{"id":7998,"date":"2016-11-27T17:54:09","date_gmt":"2016-11-28T01:54:09","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7998"},"modified":"2016-11-28T17:32:15","modified_gmt":"2016-11-29T01:32:15","slug":"weekend-extra-ow","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/11\/weekend-extra-ow\/","title":{"rendered":"Weekend Extra: \u00e2\u20ac\u0153Ow!\u00e2\u20ac\u009d"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-7999\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/11\/Ray-Brown.jpg\" alt=\"ray-brown\" width=\"108\" height=\"210\" \/>I hope that you have as much fun watching and listening to this video as Ray Brown had when it was recorded. Brown is the bassist in&#8221;\u00a0a reunion with his old boss Dizzy Gillespie. He was on the original recording of \u00e2\u20ac\u0153Ow!\u00e2\u20ac\u009d by <a href=\"http:\/\/amzn.to\/2gwLRa6\">Gillespie\u00e2\u20ac\u2122s big band in 1947<\/a>, and James Moody was in the saxophone section. Here they are 38 years later at the 1985 Bern, Switzerland, Jazz Festival. Gene Harris is the pianist, with Grady Tate on drums.<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/tgVeMNG7dZc\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">As your ear may have told you by the end of that performance, Gillespie based \u00e2\u20ac\u0153Ow!\u00e2\u20ac\u009d on the chord changes of George Gershwin\u00e2\u20ac\u2122s \u00e2\u20ac\u0153I Got Rhythm.\u00e2\u20ac\u009d which has supplied the chords of countless \u00e2\u20ac\u0153original\u00e2\u20ac\u009d compositions in jazz. Gillespie also used what musicians generally call \u00e2\u20ac\u0153\u00e2\u20ac\u2122Rhythm\u00e2\u20ac\u2122 changes\u00e2\u20ac\u009d for \u00e2\u20ac\u0153Dizzy Atmosphere,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Anthropology,\u00e2\u20ac\u009d \u00e2\u20ac\u0153One Bass Hit,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Shaw Nuff\u00e2\u20ac\u009d (written with Charlie Parker) and \u00e2\u20ac\u0153Stay On It.\u00e2\u20ac\u009d There may be other Gillespie IGR contrafacts. Contrafact is&#8221;\u00a0the formal name for such borrowings. If chord sequences could be copyrighted, the Gershwin estate might be the richest institution on earth.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>I hope that you have as much fun watching and listening to this video as Ray Brown had when it was recorded. Brown is the bassist in&#8221;\u00a0a reunion with his old boss Dizzy Gillespie. He was on the original recording of \u00e2\u20ac\u0153Ow!\u00e2\u20ac\u009d by Gillespie\u00e2\u20ac\u2122s big band in 1947, and James Moody was in the saxophone [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","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-7998","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7998","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=7998"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7998\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7998"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7998"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7998"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}