# CD review: John Bailey – Can You Imagine? 2020: Video, CD cover

- Link: https://jazzblues.eu/2020/05/05/cd-review-john-bailey-can-you-imagine-2020-video-cd-cover/
- Published: 2020-05-05T14:02:16+01:00
- Author: https://JazzBlues.EU

**This tribute to Dizzy Gillespie’s 1964 tongue-in-cheek run for president is bristling
with energy and the kind of _joie de vivre_ that the trumpeter embodied. Along with
a stellar crew, trumpeter-composer John Bailey pays homage to his hero while raising
issues of social justice in America.**

After opening on a blazing note with “Pebbles In The Pocket,” the band settles into
the three-movement _President Gillespie Suite_, which begins with the entrancing,
Latin-tinged “The Humanitarian Candidate” and has the leader emulating Dizzy’s inventive
phrasing on muted trumpet. The second movement, “Road To The Blues House,” features
guest Earl McIntyre with some hip vocalizations on bass trombone and finds Bailey
slyly quoting from “Walkin’” over a four-horn free-for-all. The bouncing third movement,“
President Gillespie’s Birthday Song,” is an uptempo swinger with a tricky, boppish
line played in unison by the horns before Bailey and saxophonist Stacy Dillard break
off for some scintillating trading of eights with drummer Victor Lewis. Bailey delivers
with clarity and lyricism on Chico O’Farrill’s beautiful “Ballad From Oro, Incienso
Y Mirra.” Dillard’s appealing jazz waltz, “Elite State Of Mind,” featuring guest
flutist Janet Axelrod, has the potent young saxophonist stretching out on a bold-
toned tenor solo before Stafford Hunter follows with an expressive trombone solo.

The most dramatic piece here is Lewis’ expansive “The Touch Of Her Vibe,” featuring
fiery exchanges between the leader on flugelhorn and Dillard on tenor. Bailey closes
with a tasty duo take of Jules Styne’s “People.”

No hidden sub-text here: the brand name on the label yells it shamelessly. Ever 
since the first jazz phrase took wing, the music has expressed the essence of freedom.

Not only does trumpeter **John Bailey** (who’s worked with Ray Charles, Ray Barretto,
Woody Herman and Arturo O’Farrill) possess a pair of passions, on this album they’re
interlinked for all to hear. Passion No 1 is a love of freedom. And passion No 2
is a lifelong devotion to John Birks ‘Dizzy’ Gillespie, the incandescent trumpeter
and bebop founding father (Bailey’s car license plate even reads ‘DIZ4PRES’). Clearly,
as a self-confessed patriot, Bailey regards the actions of the current U.S. Commander-
in-Chief as running counter to the music’s spirit and has decided to make a creative
political protest. In other words, as owner of the label, he’s placed his mouthpiece
where his money is (trumpet v. Trump?).

Compulsory backstory: in 1964, against the background of raging Civil Rights’ struggles,
Dizzy Gillespie announces his candidacy for the White House. With a sense of satire
that matches his phenomenal technique, (“The White House? I’ll rename it ‘The Blues
House’”) he nominates the most distinguished cabinet of all time (Duke Ellington
as Secretary of State; Louis Armstrong at Agriculture and Miles Davis heading the
CIA). Dizzy’s subversive humour masks genuine pain. And the issues he raises persist
to this day.

So, on this album, Bailey imagines a freer, more liberated U.S.A. inherited from
Diz’s enlightened administration. Wisely, he also surrounds himself with like-minded
musicians to express this alternative world.

Listen how, on _Pebbles in The Pocket_, Bailey’s horn emerges optimistically from
a dirge-like intro. The album’s central showpiece, _President Gillespie Suite_, 
has three parts: i: _The Humanitarian Candidate_ (yearning tightly-muted trumpet
a la Diz and plenty of horn interplay suggesting democratic discussion rather than
authoritarian rhetoric), ii: _Road To The Blues House_ (sterling work from guest**
Earl McIntyre** on bass trombone) and iii: _President Gillespie’s Birthday Song_(
incorporating fragments of Dizzy’s _Salt Peanuts_ and _Groovin’ High_).

Distinguished drummer **Victor Lewis** sets the pace for his composition _The Touch
Of Her Vibe_, a lament (state of the nation?) that offers Bailey the opportunity
of an athletic solo followed by an intense conversation between **Stacy Dillard**’
s tenor and **Stafford Hunter**’s trombone. _The Blues House_ generates the power
of a Blakey’s Messengers revival, funky trumpet, gymnastic trombone, strong support
from bassist **Mike Karn** and a masterly display from Lewis. On _Ballad From Oro,
Incensio Y Mirra_, composed by Chico O’Farrill (the Afro-Cuban pioneer responsible
for Dizzy’s _Manteca_), the mood is sensuous and Latin with sensitive contribution
from pianist **Edsel Gomez**.

Stacy Dillard wrote the thoughtful _Elite State Of Mind_ which features his saxophone,
Hunter’s philosophical trombone and the work of yet another guest, flautist **Janet
Axelrod** as well as some handsome ensemble effects. _Valsa Rancho_ features Axelrod’s
alto flute whose contralto sound, sad and regretful, is well-suited to the elegiac
waltz which is also explored by Dillard’s heartfelt soprano over virtuoso cymbal
splashing by Lewis. _From The Heart_ by Victor Lewis, is a defiant battle hymn studded
with engaging riffs proclaiming hope over despair. Everyone in the band testifies
and the performances shine courtesy of crisp audio engineering by Randy Crafton.

The final track, _People_ by Bob Merrill and Jule Styne, once a saccharine smash
for Barbra Streisand, is a duet by Bailey and Gomez invested with fresh meaning,
totally stripped of sentiment and all the better for that.

![John Bailey – Can You Imagine? | BLACK GROOVES](https://i0.wp.com/blackgrooves.
org/wp-content/uploads/2020/02/bailey.jpg?resize=640%2C640&ssl=1)

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