Gillespie played with unusual but good harmony with extreme fast tempo that led the audience thought jazz musicians were not only entertainers but they were professional musicians. Before bebop, big bands were played with a commercial purpose, but when Gillespie and his bands played virtuously, it grabbed public’s attention and dance floor became the tables and seats.
I liked reading these two chapters. The chapter “No Dancing” included Billy Eckstine’s, Sarah Vaughan’s, Art Blakey’s, and Budd Johnson’s words that give the readers a chance to see how others thought of Gillespie and how Gillespie influenced them. I like how Gillespie concluded the chapter “No Dancing.” He said they weren’t playing whatever they wanted to play, they knew the fundamental, they knew they theory, and once they knew it, they could break it. I found it interesting that the words were not edited at all in the chapter of “The