to any other.”
nice thought Diz
see how that works when one adds the element of human nature to the equation
I have a mate who is kinda Bahai, his parents are at least. It seems super chill as far as religions go.
@@dahalofreeek It believes Religions are like Chapters of One Book with Divine Educators coming every 500-1000 years. Baha'i is appealing because it's a modern "Update". (1863),
@@MM-rr1kp how does it work differently if you add "human nature " to both sides of the equation? Please clarify?
❤️
Manteca played by Dizzy is one of the most powerful numbers in Jazz and what a brilliant arrangement. It’s also good to see the late Ronnie Scott on the sax in this version.
It's so powerful because it combines World Culture and Music, things which Dizzy confronted head on after his early success.
I'm playing this song on Vibraphone for jazz band this year. Awesome song!
I have reason to believe that Dizzy is the first human-frog hybrid.
Manteca is not a composition made by Dizzy. İt was a composition made by Chano Pozo a Cuban empirical percussionist jazz percussionist of Afro-Cuban jazz.
th-cam.com/video/IMipw5NWSZk/w-d-xo.html
the coolest baddest frog in history
@@lazlexpedguz4331 what does this have to do with Dizzy being a froggo?
* first *_successful_* 👀
Women couldn't resist his trumpet mating call
Santana’s autobiography brought me here !
That trumpet's blowing him.
(x) doubt
very whell !
sounds just wrong dude. you shouldn't have.
dizzy'd be like "what the fuck did you say hommes?"
I wish I had a trumpet like that.
@@Aritro77 it is a King Silver Flair. I have one same vintage. They are not expensive. Mine is straight tho.
Afro Cuban jazz
Afro Cuban was Dizzy's specialty. He was one of the most well known jazz pioneers of all time.
@@dylangatenby9928 I think Bebop was his first specialty but he and Chano Pozo (co writer of this tune) pioneered Afro Cuban jazz for sure!
@@jibsmokestack1 Indeed he did, after the innovations of Mario Bauza and Machito on TANGA and other songs. Mario introduced Dizzy to Cab Calloway and also to Chano Pozo!
AKA the GOOD shit
Absolutely Spectacular! The purest Latin soul of jazz. Thank you Dizzy and Chano for such happiness
Excelente versión de este tema. Gillespie es, sin duda, uno de los grandes trompetistas de esta música maravillosa. La más importante del siglo veinte.
a mighty example of dizzy's blending of latin rhythms, big band textures and bebop language to create an exciting hybrid genre.
It was gorgeous, and I've seen Dizzys early 80's bands. Charlie Parker might be the Father of BeBob, but Dizzy outlived Parker by decades, expounded on his music, and became a Civil Rights equality leader in his own right. My man.
This is the coolest song ever
Because I thought Mongo Santamaria wrote this, I did a google search:
"Manteca" is one of the earliest foundational tunes of Afro-Cuban jazz. Co-written by Dizzy Gillespie, Chano Pozo and Gil Fuller in 1947, it is among the most famous of Gillespie's recordings (along with the earlier "A Night in Tunisia") and is "one of the most important records ever made in the United States", according to Gary Giddins of The Village Voice. "Manteca" is the first tune rhythmically based on the clave to become a jazz standard.
In 1947, Gillespie asked Mario Bauzá to recommend a Cuban percussionist for his big band. Bauzá suggested Pozo, a rough-living percussionist already famous in Cuba, and Gillespie hired him. They began to work Pozo's Cuban-style percussion into the band's arrangements.
The band was touring in California when Pozo presented Gillespie with the idea for the tune. It featured a bridge of two eight-bar trumpet statements by Gillespie, percussion patterns played by Pozo, and horn lines from Gillespie's big band arranger Walter "Gil" Fuller.
According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: "If I'd let it go like [Pozo] wanted it, it would have been strictly Afro-Cuban all the way. There wouldn't have been a bridge. I thought I was writing an eight-bar bridge, but after eight bars I hadn't resolved back to B-flat, so I had to keep going and ended up writing a sixteen-bar bridge."
