terça-feira, 16 de março de 2010

The Jazz Masters - 100 anos de Swing - Dixieland Classics

  1. Muskrat Ramble - Chris Barber
  2. Canal Street Blues - Chris Barber
  3. I Wish I Could Shimmy Like My Sister Kate - Chris Barber
  4. High Society - Chris Barber
  5. All of Me - Chris Barber
  6. Royal Garden Blues - Chris Barber
  7. St. Phillip Street Breakdown - Chris Barber
  8. When You're Smiling - Max Collie's Rhythm Ace
  9. Doctor Jazz - Max Collie's Rhythm Ace
  10. I'm Crazy About My Baby (And My Baby's Crazy About Me)
Dixieland Classics
Trombonist and bandleader Chris Barber spearheaded the Anglo-European trad jazz movement during the late '50s and early '60s and devoted 60 years to the endless celebration of old-fashioned music. But that's only part of his story. Even as he presided over that transatlantic response to the Dixieland revival, Barber went out of his way to make music with U.S. blues legends Big Bill Broonzy, Brother John Sellers, Sonny Terry, Brownie McGhee, Otis Spann, Muddy Waters, James Cotton, and Sonny Boy Williamson II. This cross-pollination dramatically affected the lives and careers of budding British rockers such as the Rolling Stones, the Yardbirds, Eric Burdon, Jimmy Page, and John Mayall.

Donald Christopher "Chris" Barber was born on April 17, 1930, in Welwyn Garden City, Hertfordshire, just north of London, England. After studying double bass and trombone at London's Guildhall School of Music, he assembled the King Oliver-inspired Barber New Orleans Band in 1949. In 1953 he co-founded a group called the Jazzmen with Ken Colyer, a cornetist who had just returned from New Orleans where he had worked with clarinetist George Lewis. In 1954 the group was rechristened Chris Barber's Jazz Band. Trumpeter Pat Halcox had begun what would amount to a 59-year commitment, banjoist/guitarist Lonnie Donegan now sang songs from the jazz, blues, and folk traditions, and Barber sometimes performed on the string bass while Beryl Bryden stroked a washboard.

Donegan and Barber are credited with having ignited the mid-'50s U.K. skiffle movement with a 1955 cover of Leadbelly's "Rock Island Line" that went gold on both sides of the Atlantic. Another of the band's chart-topping hits was its interpretation of Sidney Bechet's "Petite Fleur," a feature for clarinetist Monty Sunshine that led to the eventual rise of pop instrumentalist Acker Bilk. The year 1955 also saw the arrival of Barber's future wife, vocalist Ottilie Patterson, a blues-based performer who sang duets with Sister Rosetta Tharpe when the gospel/swing star sat in with the band in 1957. Barber's often surprisingly diverse lineup also included Jamaican saxophonists Joe Harriott and Bertie King.

In 1959 Barber went cinematic by generating music for Look Back in Anger, a film noir exercise in kitchen sink realism directed by Tony Richardson and starring Richard Burton as a violently misogynistic, emotionally disturbed confection peddler and part-time Dixieland trumpeter (dubbed by Pat Halcox). Barber made the first of many U.S. tours in 1959, bringing out of the woodwork African-American jazz veterans like pianist Hank Duncan, clarinetist Edmond Hall, trumpeter Sidney DeParis, and rhythm & blues pioneer singer/saxophonist Louis Jordan. Barber's 1960s discography includes air shots from the BBC radio archives and live recordings made in Budapest and East Berlin, with gospel and folk material enriching the already fertile ground of the band's repertoire. As the years passed, a gradually renamed Chris Barber's Jazz & Blues Band regularly employed blues and rock musicians, blurring the artificially imposed delineations between genres while offering music that was accessible to a wide range of listeners.

Barber spent a lot of time performing in Europe during the 1970s, and after the passing of Duke Ellington deliberately sought out some of Duke's key soloists in organist Wild Bill Davis, saxophonist Russell Procope, and singer/trumpeter/violinist Ray Nance. Throughout the 1980s Barber stayed faithful to his traditional and progressive instincts by teaming up with Louisiana singer, philosopher, and keyboardist Dr. John. Originally from backgrounds as different as could be, the two made several records together and toured a show called Take Me Back to New Orleans. The 1990s and the first decade of the 21st century found Barber carrying the torch of trad jazz into a sixth decade of creative professional activity, often expanding his group to include 11 players while consistently delivering music of unpretentious warmth and historic depth. ~ arwulf arwulf, All Music Guide 

A fine trombonist who is actually more significant as a bandleader, Max Collie has been an important force in the Australian trad jazz movement since the 1950s. Collie led the Jazz Bandits (1948-1950) and the Jazz Kings (1950-1962), part-time groups that gave him a great deal of practical experience. In 1962, Collie joined the Melbourne New Orleans Jazz Band. When they visited England in 1963, he stayed overseas, becoming a member of the London City Stompers. In 1966, he became the group's leader and they were renamed Rhythm Aces. The group toured constantly during the late '60s and all throughout the 1970s and early '80s, often playing 250 concerts a year; the talented Phil Mason was the group's cornetist. Collie's first records as a leader were made for the WAM label in Hamburg, West Germany, in 1971. Since then he and his Rhythm Aces have also recorded for Reality, Happy Bird, Black Lion, GHB (during a 1974 tour, one of three that the group made of the United States), the Bix Lives label, Sweet Folk (a Swedish company), Esperance, Beerendonk, and most notably Timeless. ~ Scott Yanow, All Music Guide

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