1 Tin Tin Deo
2 Birk's Works
3 We Love to Boogie
4 Lady Be Good
5 Love Me Pretty Baby
6 The Champ
7 I'm in a Mess
8 School Days
9 Swing Low Sweet Cadillac		play
10 Bopsie's Blues
11 Bopsie's Blues
12 I Couldn't Beat the Rap
13 Caravan
14 Caravan
15 Nobody Knows
16 The Bluest Blues
17 On the Sunny Side of the Street
18 Stardust					play
19 Time on My Hands
20 Blue Skies
21 Umbrella Man
22 Pop's Confessin'
23 Ooh-Shoo-Be-Doo-Bee
24 They Can't Take That Away from Me

Personnel:
Alto Saxophone – John Coltrane (tracks: 1 to 3)
Baritone Saxophone – Bill Graham (tracks: 7 to 24)
Bass – Bernie Griggs (tracks: 20 to 24), Percy Heath (tracks: 1 to 19)
Drums – Al Jones (tracks: 7 to 24), Art Blakey (tracks: 4 to 6), Kansas Fields (tracks: 1 to 3)
Guitar – Kenny Burrell (tracks: 1 to 3)
Piano – Wynton Kelly (tracks: 20 to 24)
Piano, Vibraphone [Vibes] – Milt Jackson (tracks: 1 to 19)
Tenor Saxophone – Budd Johnson (tracks: 4 to 6), John Coltrane (tracks: 1 to 3)
Trombone – J.J. Johnson (tracks: 4 to 6)
Trumpet – Dizzy Gillespie (tracks: 1 to 24)
Violin – Stuff Smith (tracks: 13, 14, 17 to 19)
Vocals – Freddy Strong (tracks: 3), Joe Carroll (tracks: 4, 7, 8, 15 to 17, 20 to 23),
 Melvin Moore (2) (tracks: 5, 10 to 12)

Original recordings produced by Dizzy Gillespie and Dave Usher. Reissue
 produced by Bob Porter.

When Detroiter David Usher and Dizzy Gillespie founded the Dee Gee record label, they might have had an inkling that their project could, and would, fail financially due to poor distribution, the conversion from 78s to LPs, and the heavy hammer of the taxman. They might have felt, but could not have imagined, that they would create some of the most essential and pivotal jazz recordings for all time, not to mention some of the last great sides of the pioneering bebop era. Gillespie's large ensembles brought to public attention the fledgling young alto and tenor saxophonist John Coltrane, such Detroiters as guitarist Kenny Burrell or pianist/vibraphonist Milt Jackson, and vocalists Joe Carroll, Freddy Strong and Melvin Moore. Considering the years -- 1951 and 1952 -- this was revolutionary breakthrough music from a technical and entertainment aspect, delightful music that has stood the test of time and displays the trumpeter in his prime as a bandleader. Of the three cuts with Coltrane, he swims behind Gillespie's horn and Jackson's vibes during the churning, Latin faced "Tin Tin Deo," and in tandem with the trumpeter for the short chorus of "Birk's Work's."

It's only a hint of Coltrane's genius to come. Joe Carroll is animated and jacked up during his many featured numbers, especially loose on the extrapolated "Lady Be Good," dour and all shook up on "I'm in a Mess," positively celebrating sophmoricism over the Asian piano stylings of Jackson for "School Days," giddy on a goofball take of "Blues Skies" that refers to water more than air, and down and out for "Nobody Knows" -- all of them true classics. On top of that, there's the spiky intro to the campy waltzing, troubadour chorused "Umbrella Man," the all time hit "Ooh-Shoo-Be-Doo Bee" which defines vocalese and scat, and Carroll's mock Louis Armstrong singing for "Confessin'." Moore's deep Billy Eckstine-like crooning takes center stage for the begging song "Love Me Pretty Baby" and two takes of "Bopsie's Blues." Freddy Strong's feature on "We Love to Boogie" with Coltrane and Burrell exemplifies the most ebullient good feelings always present on the Gillespie bandstand. Historically but unfairly lost in the shuffle of all of the virtuosity in these groups is baritone saxophonist Bill Graham, Gillespie's back-up catcher who took basic melodies and framed them in deep blues hues, strike after strike after strike. Violinist Stuff Smith's razor sharp tone is here for seven tracks, most noticeably on two clipped, Asian/Latin flavored versions of "Caravan," Gillespie's signature reading of "On the Sunny Side of the Street," and a hallmark adaptation of the ballad "Stardust." "The Champ," at nearly six minutes, is the ultimate flag waving bop icon, with drummer Art Blakey firing up an immortal three-horn front line of Gillespie, tenor saxophonist Budd Johnson, and trombonist J.J. Johnson, with Jackson on vibraphone.