The rhythm of the 'A' section melody is identical to a common mambo bell pattern:
Early performances of "Manteca" reveal that despite their enthusiasm for collaborating, Gillespie and Pozo were not very familiar with each other's music. The members of Gillespie's band were unaccustomed to guajeos, overly swinging and accenting them in an atypical fashion. Thomas Owens observes: "Once the theme ends and the improvisation begins... Gillespie and the full band continue the bebop mood, using swing eighths in spite of Pozo's continuing even eighths, until the final A section of the theme returns. Complete assimilation of Afro-Cuban rhythms and improvisations on a harmonic ostinato was still a few years away for the beboppers in 1947."
"Manteca" was first performed by the big band at Carnegie Hall on September 29, 1947; it was very well received. The big band recorded the tune on December 22, 1947, and in early 1948 they toured Europe for a few months, without including the piece in their set list. Instead, they featured the two-part tune "Cubana-Be/Cubana-Bop", recorded eight days before "Manteca", as their nod to Afro-Cuban jazz. Resuming touring in the Spring 1948, the band replaced "Cubana-Be/Cubana-Bop" with "Manteca" in their set list, augmented with Pozo's abakuá chants; audiences and critics responded strongly. The New Yorker and Life both printed pictorials and reviews of the band. Life wrote that Pozo was a "frenzied drummer", "shouting incoherently" in apparent "bop transport".
DownBeat said in September 1948 that "Manteca" was performed "almost as a tribal rite", making a primitive statement] On October 9, 1948, the song was recorded as part of a show at the Royal Roost in New York. Gillespie responded to the crowd's amusement at Pozo's chanting by mimicking Pozo's chants himself, evoking laughter from the audience. This type of clowning was common to Gillespie's stage presence but it was in contrast to his serious effort to incorporate Afro-Cuban elements into jazz.[5] On this recording, someone is heard playing the 3-2 son clave pattern on claves throughout a good portion of this 2-3 song. This recording is the last one Pozo made of "Manteca"; he was shot and killed in a Harlem bar two months later.[
*The Spanish word manteca (lard) is an Afro-Cuban slang term for heroin.*
Because mainstream jazz audiences are generally not aware of the innovations of Machito's band, "Manteca" is often erroneously cited as the first authentic Latin jazz (or Afro-Cuban jazz) tune. Although "Tanga" preceded "Manteca" by several years, the former is a modal descarga (Cuban jam), lacking a typical jazz bridge, or B section, and is not well known enough to be considered a jazz standard.[9] When Gillespie first began experimenting with Afro-Cuban rhythms, the bebop pioneer called the subgenre cu-bop.
The piece refers to racial tensions in America; Gillespie is heard singing, "I'll never go back to Georgia". In 1965, the Joe Cuba Sextet got their first crossover hit with the Latin and soul fusion of "El Pito (I'll Never Go Back to Georgia)". The "Never Go Back To Georgia" chant was taken from Dizzy Gillespie's introduction to this seminal Afro-Cuban tune, "Manteca".
What a illustrative and complete information you’re sharing with us, thanks so much .
Thank you so much Sir.
A true musicology lesson.
@@orlygarcia3922 Thanks, but the credit should go to whoever updated Wikipedia. I copied pieces I found interesting as others found interesting as well.
Here you go - from Dizzy on Manteca
th-cam.com/video/Vlagk-LDXq0/w-d-xo.html
Thank you! This is amazing information! Especially the meaning of the name, “manteca”.
Thank you for all that information
One question: what you say about the slang meaning of manteca (which in Spanish is butter, not "'lard"), do you imply that this tune was an hymn to drug in its authors' mind?
That was mind blowing
Man those cheeks
Bliss Woven they like baloons
Bliss Woven HE MADE A GOOD LIVING WITH THOSE CHEEKS DID'NT HE?
He did u right. Just observing
Calm down m8, thanks for stating the obvious
Like Piles Husain
That's Kenny Clarke on drums, duh! He is a master at the bebop drum, changing bass drum for snare sounds he changed the way bebop drums are played.... Sat in with the cat at KC one night..,,
His nickname was Klook, for the "Klook-mop" rhythm that began his career.
the other is gene krupa
Awesome player
You are so so so soooooooooooo right about Kenny clsrke!!!!!!!!!!
