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| Chris Barber in Budapest [ ÉLŐ ] |
| Chris Barber |
| első megjelenés éve: 1989 |
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| (1989)
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CD |
| 6.819 Ft
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| 1. | Lord, Lord, Lord
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| 2. | Chiquita
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| 3. | Mountains of Mourne
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| 4. | Trad Tavern
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| 5. | Mama, He Treats Your Daughter Mean
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| 6. | Ice Cream
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| 7. | Mood Indigo
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| 8. | Whistling Rufus
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| 9. | Some of These Days
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| 10. | This Little Light of Mine
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Jazz / Trad Jazz, New Orleans Jazz Revival, Jazz Instrument, Trombone Jazz
Recorded: July 7th, 1962, Budapest
Chris Barber (trombone)
Pat Halcox (trumpet), Ian Wheeler (reeds), Eddie Smith (banjo), Dick Smith (bass), Graham Burbidge (drums), Ottilie Patterson (vocals)
The banjo seems to have been the most reviled instrument in traditional jazz, blamed for the plodding "thunk" that characterized the rhythm sections of many of the less-than-professional bands of the "trad boom" of forty years ago. In the right hands, however, the banjo is a wonderful instrument, able to drive and swing a good traditional jazz band. The Chris Barber band has been fortunate to have enjoyed the talents of several outstanding banjo players, not the least of whom was Eddie Smith, occupant of the banjo chair from 1956 to 1964. Despite his apparent diffidence - at least on record - Eddie Smith created an unmistakable sound that as much as anything else helped to provide continuity through the transition from Monty Sunshine to Ian Wheeler. I mention all of this because Eddie rarely took a solo (his contribution to the 1957 recording of "When The Saints Go Marching In" on Chris Barber Plays, Volume 4 was a notable exception), but he makes an outstanding contribution to "Some Of These Days," an often-played feature for trumpeter Pat Halcox (exceptionally well executed in this version recorded in 1962). Chris Barber In Budapest is a rather unusual LP (and now CD), consisting mainly of re-recordings of tunes that appeared on other discs at around the same time, but always competently played and in some cases giving us the best available version.
Recorded in 1962 during a tour of Hungary, this very short (just over 30 minutes) studio recording captures the band in a typically exuberant mood, featuring a diversity of selections, from "This Little Light of Mine" to Duke Ellington's "Mood Indigo" to Ruth Brown's "Mama, He Treats Your Daughter Mean." In decades of performances, Barber plied a consistent sound, one soundly in the pocket of Dixieland or what is referred to as traditional jazz. Tuneful, catchy, and upbeat, the band's ability to withstand the changing tides of musical culture is a testament to its centered devotion to a style written off by many as dead. By focusing on new arrangements, quality soloing, and old-time style, Barber came to represent a stable, historical model that attracted a steady following. Ottilie Patterson adds the good-time vocals on a couple of numbers, her light, attractive voice perfectly meshed with the horns. Although the credits fail to indicate it, that's Pat Halcox chiming away exuberantly on "Ice Cream," according to Digby Fairchild's liners. The crisp arrangements and tight harmonies anchored by the tailgate 'bone are an irresistible combination for toe-tappers everywhere. For some, Barber is part of a bygone era, keeping the flame alive, but for others, his joyous romps are as fresh as ever. Despite the stingy recording time, this is one of his better efforts on disc. ~ Steven Loewy, 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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