Untitled Document

FROM THE BE BOP CRYPT: TO THE CONNOISEUR'S LIBRARY

Jazz Vision Series

Landmark Performances

First Limited Edition

Catalog: #10001

Present

"THE INSIDE RECORDINGS OF A LIVING LEGEND"

DIZZY REECE

1963-1997

The Trumpeter/Composer/Producer performs his own unique style of contemporary jazz (in the bebop tradition)...

1963: Dizzy Reece AIive In New York / with The Mike Longo Trio.

Mike Longo, piano, Eddie DeHass, contre bass. Dizzy Reece, Trumpet. Rec. Live at the Club Embers West , nyc.

1965: LIVE AT MUSE ART / with George Braith, tenor sax, Horace Parlan, piano. Rec. Soho, nyc.

1968: NIRVANA--The Zen Of The Jazz Trumpet / feat. Sitar, Tamburo, Koto, Tubular Bells, Tablas, Piano, Bass, Drums. Rec. nyc.

1972: CLUB DATE: WITH ELVIN JONES TRIO / Wilbur Little, contre bass, Elvin Jones, drums.

1972: JAZZ POWER / DIZZY REECE-KENNY CLARKE *JOHHNY GRIFFIN--Reece, Trumpet, Clarke, Drums, Griffin, Tenor Sax. Vol 1 -2. Live Club Date. Rec. in Milano, Italy.

1972: NORTH AFRICAN LANDSCAPE / Feat. classical pianist, PHILLIP GUIOT. Trumpet and Piano-a classical tradition. Pure improvisation. Rec. in Marakesch, Morroco,North Africa.

1974: FROM IN TO OUT / DIZZY REECE QUINTET, Feat. John Gilmore, Tenor Sax, Art Taylor, Drums, Zigfield Kessler, piano, Patrice Caratini, contre bass. Rec. Live Concert in Paris, France.

1979: GRAND STREET STOMP / with Clifford Jordan Quartet. Live Club Date, Rec. in nyc.

1979: DIZZY REECE QUARTETS/ Vols. 1-2-3-4. Live Stellar Performances from Citi Corp Centre, nyc.

1988: SOUL FOR SALE / DIZZY REECE QUARTET. Feat. Allan Jean Marie, Piano, Ralph Duncan, Drums. Live Club Date. Rec. In Berlin, W. Germany.

1990: COME DANCE "The Hip Bop" / Feat. J.R. FUNK'S RHYTHM SECTION. The rhyhtm swings, the trumpet tells the story--with that sensuous feeling for intimate dancing. Contemporary improvisation at its very best. Rec. nyc.

1974-79: MASTER CLASS/ Solo Perrformances on the Trumpet. Reveals the mechanics of Reece's Music.

LANDMARK PERFORMANCES FROM THE MECCA OF JAZZ

"HIGHLIGHTS FROM THE NEW YORK CITY JAZZ

FESTIVAL--1979-1986"

These live stellar performances continue to highlight an era of music that is now uniquely landmark, from the "Jazz Capitol of the World".

For one of the most original and exciting musical events in the city's cultural history, legendary trumpeter/composer/arranger/producer Dizzy Reece planned the music around a nucleus of musicians who are permamnently featured in the NYC Metropoitan area, but who have gained large followings nationally and internationally, many of whom are recording artists and leaders in their own right. Harold Vick, Sal Nistico, Charlie Rouse, Clifford Jordan, Charles Davis, Gary Bartz, Harold Ousley saxes: Barry Harris, Walter Davis, Jr., Walter Bishop, Jr., Albert Dailey, Mike Longo, John Hicks piano: Calvin Hill, Chris White, Mickey Bass, bass: Mike Carvin, Walter Bolden, James Wormsworth, Leroy Williams, Leon Mitchell, Al Drears, Frank Gant: drums...and a host of others.

The music of these modern masters perpetuates the Modern Jazz--Bebop persuasion...a toast to that branch of classical jazz with its formidable accent on energetic, virtuosic performances...portraying the cultural lifestyle, and the music of New York City at its very best...If it's not happening in the Big Apple it is not happening.

The music is certainly happening here on these historical landmark recordings...a must for the jazz collector's library. The music of this persuasion is stressed with authenticity. Unfortunately for this generation of jazz lovers, this music is not readily available anymore. It is an endangered specie. Fortunately, these timeless performances which depicts one of the golden eras of modern jazz has been captured and preserved... to be saviored by jazz enthusiasts internat-ionally. It is our cultural heritage.