Can't forget chano Pozo
I’m 23 and grew up listening to today’s music (r&b, pop, hip hop), the stuff you guys probably hate, but after taking a jazz history course this semester, I’ve fallen in love with this art. Been adding this song along with many others to my playlists and playing it for my friends. They don’t seem as fond of it as I am, but I’m sure they’ll come around. Or at least I hope (they’d be missing out). My favorite artists I’ve come across so far are Dizzy Gillespie and Dexter Gordon
If you like this you might enjoys Wes Montgomery's rendition of Caravan it's got a similar high energy swing vibe
No Hablo Inglés I’ll definitely check it out. Thanks!
Congratulations, young brother! You have found the path to heaven....
Impression comes with knowledge.
Me encanta hip hop, r&b y un poco Pop. Pero me encanta mas el jazz! (I’m learning spanish at school I can speak fluent english lol)
Man oh man my ears. This is amazing!!! Here 2/21.
Dizzy Gillespie, Chano Pozo and Gil Fuller created this
powerful tune in 1947. The marriage of Cu-bop exploded
in America. It's addictive!
The unforgotten British tenor saxophonist Ronnie Scott appears in this video!
Oh yeah......that back ground guy Ronnie Scott. Gillespie was the GOAT!
plus you have two drummers!
Ronnie Scott Mambo from Machito
I thought that was late Ronnie!!
@@jostriedel5201 One of them is Kenny Clarke. Art Farmer and (maybe) Thad Jones are in the trumpet section.
Incredible...just so incredible!
Dizzy :una delle pietre miliari del jazz.uno dei miei prediletti.lo ho ascoltato dal vivo varie volte.mi ha sempre piaciuto.
SOUTH CAROLINA HAS TONS OF TALENT!!! Dizzy Gillespie is from Cheraw South Carolina. ❤❤❤❤❤❤❤
Kenny Clare and Kenny Clark on drums, just to confuse everyone :o)
Dizzy expounded upon his love of anything human by playing true World music. Dizzys faith held that no man anywhere is superior. And he swinged!!
so many meme comments about dizzy, not enough acknowledging the talent and genius of the man
I remember seeing Mr. Gillespie on Palisades Avenue, (Dizzy Gillespie's Place today). He loved kids.
creepy
Professor Xavier it's only creepy if that's the first thing your mind goes to 🤨
what an arrangement....wow
Amazing - that's Art Farmer in the trumpet section!!! Sitting at the near end closest to the camera!!!
also Benny Bailey in the trumpetsection!
NOBODY CAREZ
Jk that's cool.
@@driesbijlsma2973 Idress Sulieman too
@@professorxavier9692 I care
L o v e "Manteca" ...had original LP recording 1948. Bu this seeing Dizzy blowing and leading the whole band live in 1970 is amazing!
I’LL NEVER GO BACK TO GEORGIA!Why can’t I find the version of this song where they say this!!!!
Jake Gittes just listen to the trombones, there it is!
1:53 Mr.Rogers puttin in work. RIP.
Epic!!!
Oh wow im surprised no one has commented on this but it is nice to see you here lol
YO AARON WHATSUP
HEHEH MY MAN
I know right
.. Miles who?
"I'll never go back to Georgia."
And don't forget about the two drummers: Kenny Clarke and Kenny Clare!
And the rest of the band!
"MANTECAAAA!" Damn Kenny Clarke is drumming on this? That guy changed drumming from time keeping with the feet to using the high hats. Oop Bob Shabam Klookamop!
Um, no. Papa Jo brought to the high hat to prominence.
Papa Joe switched to hi hat Klook switched to ride cymbal!
Oh true. My bad. Yes you're right Joe Jones did the high hat swing drumming. Klook hit the ride. Very interesting how it all developed and not just what drums they hit but also how the rhythms changed too.
A reunion in fact, he played with the Diz big band on the original RCA Victor recording of Manteca from December 1947
guy with cowbell having a blast lol
Among all the Jazz player I love Dizzy the most for his incursion into latin music especially Afrocuban...
