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| Chris Barber's Blues Book Volume One / Good Mornin' Blues |
| Chris Barber |
| első megjelenés éve: 1965 |
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| (1998)
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CD |
| 5.133 Ft
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| 1. | Jeep's Blues
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| 2. | Kid Man Blues
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| 3. | Four Point Blues
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| 4. | Back Water Blues
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| 5. | Kansas City Blues
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| 6. | It's All Over (Originally R.B. Blues)
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| 7. | (Mama) He Treats Your Daughter Mean
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| 8. | Tell Me Why
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| 9. | Can't Afford to Do It
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| 10. | Blues Before Sunrise
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| 11. | Me and My Chauffeur Blues
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| 12. | Trixie's Blues
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| 13. | Good Mornin' Blues
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| 14. | Morning Train
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| 15. | Bad Luck Blues
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| 16. | Mary-Ann
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| 17. | Who's Been Here Since I've Been Gone?
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| 18. | Frankie and Johnny
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| 19. | Finishing Straight [From Brands Hatch Beat]
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| 20. | Hamp's Blues [Instrumental]
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| 21. | If I Have a Ticket
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| 22. | The Great Bear
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| 23. | When Things Go Wrong
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| 24. | Sweetest Little Baby
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| 25. | Jeep's Blues
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| 26. | Back to the Country
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Jazz / Dixieland, Trad Jazz
Chris Barber Trombone, Vocals, Liner Notes, Arranger, Main Performer
Chris Barber's Jazz Band Band
Denis Preston Supervisor
Dick Heckstall Smith Double Bass, Bass
Dick Smith Multi Instruments
Eddie Smith Multi Instruments
Eddie Smith & the Hornets Banjo, Guitar (Rhythm)
Graham Burbridge Drums
Ian Wheeler Sax (Alto), Harmonica, Multi Instruments, Clarinet
Jimmy Deuchar Trumpet
John Slaughter Guitar (Electric)
Monty Sunshine Clarinet
Norrie Paramor Piano
Ottilie Patterson Arranger, Performer, Piano, Vocals
Patrick Halcox Drums, Trumpet, Vocals
Patrick James Liner Notes
Pete Bardens Piano
Peter Bardens Piano
Peter Vacher Liner Notes
Ronnie Scott Sax (Tenor)
Ronnie Scott's Quintet Sax (Tenor)
This two-fer of albums from the Chris Barber Band is from 1960 and 1964. The first features vocalist Ottilie Patterson, who joined the outfit in 1955 and was one of the finest blues singers ever to come out of Britain. Influenced by Bessie Smith, she holds her own throughout Barber's Blues Book, from her own "Bad Spell Blues" to Bessie Smith's "Back Water Blues." The trad jazz backing never gets overpowering and offers some wonderful playing -- especially Monty Sunshine's clarinet work on "Four Point Blues." Good Morning Blues is more of a mixed bag, with Barber himself taking on a number of vocal chores (Patterson does appear on five cuts, including a wonderful "Frankie and Johnny"). The addition of electric guitar makes the sound a little more raucous, and the band has toned down the trad side of their jazz -- "Morning Train," for example, is very much an r&b instrumental, as is their take on Lionel Hampton's "Hamp's Blues." While their style might seem dated now, in their time they were a very influential outfit, one of the first to regularly include blues in their live sets as an important element of their sound. And they could swing their blues too -- a listen to the rhythm section on "Finishing Straight" readily confirms that. These records stand not only as some fine music, but also as insight into one segment of the british blues boom -- indeed, one of its launching points -- which has too often been ignored. ~ Chris Nickson, All Music Guide
Chris Barber
Active Decades: '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Apr 17, 1930 in Welwyn Garden City, Hertfordshire
Genre: Jazz
Styles: Dixieland, Trad Jazz, Dixieland Revival
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 |
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