Jazz at the Philharmonic, Live from Paris in 1960 (Part IV)

With Cannonball Adderley, Nat Adderley, Stan Getz, Lalo Schifrin, Dizzy Gillespie…

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Cannonball Adderley — Saxofón alto

Nat Adderley — Trompetista

J. J. Johnson — Trombonista

Stan Getz — Saxofón tenor

Jo Jones — Baterista

Lalo Schifrin — Pianista

Dizzy Gillespie — Trompetista

Sam Jones — Contrabajista

Louis Hayes — Baterista

Leo Wright — Flautista, Saxofón alto

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JATP – Jazz at the Philharmonic – are the four mythical letters representing a series of concerts that helped the world fall in love with jazz. Norman Granz was behind the project, the man known as the "most successful impresario in the history of jazz." He worked with the likes of Louis Armstrong, Ella Fitzgerald, Count Basie, Dizzy Gillespie, Charlie Parker ... the list goes on and on. The JATP series was shot between the 40s and the 60s, aiming to showcase the world's best jazz artists and, from 1958-60, the series went to Paris. Here, before a crowd of established jazz lovers (the post-war years saw an explosion of the genre in France), the Pleyel arena played host to a music vibrating with the innovation of previous decades, capturing the vivacious zeitgeist of an increasingly developed, progressive and complex world. 

With shows like this, Norman Granz had the novel idea of bringing jazz' established and up-and-coming voices together on the same stage. It made for unique and exciting line-ups: Dizzy Gillespie, the bent-trumpet upstart who brought bebop, kicking and screaming, into this world; Stan Getz, the dashing young saxophonist whose sound was tinged with Brazilian bossa nova; Lalo Schifrin, the Argentinian pianist who would go on to dominate the movie scoring world; the racous and ridiculously talented Adderley brothers; two young drumming pioneers, Louis Hayes and Jo Jones, and plenty more. No musician on the stage was above the age of 45 on that day in 1960, and they were all near the top of the pile. It's true that jazz has always been full of young movers and shakers, but perhaps never more so than in this period.

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Thursday, February 29, 2024