Instrumentally concise, always with a harmonic depth and technical brilliance that punctuates bebop, and a recording technology enhanced from the '40s, Dee Gee Days will stand forever as one of the most important albums in jazz history, and belongs in every serious -- or whimsical -- jazz lover's collection -- period! ---Michael G. Nastos

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1. Wheatleigh Hall             play
2. Sumphin' 
3. Con Alma [CD Only][Alternate Take] 
4. Con Alma [Alternate Take] 
5. Anythin' [CD Only] 
6. Haute Mon 

Personnel: 
Dizzy Gillespie (trumpet); 
Sonny Rollins (tenor saxophone); (1-2) 
Sonny Stitt (alto & tenor saxophones);(3-6) 
Ray Bryant (piano); 
Tommy Bryant (bass); 
Charlie Persip (drums, percussion). 

Recorded at Nola Studios, New York, New York on December 11, 1957.

The product of a day's worth of recording at Nola Studios in 1957, this album is essentially the same as a much older release of the same on Verve, but the master tapes had been found and remastered into stereo along with the addition of a couple of tracks previously left off the album. Presumably, these are the same sessions that spawned the Sonny Side Up album. Here, Dizzy works separately with each of the Sonnys for a couple of tracks. "Wheatleigh Hall" is something of a tour de force for both Rollins and Gillespie, and the "Con Alma" tracks are certainly worthwhile listens for a glimpse of Stitt's prowess. Finally, the album ends with "Haute Mon'," a themeless blues in G minor. Before that, however, is the addition of a newly discovered yet unlabeled track from the same sessions, which was belatedly titled "Anythin', Ha Ha" by Gillespie prior to the release of this album. Overall, the highlights are many, and one would probably be better off with this album than the original release (in mono, no less). On a related note, however, one would probably be better off with the Sonny Side Up album instead of this one (given only one choice), due to the simultaneous collaboration with both sax players (and for no other reason than the sheer beauty of "Eternal Triangle"). ---Adam Greenberg, Rovi

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1.Billie's Bounce (Charlie Parker)(15:21)
2.Bebop (Dizzy Gillespie)(11:44)
3.Ornithology (Benny Harris, Charlie Parker)(10:40)
4.Anthropology (Dizzy Gillespie, Charlie Parker)(10:56)
5.Oop-Pop-A-Da (Dizzy Gillespie, Babs Gonzales)(11:21)
6.The Diamond Jubilee Blues (Dizzy Gillespie)(1:53)
7.The Theme (Dizzy Gillespie)(1:25)	

Dizzy Gillespie (Trumpet),  
Paquito d'Rivera (Clarinet), (Sax (Alto)),
Antonio Hart (Sax (Alto)), 
Bobby McFerrin (Vocals), 
Danílo Perez (Piano), 
Kenny Washington (Drums), 
George Mraz (Bass),
Lewis Nash (Drums), 
Benny Golson (Sax (Tenor)), 
Clifford Jordan (Sax (Tenor).

Dizzy Gillespie’s 75th birthday was celebrated in January 1992 at the Blue Note club in New York with an all-star line-up. They performed tunes associated with the bebop era, in which Gillespie played such a vital role. Despite his years, Dizzy showed on the opening Billie’s Bounce that he could still play interesting solos, with a tone which had mellowed over the years although he could still hit those high notes that make your eyes water. On this track, two tenorists flanked him Benny Golson in powerful mode and the much younger David Sanchez, displaying the influence of John Coltrane.

This is followed by the frantic and demanding Bebop, with Clifford Jordan exploring the tenor sax from top to bottom, Antonio Hart wailing on the alto, and Dizzy playing mainly close to his chest although with occasional outbursts. Here and elsewhere, the rhythm section keeps the cooker burning with gas. The tempo eases somewhat for Ornithology, where the whole front line plays restrained solos which are nevertheless eloquent.

Anthropology pumps up the speed again, with a rather ragged theme statement followed by assured solos from Paquito D’Rivera (high up on the alto), Gillespie in cheeky mood, and Jackie McLean making his alto sounding almost as reedy as an oboe. Bobby McFerrin comes on stage to match Dizzy in vocal gymnastics on Oo Pa Pa Da, followed by a masterly clarinet solo from Paquito D’Rivera which unexpectedly goes into half-time for a chorus a practice followed by subsequent soloists. Jackie McLean’s solo echoes Charlie Parker’s style, while Dizzy has hints of Latin-American rhythms in his daringly dexterous solo before reprising his eccentric vocals.

