The gamecock. (Columbia, S.C.) 1908-2006, March 10, 1980, Page Page 10, Image 10
Despite poor;
Dizzy still thi
Bv Date Smoak
Gamacock Staff Writer
Thanks to the sponsorship of the Kitani Foundation,
South Carolina native Dizzy Gillespie returned home
Saturday night, treating an appreciative Township
audience to two sets of his own tunes and other
standards.
BACKING GILLESPIE were Ed Cherry, guitar,
Mike Howell, bass guitar and Tommy Campbell,
drums.
Unfortunately, there were some sound problems
that marred the beginning of the concert. Gillespie
started with what I think was "Con Alma;" it was
hard to be sure because the trumpet was nearly
inaudible at times in the mix. After his solo, Gillespie
walked off stage and spoke to a stagehand; at the end
of the number he apologized for the volume. "We
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were straightened out and the sound was fine for the
remainder of the concert.
GILLESPIE IS A natural comedian wno enjoys
himself to the fullest on stage. Some of what he said
was inaudible at times, but this can be attributed
more to the softness of his own voice rather than
sound problems. As usual, Dizzy was hilariously
funny, never more so than when he tried to teach the
audience the vocals to "Salt Peanuts." At one point,
he turned away in mock disgust, muttering "no
rhythm," but we learned it eventually and he incorporated
the crowd vocal into the performance of
the tune.
Other highlights of the first set were fine performances
of two ballads. Gillespie played Don
Redman's "Gee Baby Ain't I Good" and a particularly
moving performance of his own "Brother
King," written for Dr. Martin Luther King.
t Study Skills
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ft Dates: March 10 or March 1
^ Time: 7:45 until 9:00 P.M
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THE SECOND set had features for Gillespie's
sidemen. The tunes were performed at greater lepgth
than in the first set. Perhaps the musical highlight of
the evening was the extended performance of
Gillespie's most famous tune, "A Night in Tunisia," a
tune that has been recorded scores of times by other
artists in the past thirty-five years. Dizzy was very
hot and the tune also featured a long, resourceful
bass guitar solo by Mike Howell. This number was
filmed for a life of Gillespie project, and Diz had a
great time mugging for the cameras.
UUiespie introduced me next nuiuut;r uy saying,
"We re going to play something we're supposed to
know something about, the blues." This featuivd a
lengthy, unaccompanied solo by the guitarist "from
the sovereign state of Connecticut," Ed Cherry. It
was a great solo, with some barrelhouse blues
playing. Afterwards, someone from the audience
shouted that Cherrv must be "from South Carolina."
That was meant as a compliment.
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lively interplay between Gillespie on congas, who
plays them more than incidentally, and drummer
Tommy Campbell. Campbell then embarked on an
unaccompanied solo, easily his best of the night,
during which he kept steady time on the high-hat
amidst his polyrhythmic excursions.
In his new autobiography. To Be or Not to Bop,
toll? nf lnnkinu nrminri him nnH r#?nli7.inf*
that many of his colleagues from over the years were
dead. He says he realized the necessity of taking care
of himself. He has, and at the end of his book he says.
"I intend to just hang on, brother." At G2, the genius
can still play, and he should be around for quite some
time to come.
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Russell K. Pace - GAMECOCK
The legendary Dizzy Gillespie seems pleased with
his visit to Columbia.
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