Personnel: Dizzy Gillespie (trumpet); Ray Pizzi (soprano & tenor saxophones, flute); Rodney Jones (guitar); Benjamin Franklin Brown (electric bass); Mickey Roker (drums); Paulinho da Costa (percussion).
Recorded at RCA Studios, Los Angeles, California on September 15 & 16, 1976.
Digitally remastered by Phil De Lancie (1994, Fantasy Studios, Berkeley, California).
Believe it or not, DIZZY'S PARTY is a funk/dance recording--this is Dizzy Gillespie stretching into unexpected territory. Produced by Norman Granz, a pioneer in jazz crossover projects, the funk is thick and nothing is taken too seriously. James Brown would enjoy this effort.
The tracks are long and exploratory save for "Harlem Samba," which is short but furious. Dizzy plays like he's having a hell of a good time and his spirit infects the other players. This is be-bop meets Shaft on a conga line.

Walmart # 558351846

Personnel: Dizzy Gillespie (trumpet); Ray Pizzi (soprano & tenor saxophones, flute); Rodney Jones (guitar); Benjamin Franklin Brown (electric bass); Mickey Roker (drums); Paulinho da Costa (percussion).
Recorded at RCA Studios, Los Angeles, California on September 15 & 16, 1976.
Digitally remastered by Phil De Lancie (1994, Fantasy Studios, Berkeley, California).
Believe it or not, DIZZY'S PARTY is a funk/dance recording--this is Dizzy Gillespie stretching into unexpected territory. Produced by Norman Granz, a pioneer in jazz crossover projects, the funk is thick and nothing is taken too seriously. James Brown would enjoy this effort.
The tracks are long and exploratory save for "Harlem Samba," which is short but furious. Dizzy plays like he's having a hell of a good time and his spirit infects the other players. This is be-bop meets Shaft on a conga line.

Walmart # 558351846
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Personnel: Dizzy Gillespie (trumpet); Ray Pizzi (soprano & tenor saxophones, flute); Rodney Jones (guitar); Benjamin Franklin Brown (electric bass); Mickey Roker (drums); Paulinho da Costa (percussion).Recorded at RCA Studios, Los Angeles, California on September 15 & 16, 1976.
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