After five long tracks (none less than ten minutes), the CD closes with the short Diamond Jubilee Blues (more jokey Gillespie vocals) and the traditional closer The Theme. The recording quality is OK for a concert session, although Dizzy’s vocals at the end of Oo Pa Pa Da come through very faintly. At any rate, it sounds like a good time was had by all, and listeners can easily join in the fun by obtaining this mid-price album. ---Tony Augarde, musicweb-international.com

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1. Opening Theme - (3:28) 
2. San Sebastian - (5:55) 
3. Lucretia's Theme - (3:38) 
4. Magic Summer (Vocal Version) - (5:26) 
5. Isthmus - (8:12) 
6. Magic Summer (Orchestral Version) - (2:30) 
7. Lisbon - (6:09) 
8. Magic Summer (Piano Version) - (4:59) 
9. Burma - (8:08) 
10. Bill's Song - (2:17) 
11. Final Theme - (5:48)

Dizzy Gillespie - Trumpet
Sandra Billingslea - Violin
Bob Carlisle - French Horn
Akua Dixon - Cello
Winterton Garvey - Violin
Slide Hampton 	- Arranger, Conductor
Leola Jiles - Vocals
Tony Kadleck - Trumpet
George Mraz - Bass, Double Bass
Jerry Peel  - French Horn
Danilo Pérez - Piano
Mario Rivera - Flute, Sax (Soprano)
Russ Rizner-French - French Horn
Bobby Routch - French Horn
Richard Spencer  - Viola
Grady Tate – Drums

This CD, featuring Dizzy Gillespie playing on the soundtrack of The Winter in Lisbon (a film never properly distributed), is only of minor interest. He wrote the nine themes and Slide Hampton put together the arrangements, but, as with most soundtracks, the music sounds incomplete without the picture. Also, Gillespie's playing at this late date in his life was quite erratic. ---Scott Yanow, Rovi

The 1990 album The Winter in Lisbon (Milan) was Dizzy Gillespie's last and the soundtrack for a film of the same name-but we'll never know how well the music matched the visual because the movie was never released. What remains is not a collection of cues. All 11 tracks have been artfully arranged by Slide Hampton, who utilizes a small string section, French horns, a trumpet, reeds and an adaptable jazz rhythm section of pianist Danilo Perez, bassist George Mraz and drummer Grady Tate. To my relief, Gillespie, who could occasionally sound listless during this period, often plays like the Diz of young. The trumpeter's strongest efforts are heard on his originals, such as a good muted solo on "San Sebastian," but he's at his lethargic worst on "Burma." There are five versions of "Magic Summer," including the opening and final themes, credited to Charles Fishman, who is known by all information available as a producer, but all that matters is that "Magic Summer" is a beautiful melody. It's a perfect vehicle for singer Leola Jiles, who provides a haunting obbligato to Gillespie's muted solo. She deserves more exposure. ---Harvey Siders, jazztimes.com

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Disc 1 : 

1. Manteca 12:27 
2. Kush 13:45 
3. Serenata / To Brenda With Love 9:30 
4. Fiesta Mo-Jo 7:25 
5. Percussion Solo by Airto Moreira 4:59 
6. Partido Alto 7:45 

Disc 2 : 

1. Let It Go 8:01 
2. Dizzy Shells 8:46 
3. Tanga 14:06 
4. Happy Birthday to John Lee 1:27 
5. A Night In Tunisia 14:59 

Lineup : 

Dizzy Gillespie - trumpet
Airto Moreira - percussions 
Flora Purim - vocals 
Paquito D`Rivera - saxophone, clarinet 
James Moody - saxophone, flute 
Mario Rivera - saxophone 
Arturo Sandoval - trumpet 
Claudio Roditi - trumpet
Slide Hampton - trombone 
Steve Turre - trombone, conchiglie 
Ed Cherry - guitar 
Danilo Perez - piano 
John Lee - bass 
Ignacio Berroa - drums 
Jose Giovanni Hidalgo – congas

The Dizzy Gillespie United Nation All-Star Orchestra 
featuring Airto Moreira & Flora Purim 
Estival Jazz Lugano 
Piazza Della Riforma 
Lugano , Switzerland 
28. June 1990

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01.	Blue’n’Boogie
02.	Grovin’ High
03.	All The Things You Are
04.	Dizzy Atmoshere
05.	Hot Mouse
06.	Our Delight
07.	Good Dues Blues
08.	Ray’s Idea
09.	Things To Come
10.	Emanom
11.	Blue And Sentimental
12.	When It’s Sleepy Time Down South
13.	Blue Moon
14.	Night And Day
15.	The Man I Love
16.	Sweet And Lovely
17.	My Old Flame
18.	The Very Thought Of You
19.	Pennies From Heaven
20.	Jealousy