Loved it!!
t h e m c h e e k s
Dizz was an awesome showman, Unsurpassed talent. I had the pleasure of meeting Dizz, and even hung out for a while.
Love it
I had the owner and pleasure of watching Dizzy Gillespie live at Blues Alley in Washington, D.C, for a jazz appreciation class. He and those big cheeks of his were just feet away from me. I'll never forget it!
I'm pretty convinced this very gang pulled the bank job right after the show. The music and the attitude is there, so...
Pairs well with Stan Kenton's "Peanut Vendor".
Chano Pozo composed this tune, he was a favorite of Dizzy
jazz enthusiasts: hot damn
the crowd: the hell did i just hear?
La mejor MANTECA !!!
¡Manteca Manteca éxito de Chano Pozo!
Vive les joues d’écureuil!!! 😃👌🏻🎶💓
Gracias cuba por dar músicos grandes como Chano pozo creador de esta joya
El término manteca parece referirse en esta pieza a la marihuana, ya que es así como se le conocía en términos familiares en el medio afrocubano de la época (Chano Pozo mismo murió durante una pelea en un club de Harlem con un vendedor de marihuana). La pieza sin embargo, se refiere a las tensiones raciales en Estados Unidos. Gillespie en una de sus grabaciones dice: "I'll never go back to Georgia" (Nunca Regresaré a Georgia).
1:57 the second dizzy
What ? Ronnie Scott of the famous London Jazz club on Tenor !!!!! 0:21
One of the fathers of bebop
Crab in my shoe mouth
The ( Father) of Bossa Nova,Salsa and Latin Jazz! The Great Dizzy!!!✌🏾🙏🏿
Bossa Nova’s prime progenitors were Antonio Carlos Jobim, João Gilberto, and Bonfá. They were heavily influenced by Bebop music of Dizzy, Charlie Parker, and Bud Powell. But Joabim, Gilberto & Bonifá were stars in the era of great music in Brazil. They were instrumental in bringing the sound of Latin Jazz & Bossa Nova to North American audiences. Some of the songs written by Carlos Jobim took their inspiration from works by Dizzy, Bird, and Bud Powell, but they were very different.
Dizzy would never consider himself the father of Bossa Nova, Salsa or Latin Jazz. Why would he? Dizzy Gillespie was an innovator in his own right. Bebop was Bird & Dizzy's milieu. They developed the famed Jazz genre. ♡
No, he was not the father of bossa nova or salsa.
@@91Kingscrib84 Bossa nova really a stripped-down samba rhythm on acoustic guitar. All Brazilian. Listen to the first recordings in 1958/59. Right that Dizzy had nothing to do with its origin. Salsa too. As we know it was NYC in the 60s/70s, but it goes back to Cubans like Beny Moré and others long before.
I CAN'T STOP DANCING.
Great. I had the privilege to sit next to him in the Island of Goree in 1976. The first ever jazz fest in that Island. He patiently listened and wrote my name on a bit of paper as I spelt it for an autograph, and then he went back to play Night in Tunisia, on a warm African night full of stars.
I met him with my wife around the same time, but was too shell-shocked to speak. Dizzy expounded on his music, was at the forefront of human equality, and continued his proffership until he passed away. My man.
What a surprise to see Art Farmer setting in the trumpet section. Is that Sonny Rollins on bary sax?
I live in Manteca and this fits the city's vibe 💯
Im from brooklyn ny born in 92 i first heard this song when i was 16 on the streeets gotta love nyc
Dizzy's mom was stung by a puffer fish when he was in the womb
Tema del gran percusionista cubano Luciano (Chano )Pozo extraordinario Gillespie.
forget how many views, this piece of artwork is timeless.
Flou kafe bar
Mantecaaaaaaaaaa!!!
Oh "Dizzy" John Gillespie what a jazz musician you were aside of Charlie "bird" Parker ...Thelonious "sphere" Monk ....Maximilian "Max" Roach and what a beautiful Manteca here with among your band a certain Ronnie Scott who waw the owner of this jazz temple in London....🥰😍
Luv your comment tween the dancin'.
More cow bell!