For the last one hundred years, New York City has been championed as the "mecca of jazz." It is a cultural centre fostering the growth and evolution of the contemporary modern sounds in improvisational music-making which has asserted a profound influence on democracy and community participation globaly. From the most obscure jam sessions, to clubs, great concert halls, festivals, educational clinics, seminars, radio and television programs, charitable institutions, etc., of the modern world, the "modern jazz" impetus has been a true symbol of democracy and liberalism in the arts and sciences, and the humanities. To put it squarely, it all emanates from New York City....Today, every ethnic group in the world is represented as participants in the art of improvised music in New York City... This city which is the capitol of the New World is truely a finishing school; making it perhaps, the most significant cultural landmark in the known world. Therefore it is more than fitting to honor and to celebrate the Mecca of Jazz...a community with its musicians, artists, and literrari, past present and future, whose landmark achievements we wish to cement and to perpetuate... As members of the jazz community nationally and internationally, your purchase of these significant recordings will continue to assure that these vignettes of Americana will continue to be of intrinsic value to your well-being. Be Bop music is music for the soul.

VIDEO JAZZ SERIES #1003

LANDMARK BIG BAND PERFORMANCES

THE CLIFFORD JORDAN BIG BAND WITH DIZZY REECE

IN FESTIVAL PERFORMANCES

1: LIVE AT CONDON'S IN NYC, USA

2: LIVE IN NICE, FRANCE

3: LIVE AT MONTRE, SWITZERLAND

4: LIVE IN TOKYO, JAPAN

5: LIVE AT PORI, FINLAND

DIIZZY REECE

SOUL FOR SALE

ED UNED IN CONCERT/ LIMITITED EDITION

DIZZY REECE, Trumpet, Alain Jean Marie, piano, Ugonna Okegwo, bass, Ralph Duncan, drums

Program

CON MAN 15 min

LOVER MAN 12 min

WOULDN'T YOU 16 min

THE THEME 10 min

ROUND ABOUT MIDNIGHT 15 min

STAR EYES 15 min

Linear Notes

Reece states that "without art civilization becomes a spiritually bankrupt wasteland ." A permanent fixture on the New York scene since October 1959, (with his second recording for the Blue Note label), Reece, who is respected as one of the very few genuinely, great musical trumpeters of the 20th century, is currently cited as "one of Manhattan"s leading exponent of the music called be bop." Although he never referred to himself as a bebopper, the globaly respected musician harbors great respect for the euphemism of a music acknowledged as the most challenging of all the jazz idioms to date. A veteran student of life, the trumpeter who's interests are far-ranging, states (biographically): The emotional must never outweigh the cerebral, they must strike that sacred balance (swing) that is contested in art. This is the essence of soul."

The enormous output of improvised work on this action-packed volume (52 minutes of unedited) musical performance (to an obviously most receptive packed house), bears grand testimony to Reece's committment to his art regardless of what euphemism it is labeled. The essence of soul that is portrayed in the brilliance of his sound and musical articulation, is as expensive as a Rembrandt (painting, recently sold for $64 million). With an impressive discography of collectors items and perennial reissues (since his intial album in 1953, A New Star), Alphonse Reece claims that he is "still striving for that perfect album." Soul For Sale/ Vol. One is truly a timeless magical statement in the realms of art. We eagerly anticipate Volume Two.

#A Special Artist product

Big House Productions USA

c 1998 Jazz Vision Records

Dizzy Reece

A Trumpet In Communication/ 1931-1999

Reece made his professional debut at age 14, and has performed with hundreds of musicians individually and collectively including the cream of the jazz world: Woody Herman, Buddy Rich, Dizzy Gillespie, Kenny Clarke, Don Byas, Dexter Gordon, Johnny Griffin, John Coltrane, Philly Joe Jones, Elvin Jones, Red Garland, Machito, Billy Taylor, as well as a host of other great artists. Since his debut in 1953 as leader with his first recording, A New Star, Reece who has spent the greater part of his career as a New Yorker, has performed internationally as leader, soloist, and sideman in many of the popular clubs, in concerts, on radio, television, films, festivals, educational institutions as well as a myriad of other musical experiences--from weddings, bar mitvahs to concert orchestras. He has spent many uncomprimising years refining the art to which he is totally committed. A prolific composer, arranger-orchestrator, Reece is truly respected as one of the very few great musical trumpet players in the world today. His recordings shows the mastery of the instrument as it truly communicate the unique message of the trumpet, profiling a musical language that has been in transition since jazz trumpet playing had its inception.

