Personnel: Charlie Parker (alto saxophone); Dizzy Gillespie (vocals, trumpet); Kenny "Pancho" Hagood (vocals); John Brown, Howard Johnson (alto saxophone); James Moody, Joe Gayles (tenor saxophone); Cecil Payne (baritone saxophone); Elmon Wright, Mathew McKay, Dave Burns, Ray Orr (trumpets); Taswell Baird, Williams Shepard (trombone); Milt Jackson (vibraphone); Al McKibbon (bass); John Lewis (piano); Joe Harris (drums); Lorenzo Salan (bongos); Chano Pozo (congas).
Producer: Teddy Reig.
Reissue producer: Michael Cuscuna.
Recorded at Carnegie Hall, New York, New York on September 29, 1947.
Includes liner notes by Ira Gitler.
Personnel: Charlie Parker (alto saxophone); Dizzy Gillespie (vocals, trumpet); Kenny "Pancho" Hagood (vocals); John Brown , Howard E. Johnson (alto saxophone); Joe Gayles, James Moody (tenor saxophone); Cecil Payne (baritone saxophone); Dave Burns, Matthew McKay, Raymond Orr, Elmon Wright (trumpet); Taswell Baird (trombone); John Lewis (piano); Milt Jackson (vibraphone); Joe Harris (drums); Chano Pozo (congas); Lorenzo Salan (bongos).
Liner Note Author: Ira Gitler.
Recording information: Carnegie Hall, New York, NY (09/29/1947).
Illustrator: Alan Nahigian.
Unknown Contributor Role: William Shepherd .
Arrangers: John Lewis; George Russell; Gil Fuller; Tadd Dameron.
For starters, a clarification: this CD contains only five cuts in which Parker and Gillespie front a quintet. The remaining ten tunes are performed by Gillespie with his big band and do not include Parker. The reason for this, as explained by Ira Gitler in his excellent liner notes, lies in the origin of the concert itself-originally meant only to feature Gillespie's band and guest Ella Fitzgerald. Parker was then invited to join Gillespie's rhythm section for a reunion of sorts in which the twin fathers of bop would hold forth on a handful of their seminal tunes. This they did, and both the music and the fidelity are all that you could want.
Dizzy's big band was packed with great players, and the repertoire reflected many aspects of the trumpeter's personality. CARNEGIE HALL's selections represent the Afro-Cuban sound he helped midwife ("Cubano Be, Cubano Bop," featuring Chano Pozo and Lorenzo Salan); virtuosity disarmed by goofball humor ("Oop-Pop-A-Da," "Salt Peanuts"); straight-ahead bop (Tadd Dameron's "Hot House" and Parker's "Relaxin' At Camarillo"); and more adventurous writing (John Lewis' "Tocatta For Trumpet" and Gil Fuller's "Things To Come").