#Trinkle kansas city jazz full#
Where Cole Porter's melody is smooth and singable, Tadd Dameron's line is full of turns and twists and leaps, very hard to sing. "Hot House" is based on the chord changes to "What is This Thing Called Love," a song written for the musical theater by Cole Porter. Gillespie, the most reliable and organized of the two, was nominally the leader of this session. On the other hand, when they play together they seem to speak with a single voice. Jazz historians are generally careful to give both Parker and Gillespie (or, as jazz people usually put it, "Bird and Diz") joint credit for bebop, but Parker is the one who is always put at the very top of the pantheon, with Louis Armstrong and Duke Ellington and the few other "greatest of the great." Here, though, Gillespie certainly matches, and arguably even outplays Parker. This cut shows Parker and Gillespie in fine form on a medium tempo AABA piece. The Dizzy Gillespie Quintet Hot House (1945)ĭizzy Gillespie (t) Charlie Parker (as) Al Haig (p) Curly Russell (b) Sidney Catlett (d) Tadd Dameron (comp) As a first-rate performance by two fine and utterly original musicians and an improvisational tour-de-force from Byas it is, as Ellington would say, beyond category. The speed and intricacy of his playing are all in the realm of bop, but the hunkiness of his tone and his rhythmic articulation place him in the realm of swing. In this amazing track, Hawkins-influenced tenor player Don Byas is knocking on the door of bebop.
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But, The Phoenix really needs to think about how to rework, the teen-alcohol situation (or come up with at least a better excuse that COVID), to cover the appearance that underage drinking needs to be addressed more reasonably, than just banning all under the age of 21).Don Byas and Slam Stewart I Got Rhythm (1945) We actually do things together (instead of playing computer games all day). So, since we weren't allowed in, afraid that a mommy and daddy might slip a couple of drinks to teenagers (or something), we couldn't enjoy an hour's worth of music, I give this experience a -1, which gives, my entire experience at The Phoenix a 2 (POOR)!
#Trinkle kansas city jazz update#
Once again, there's another business who can't update information on a website-so why have the website in the first place?!! That's probably the real reason why I'm angry. Just as absurd as this policy is, it's not posted on The Phoenix website. was performing as a teen, there were "LIABILITIES!!!!" Alcohol to minors-no exceptions-even to families of a 14 year old and a 12 year old who were allowed to eat just a few hours earlier at the same premise.-Why should teens actually enjoy jazz!!! They shouldn't, should they!! The person also implied that before April 1st, at least some kids were allowed after 3:00 in the afternoon-which is mind blowing to think, because wasn't before April 1st when COVID was a bit more dangerous? You know kids will be all over the place, and we can't chance that.
So, I asked what kind of "LIABILITY." Answer: COVID. However, we weren't admitted in because of "LIABILITY." Us old folks might have a couple of drinks and all of us were planning to sample some cheesecake as we were going to listen to a singer who has performed on Broadway. We did a couple of touristy things and we cut one of them a bit short so we could be back by 4:15 for the 4:30 performance. I'm a bit sarcastic because of the second aspect of The Phoenix. The band was fantastic and the food was delicious!1 My 12 year old son WAS ALLOWED (by the owners & staff) to even eat a sophisticated meal like the crab cake florentine benny!!!!! We traveled across the state for a fun-filled weekend. This is a tough review because it's 2 reviews in one.
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