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Bahiana

by

Dizzy Gillespie

 
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Bahiana
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Avg: 3.5 (14 ratings)

The co-father of bebop in his late prime.

  • We Say...

    Review by Fred Kaplan

    Along with Benny Carter, Dizzy Gillespie, Inc., this 1975 recording best captures the co-father of bebop in his later period — in this case, the first with a largely Latin band. (Gillespie was a pioneer, way back in the late '40s, at infusing Cuban rhythms into modern jazz.) I saw Diz play live many times in the '70s and '80s. As his power to hit the high notes waned, he focused more on rhythms — and rhythms within rhythms — as well as a tonal purity in the mid-range that made your hair stand on end all the more when his trumpet rocketed into the stratosphere.

  • They Say...

    Review by Stewart Mason, All Music Guide

    One of the rare jazz two-record sets that's actually a worthwhile expenditure of vinyl and time, 1975's Bahiana is one of Dizzy Gillespie's finest albums of the decade. In the '40s, Gillespie had been one of the first U.S. bandleaders to take an active interest in Latin jazz, but his interest in the music had been intermittent in the intervening decades; Bahiana (named for the Brazilian state of Bahia) was his first all-Brazilian album in over a decade. It's a goodie, though. By the mid-'70s, interest in the original wave of bossa nova had largely died out, replaced on the one side by the tropicalia movement and on the other by the fusiony disco-pop of Airto Moreira and Deodato. Bahiana's richly expansive tunes -- not one under seven and a half minutes, and even the three ten-plus minute entries deserving every second -- are built on pure carnival rhythms, like the percolating, self-explanatory "Samba." Guitarist Alexander Gafa contributes half of the eight tunes, but the highlights are Gillespie's own festive "Carnival" and the hypnotic "Olinga," which sounds like Antonio Carlos Jobim sitting in on rehearsals for Kind of Blue. Those wanting to explore Dizzy Gillespie's Latin side should start here.

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