Dizzy Reece began building and communicating his personal musical vocabulary at an early age. Which by now, has become a major voice in the annals of trumpet playing from Buddy Bolden--Louis Armstrong, to the youngest of the neophytes on the current scene. Reece considers the trumpet to be a royal instrument, if ever there was one... It is with having the awesome experience of being conversant with the musical vocabulary of so many great musicians that has enabled Reece to develop his own personal musical vocabulary within the renowned art of improvidsation. ..As Ira Gitler quoted in his linear notes for Reece"s 1960 Blue Note recording, Soundin' Off: "His (Reece's) ideas does not come from excercise books". Unquote.

This is most evident in the trumpeter's work. His musical vocabulary does not espouse the standard cliches employed by most improvisors. However, his harmonic inventions are rooted in the tenets of jazz...mostly expressed in the feeling of his performances. Reece contends that although music is one part talent and two parts intelligence, the cerebral should never outweigh the emotions. They must strike that sacred balance that is contested in art. This is the essence of soul. He claims.

The trumpet playing career of Dizzy Reece has allowed him to absorb the musical talents of the hundreds of musicians with whom he has played individually and collectively, superficially and intimately, from his early brass band days to some of his latest experience with the late Clifford Jordan big band and his recent community efforts as a producer for Manhattan Neigborhood Network TV with his weekly presentations of Landmark video jazz films...Highlights from the Annual New York Jazz Festival which Reece organized and produced in October of 1978--dedicated to Lester Young and Charlie Parker "two grandmasters whose energies have stoutly contributed to the music that made New York City the mecca of jazz."

A seasoned film buff from youthful years, Reece aspired to be a film director. In 1967 he created a 30-minute documentary film called The Pressure Cooker By Night, an all-night impression of Manhattan and Harlem streets and places...which he hopes to duplicate currently. In some of his performances his quintet provides the live soundtrack for this film. Reece considers his performances whether in clubs, concerts or otherwise, to be a theatrical effort. For him, life is one big theatre, and therefore his music cannot be divorced from life. Music is my life. He asserts.

In addition to his brilliance as a trumpeter, Reece has functioned as a journalist, prose writer, poet, having written (published articles); abstractions, poems, short stories, screenplays (unpublished). Educational publications includes Contemporary Jazz Drum Suite (1966), Basic Jazz Bass Rhythm And Blues; Swinging the Scales and other method books. (1997); Encyclopedia of Black Brass/Black Reeds-- 1860-1999. His paintings have been exhibited with his music.

Dizzy Reece has been a host and guest on many radio programs nationally and internationally. His compositions includes dramatic film and theatre music to bed-time music. 1950s Reece appeared on three soundtrack music for British films. 1958 his improvised film score for the MGM movie Nowhere To Go (George Nader-- Maggie Smith) was an innovative performance for modern jazz in films in England. Since its release in 1958 the film has been continuously shown internationally with its performance as a "Hollywood Classic" on TNT in 1993. Albeit, currently immitated in film and television scores.

As a recording artist, Reece's discography sustains some forty-six years of improvisation. Every one a meaningful statement in the art of improvisation. (October, 1999, Blue Note released for the first time-- recorded July,1960, CD as one of their "Legendary Artists"). .His 1978 album Manhattan Project, recieved rave reviews (no hype) internationally, including Downbeat Magazine"s 5-star rating. He has also done a substanial body of recordings including his arranged compositions for radio stations in Europe. His 1979 recording Manhattan Project recieved rave reviews (no hype) internationally, including Down Beat Magazine's 5-star rating. He has also contributed quite a body of recordings for radio stations in Europe featuring his arranged compositions.

Considering that there are now six billion people inhabiting the planet--with only a comparatively minute percentage of trumpet players in the professional world today, Reece defines his role in the scheme of life as that of a very special artist. His credibility as a musician certainly supports these observations. Perhaps I could have prostituted myself more as a recording artist. He says. His forthcoming CD Soul For Sale, may very well have some bearing on this statement.