This is good and all, but without Chano Pozo it's just missing something.
nah, it's perfect the way it is. it's legendary
The composition's good, but what the congas add to it are what elevate it to a great one. It feels lacking otherwise.
it does add that mix, but this is just "pure" jazz, I like the add but this is the best origin there could be recorded of Manteca, Dizzy fills in the gap with his legacy solos, and composing on this song is just so good
To my ear, it becomes a little more generic when you replace the congas with a regular kit and bass. The change of pace that the congas brought to the rhythm section and how their own sound bolstered the lower end gave the piece more flavor, it was more interesting for me to listen to it with congas.
As long as this record sounds good , it's all good
Just listening to this, I grew a Soul Patch
Covered this song last semester in H.S as one of our set works.
Damn I love songs like this which overlap layers of instruments to create a chaotic feeling.
Ronnie Scott in the Saxes!!
Nice Ronnie Scott solo
Wonder if the guy who did the tenor sax solo is still around
I believe it was Ronnie Scott, who passed away but his legacy lives on with his jazz club in London. en.wikipedia.org/wiki/Ronnie_Scott
oh thanks! I really loved this solo so that why i asked.
Also George Big Nick Nicolas did the original Tenor Saxophone solo on the original record
3:37.... MORE COW BELL!!!
YAAAAAAAAAAAAAAAAAAAAAAS
in jazz band at my school, I play the cowbell for this song
Yo tengo qu decirte la verdad, disimula guillespie
I HAVE A COWBELL ON MY PHONE!
Lol we all yell that in my jazz band!😂
John Lennon there helping the buddies
They are getting down!! I love music.
classic
hey Ronnie Scott on sax solo
Wish i could see the claves
Que bonito ese minuto 5 cuando se ve al papa con su pequeña hija disfrutando de esta joya musical
I heard this song on the now defunct npr and realized I really like Jazz this was in the nineties now because of the changes in politics from the left I sadly cannot stomach NPR
I like the more upbeat rendition that they played in this vid rather than the more conventional slow and smooth version.
❤❤❤
Is that Art Farmer sneaking around the back on trumpet?
It sure is Art Farmer, closest to us when they first show the trumpet section! Amazing!
Crab in my, crab in my, crab in my shoe mouth
5:28 Haha, the boy coming into picture here: "Wtf is this? Where am I? WHO am I?" xD
Wait for the break at 1:50, for 10 seconds and counting after that time stamp. They only do it one smooth time in this version. Better than none. Such a stylish contrast.
That's how it is in the original recording
if you notice dizzy is actually doing everything wrong, but somehow he makes it come out perfect
aidan Birjandi
i disagree
@@subscribetobanbasstabs2599 you clearly don't know shit about jazz then lmao. Someone once said "if you play a wrong note in jazz, play it again."
Stfu
I think he’s referring to his cheeks not his improv because you aren’t supposed to puff your cheeks like that but he is still one of the greatest trumpet players of all time
Dizzy did everything exactly right. It's everyone else who does it wrong.
Yeah Man Yeah!
Thank G-D my dad introduced me to Jazz.
This was the first Latin Jazz song recorded 💯 this the Latin sound forever.
el rey sapo como le decían.......una eminencia,un éxtasis , lo oía con mi padre. me lo ponia cuando tenia 5 años...... wow lo sigo amando genio!!!!
Crab in my shoe mouth
Crab in my
Crab in my
Crab in my shoe mouth
dizzy is a trumpet god
and also dead
Great rendition of the classic Manteca. Dizzy in full bore
So this is the song that influenced Bobby Parker's Watch your step, which went onto influenced The Beatles' I feel Fine
Esto es lo que llamo Un Orquestón. Son muy pocas las que aún permanecen, en el mundo hispano.
OMGooooooooooood!!!! Wow!!! Dizzy and Chano Pozo, too much!!!
LEGENDARY. like one of the first Salsa Songs. People forget he was a Pioneer. Black man from Harlem. Larry Harlow, White guy from Harlem. Willie Colon always said Salsa was not really just a music, but a universal culture born in NYC. And growing up in NYC I've always said the same about Disco and Hip Hop.