{"id":11003,"date":"2019-03-21T22:39:31","date_gmt":"2019-03-22T05:39:31","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=11003"},"modified":"2019-03-27T12:06:46","modified_gmt":"2019-03-27T19:06:46","slug":"gaillard-with-parker-gillespie-marmarosa-et-al","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2019\/03\/gaillard-with-parker-gillespie-marmarosa-et-al\/","title":{"rendered":"Gaillard With Parker, Gillespie, Marmarosa, et al"},"content":{"rendered":"<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/03\/photo-of-slim-gaillard-david-redfern-e1553232992729.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11004\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/03\/photo-of-slim-gaillard-david-redfern-e1553232992729.jpg\" alt=\"\" width=\"265\" height=\"322\" \/><\/a>A <em>Rifftides<\/em> reader recently confessed to never having heard Slim Gaillard\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Poppity Pop,\u00e2\u20ac\u009d a 1945 recording with Charlie Parker as a sideman. The record might be dismissed as a period piece, a novelty, if it did not also include trumpeter Dizzy Gillespie, tenor saxophonist Jack McVea, pianist Dodo Marmarosa, drummer Zutty Singleton and Gaillard\u00e2\u20ac\u2122s frequent collaborator bassist Bam Brown. With that lineup, it was a gathering of mid-1940s Los Angeles all-stars. On the off-chance that there may be other <em>Rifftidesians<\/em> who haven\u00e2\u20ac\u2122t had the pleasure of meeting Gaillard (1916-1991), here\u00e2\u20ac\u2122s your introduction to \u00e2\u20ac\u0153Poppity Pop.\u00e2\u20ac\u009d It will be followed by another Gaillard classic with the same participants, also originally issued on the Bel-tone label. The title explains everything. It\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Slim\u00e2\u20ac\u2122s Jam.<\/p>\n<p>&nbsp;<\/p>\n<p>(Photo: David Redfern)<\/p>\n<div align=\"&quot;center\">\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/-ARJZ8EhAhc\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<div align=\"&quot;center\">\n<p>&#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 <iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/iCVt0l89mPo\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p>Hope that helps.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>A Rifftides reader recently confessed to never having heard Slim Gaillard\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Poppity Pop,\u00e2\u20ac\u009d a 1945 recording with Charlie Parker as a sideman. The record might be dismissed as a period piece, a novelty, if it did not also include trumpeter Dizzy Gillespie, tenor saxophonist Jack McVea, pianist Dodo Marmarosa, drummer Zutty Singleton and Gaillard\u00e2\u20ac\u2122s frequent [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":11004,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-11003","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/11003","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=11003"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/11003\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/11004"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=11003"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=11003"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=11003"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}