Music

Dizzy Gillespie and Friends: Concert of the Century - A Tribute to Charlie Parker

This may not be the greatest performance of its time, but it's bristling with improvisatory energy and instrumental play that should leave jazz devotees more than satisfied.


Dizzy Gillespie and Friends

Concert of the Century: A Tribute to Charlie Parker

Label: Justin Time
US Release Date: 2016-11-11
UK Release Date: 2016-11-11
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Crime of the century. Trial of the century. Game of the century. Fight of the century. The epithet "of the century" has become something of an overused idiom -- a stale marketing gimmick, a hype engine running on fumes. What does it mean, then, to call this rare 1980 live performance by Dizzy Gillespie and an assemblage of jazz greats the "Concert of the Century"? Here, it doesn't seem to be a misplaced superlative; it seems to be a description of the vast landscape of jazz history that these songs radiate. This isn't the best concert of the 20th century, or even the best jazz concert of the 20th century. However, it is definitively of the 20th century, bursting at the seams with breakneck rhapsodies and instrumental acrobatics that draw from the entirety of the jazz tradition.

You can, of course, feel Charlie Parker in these songs, whose mesmeric playing and masterful bandleading inspired the performance. But you can also feel others: Thelonious Monk, Duke Ellington, Bix Beiderbecke, Count Basie, Coltrane, Davis, Gordon, Krupa. For a listener in 2016, knowing all these names doesn't matter as much as recognizing the generations they defined -- generations that, whether they mean something to you or not, find themselves reincarnated through the concert's mile-a-minute survey of the moods, personalities, and vernacular expressions of the genre. 

While recorded almost four decades ago on a November evening in Montreal, all eight of these songs seem to belong to a span of time that stretches back to an age of silent movies and Model Ts; they're packed with second-splitting improvisatory energy, but also with an unmistakable reverence for the jazz giants that encircle the concert like smiling specters.

The spotlight is firmly on Gillespie throughout, but the bop-defining trumpeter is backed by an ensemble of world-class musicians: lauded vibraphonist Milt Jackson, tenor sax and flute virtuoso James Moody, and a quick-footed rhythm section composed of Hank Jones, Ray Brown, and Philly Joe Jones on piano, bass, and drums, respectively. The concert may be billed as "Dizzy Gillespie & Friends", but each of these "friends" gets their chance to lead the pack.

On "If I Should Lose You", Jackson's vibraphone lopes and lingers like the heavy footsteps of a man pondering his lover's departure. "Darben the Redd Foxx" is all Moody; his flute playing is so immaculately agile that it bears less in common with the fox of the song's title than with its prey: a rabbit racing across the earth, in fear for its life but sure of escape. Unsurprisingly, the triptych "Bass Solo / Manhã de Carnaval / Work Song" gives Ray Brown plenty of room to torque each of his bass notes into strange shapes -- plops, leaps, wisps, pricks -- that disappear just as they materialize.

Throughout, the concert is punctuated by spurts of laughter, applause, and lighthearted banter that capture the roof-lifting excitement that must have been present in the air that night. Yet this excitement is also there in the music, perhaps most prominently on the Gillespie-headlining bacchanalia "Get Happy". It's a performance charged with imperative motion; the players are not only impelled by the title's demand to "get happy", but also by the tempo's demand to keep up. 

Gillespie's trumpet, of course, takes centerstage. Listening to it, a litany of analogues comes to mind: a carousel spinning out of control, a pointillist's daydream, a frenzy, a fulmination. However you describe it, like the rest of the "Concert of the Century", it's filled with infectious enthusiasm - an enthusiasm not only for the artistry of the moment, but for the art of the past.

8

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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