A Quote by Andy Serkis

I had a cat called Dizz, after Dizzy Gillespie. — © Andy Serkis
I had a cat called Dizz, after Dizzy Gillespie.

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I skipped school one day to see Dizzy Gillespie, and that's where I met Coltrane. Coltrane and Jimmy Heath just joined the band, and I brought my trumpet, and he was sitting at the piano downstairs waiting to join Dizzy's band. He had his saxophone across his lap, and he looked at me and he said, 'You want to play?'
The first records I heard were from Dizzy Gillespie and people like that.
I once saw Dizzy Gillespie at a live show, and it made me want to go home immediately and start writing.
I remember the first time hearing a recording from Minton's Playhouse; it was Charlie Christian and a young Dizzy Gillespie, and he was just the best musician in the room.
Oh cat, I'd say, or pray: be-ootiful cat! Delicious cat! Exquisite cat! Satiny cat! Cat like a soft owl, cat with paws like moths, jewelled cat, miraculous cat! Cat, cat, cat, cat.
Ornette Coleman is doing the only really new thing in jazz since the innovations in the mid-forties of Dizzy Gillespie, Charlie Parker, and those of Thelonious Monk
I just really liked those trumpets and horns - Miles Davis, Dizzy Gillespie - and I honed in on that. I always looked for those big horn lines.
I think I was first awakened to musical exploration by Dizzy Gillespie and Bird. It was through their work that I began to learn about musical structures and the more theoretical aspects of music.
I grew up listening to Ravel, Debussy, Bartok and jazz like Charlie Parker, Dizzy Gillespie, Cannonball Adderley, Charlie Christian and Django Reinhart. It was incredibly inspiring! And I was given a guitar and I said 'What the hell is this?!'
I believe, from reading biographies, that the great musicians have also been great cooks: Miles Davis, Dizzy Gillespie, Thelonious Monk, Max Roach. I think I've worked out why this is - unsociable hours, plus general creativity.
I went up to his [Hank Jones'] house and there were four guys there: Dizzy Gillespie, Charlie Parker, Bud Powell, and Max Roach. Not a bad place to be. Scared shitless, but a nice place to be on my second day in New York.
Dizzy Gillespie would come by, eating gumbo. It was crazy. My grandparents were friends with all of them. Dee Dee Bridgewater, all of them, they'd come through.
There's a famous story about Dizzy [Gillespie] and Art Blakey taking him aside, and spending a whole night-long talk with [Phil Wood], "Man we believe in you. You can play. So don't be walking around with a frown on your face or whatever, getting yourself into trouble. You have got a gift, and nobody is going to take that away from you." So that meant the world to him.
My nan used to look after me in the summer holidays and she had a cat with one eye. It used to walk into walls and tables. I used to think it was hilarious. It was a slapstick cat.
I, myself, came to enjoy the players who didn't only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around.
The Metropole Orchestra is like Count Basie or Duke Ellington with strings... it's strings that swing. Strings that swing like Dizzy Gillespie... keep swinging, baby. And when you have all of that special excellence of the Metropole Orchestra, then your music just flies - it soars in a way that's really magical.
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