Mike Longo

CAP

New York, NY, USA

DISCOGRAPHY

DIZZY REECE 1953-1999

LPS: A New Star, Progress Report, Dizzy Blows Bird, They Are Changing THe Jazz At Buckingham Palace (British Decca-Tempo; Savoy): LPS: on Imperial, Cont empor- ary, Esquire. LPS: w. Victor Feldman groups and big band (Fantasy). Own LPS: Blues In Trinity, Star Bright, Soundin" Off. Others unreleased (Blue Note); Asia Minor (New Jazz-Fantasy). LPs: w. Duke Jordan-Stan Turrentine-Art Taylor, Flight To Jordan; w. Hank Mobley, The Flip; w. Andrew Hill (Blue Note). LPS: w. Dizzy Gillespie 20th Reunion Band (Pausa-MPS-Epbop); w. Philly Joe Jones, Round Midnight (Red-Italian); w. Dexter Gordon-Slide Hampton, A Day In Copenhagen (MPS, Fantasy). Own LPS: Harmony Peace Exorcism (Honeydew); From In To Out incl. John Gilmore, Art Taylor (Futura-French); Manhattan Project w. Clifford Jordan, Roy Haynes, Art Davis, Al Dailey, Ch. Davis (Beehive); Dizzy Reece Quartet incl. Roy Haynes, Sam Jones, Claude Williamson (Discovery). LPS: w. Art Matthews, Easy To Remember w. Archie Shepp, Alan Dawson, (Mata); w. Clifford Jordan, Inward Fire (Muse); Down Thru The Years-Big Band (Fantasy). LPs: and Video w. Paris Reunion Band, Home Cooking; One For Klook (Gazelle); w. Cedar Walton Quintet at the Village Vanguard (Sony B. Corp.). LPS -VIDEO:F rom The BeBop Crypt- "The Inside Recordings Of A Living Legend-1963-1999", incl. Nirvana; The Festival Series; Soul For Sale/Concert Live 1988; Come Dance (Jazz Vision); 1999, October, CD, new release rec. 1960, Dizzy Reece 5tet., Comin' On w. Art Blakey, Bobby Timmons, Jymie Merrit, Sam Jones Mussa Kaleem, Duke Jordan, Stan Turrentine, Al Harewood (BN),

A Tribute To Al Haig: Dizzy Reece- Oct. 1999

I first heard Al Haig via the early 1950s recordings of Charlie Parker and Gillespie, and was immediately imppressed with his genteel, loping, melodic, yet, dynamic style, which to this day, I consider a boon to contemporary jazz. He did not pound the piano, but he had a masterful beat (manhood). In tai chi chuan his style is classified as the hard-soft" style. His commanding , dexterous artistry envinced an innate respect, and knowledge of the classical repertoire. And an extreme familiarity with the blues idiom. Al Haig is a silent giant in the jazz hall of fame. He was the be bop Chopin, so to speak. He swung.. The old masters were all great improvisors, Haig continued that tradition on into the 20th century. From 16th century Europe to 52nd Street and Broadway, NYC. All the great jazz piano stylists have upheld that timely tradition--from Scott Joplin, to grand master Art Tatum. Haig was a contemporary expression of the great art of improvised music-making. There could never be a Bill Evans and his many proselytes without Al Haig. His (subtle) influence remains quite pervasive among the latest practioneers in contemporary jazz piano stylings.

Dear Grange,

I trust that you and your family are in good health. It is the greatest gift of all (including music). It is all about harmony and inner peace. I am sorry that you did not recieve this before now. I have been somewhat frozen since putting my mother to rest in May of this year. I am thawing out a little at a time. Thank you for your cassette. However, it hasnt the trumpet solo for the Gypsy. It starts with the piano solo. Perhaps there is none. I am curious about the other tapes you have. At your earliest convenience.

Sincerely,

D. Reece

718-585-7017

Dermot Hussey

7 Liguena Mews

Kgn. 6

Jamaica, WI.

tel. 876-978-1540

Oct. 1-99.

Dear Jenine,

I take this opportunity to introduce to you, one of the great musical scientists of our era. He is also one of the few remaining "survivors" of the golden era of jazz. There wont be many in the coming millenium. He is the musician's musician. I am also proud to say that he is Jamaica's greatest gift in contemporary world culture. He embarked from the shores of the Caribbean: in 1948 to record with some of the most prestigious jazz recording companies in America-- attaining authentic recognition as a major voice in the great world of improvised music. Blue Note records has just released a CD of his work (rec. 1960) touting him as one of their legendary artists. He is Dizzy Reece.

I am quite confident that your inherent wisdom will advise you that it remains our responsibility to continue in our efforts to support calibre artists such as Mr. Reece. He will be forwarding his resume to you... His project would include appearances in Britian and the continent--most preferably with his own quintet--which can be augumented with claibre musicians from there in a big band format (which features his orchestrated compositions). I am convinced that there is a respectful budget to accomodate this important artist. The proper renumeration for his work should not be a deterent in scheduling his earliest appearance in London for the coming year.

Sincerely,

Dermot Hussey

Dizzy R

Dizzy Reece

DISCOGRAPHY

DIZZY REECE 1953-1999