Dizzy Gillespie - Trumpet
Abrams - Sax (Tenor)
Taswell Baird - Trombone
Gabriel Beauvais - Viola
Joe Benjamin - Bass
John Brown - Sax (Alto)
Ray Brown - Bass
Dave Burns - Trumpet
Don Byas - Sax (Tenor)
Scoops Carey - Sax (Alto)
Big Sid Catlett - Drums
Bill Clark - Drums
Kenny Clarke - Drums
Cozy Cole - Drums
Talib Dawud - Trumpet
Kenny Dorham - Trumpet
Bill Frazier - Sax (Tenor)
Dexter Gordon - Sax (Tenor)
Charles "Majeed" Greenlee - Trombone
Lou Hackney - Bass
Al Haig - Piano
Joe Harris - Drums
Clyde Hart - Piano
Milt Jackson - Piano, Vibraphone
Howard E. Johnson - Sax (Alto)
Al Jones - Drums
Irv Kluger - Drums
Wade Legge - Piano
John Lewis - Piano
Leon Locatelli - Violin
Warren Luckey 	- Sax (Tenor)
John Lynch - Trumpet
Matthew McKay - Trumpet
James Moody - Sax (Tenor)
Al Moore - Trombone
Alton Moore - Trumpet
Pee Wee Moore - Sax (Baritone)
Raymond Orr - Trumpet
Remo Palmieri - Guitar
Frank Paparelli 	- Piano
Charlie Parker - Sax (Alto)
Leo Parker - Sax (Baritone)
Alice Roberts - Vocals
Arnold Ross - Piano
Curly Russell - Bass
Murray Shipinski - Bass
Art Simmons - Piano
Slam Stewart - Bass
Sonny Stitt - Sax (Alto)
Gordon Thomas - Trombone
Benny Vasseur 	- Trombone
Chuck Wayne - Guitar
Elmon Wright - Trumpet

Possibilities for collecting Dizzy Gillespie material are as varied as harmonic inversions on a set of bebop choruses. These 20 tracks first showed up in this sequence circa 1994 as a release on the Atlantis label. The French Le Jazz imprint did a repackaging variation the following year, then again as the '90s came to a close and the legend of the man with the bent horn passed into another century. The original label perhaps sinking into the ocean, another firm calling itself Recall came up with a 2002 expansion, this time titled Professor Bebop and consisting of two discs, 45 tracks, and expanded portions of Gillespie silliness such as the carnivorous "Hey Pete! Let's Eat More Meat." In both cases the program sticks to material recorded between the mid-'40s and early-'50s, meaning that many of the popular compositions that show up in bebop fake books are unveiled in their full glory. The trumpeter's prominence in this "Dizzy Atmosphere" of progressive creativity earned him the "professor" nickname, also exploited on other available compilations with confusingly similar names such as Bebop Professor. In all cases the producer is faced with a similar juggling act, the balls in the air being Gillespie's mind-blowing relationship with alto saxophonist Charlie Parker, his ambitious attempts at large ensembles including a '40s orchestra, and his stage persona as a goofball and associated theme songs.

Some listeners may find the latter kind of material as far from the glories of "Groovin' High" as Gillespie's South Carolina birthplace is from southern Borneo. The trimmer Atlantis program tends to stick to more substantial material, including music recorded during one of Gillespie's first big band escapades. In slightly less than an hour he tangles with a half-dozen bass players alone, one of whom sings along with his arco solos as if munching on a horsefly. On drums there are legends of both the swing and bebop styles as well as relatively unknown journeymen. Tadd Dameron and Gil Fuller are among the fine arrangers Gillespie brought in to assist in managing the nearly 100 different musicians lucky and skilled enough to have been involved in these tracks. The first six solid bopping blasts are a curtain opening on a Shakespeare play; Dameron bounces his theme "Our Delight" until it becomes just that. A taste of Fuller's concoctions ensues, the leader's at times frantic horn figures sent to rescue a damsel from the mouth of a carnivorous beast half trombone, half baritone sax. Like a melodrama with a flabby last reel, the second half of the program flounders in comparison due to a reliance on Tin Pan Alley interpretations, even considering the habit both sidemen and leader have of tossing off short inventions with the intricacy of an evening raga. Even when based on similar chord changes, the new themes concocted by bebop henchmen were detached from mushy sentimentality in a way that inevitably must have made jazz seem like a threat to mankind, to some people anyway. What is essentially just aesthetic power transmits easily through any and despite too many repackagings. --- Eugene Chadbourne, Rovi

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