  |
|
|
 |
|
CD |
| 4.100 Ft
|
|
| 1. | Cherokee
|
| 2. | The Duke's Idea
|
| 3. | The Count's Idea
|
| 4. | The Right Idea
|
| 5. | The Wrong Idea (Swing and Sweat with Charlie Barnet)
|
| 6. | Ogoun Badagris (Voodoo War God)
|
| 7. | Oh What You Said (Are We Burnt Up?)
|
| 8. | Night Clow
|
| 9. | Ebony Rhapsody
|
| 10. | I Never Knew
|
| 11. | Lament for a Lost Love
|
| 12. | The All Night Record Man (Stay Up "Stan")
|
| 13. | The Last Jump (A Jump to End All Jumps)
|
| 14. | Miss Annabelle Lee
|
| 15. | Lazy Bug
|
| 16. | Echoes of Harlem
|
| 17. | Scotch and Soda
|
| 18. | Only a Rose
|
| 19. | Between 18th and 19th on Chestnut Street
|
| 20. | Clap Hands, Here Comes Charlie
|
| 21. | Swing Street Strut
|
| 22. | Leapin' at the Lincoln
|
| 23. | Afternoon of a Moax (Shake, Rattle and Roll)
|
Jazz / Big Band, Dance Bands, Swing
Andy Gibson Arranger
Ben Hall Trombone
Bill Miller Piano
Bill Robertson Trombone
Billy May Trumpet, Vocals, Arranger
Bob Burnet Trumpet
Bob Fishel Trombone
Bus Etri Guitar
Charles Huffine Trumpet
Charlie Barnet Arranger, Sax (Soprano), Vocals, Sax (Alto), Sax (Tenor)
Charlie Barnet & His Orchestra Performer
Charlie Shavers Trumpet
Claude "Spud" Murphy Trombone
Cliff Leeman Drums
Dan McCook Sax (Alto)
Don McCook Clarinet
Don Ruppersberg Trombone
Gene Kinsey Sax (Alto)
James Lamare Sax (Alto), Sax (Tenor), Sax (Baritone)
John Owens Trumpet
Johnny Mendel Trumpet
Judy Ellington Vocals
Kurt Bloom Sax (Tenor), Sax (Alto)
Lyman Vunk Trumpet
Mary Ann McCall Vocals
Nat Jaffe Piano
Phil Stevens Bass
Ray Michaels Drums
Skip Martin Sax (Alto), Arranger, Sax (Baritone)
Wesley Dean Drums
One of at least five Charlie Barnet albums using the word "Cherokee" in the title, this compilation draws upon recordings made for the Bluebird label between February 24, 1939 and February 16, 1940, beginning with a series of hip performances dating from the summer and autumn of 1939. "Cherokee" was so catchy and successful that it would be closely identified with Barnet for the rest of his career. "The Duke's Idea" and "The Count's Idea" nobly acknowledge Barnet's Afro-American influences; such honesty was all too rare among white bandleaders during the '30s. "The Right Idea" was Barnet's demonstration of how he thought big-band jazz should be performed. It was designed as a counterpart to "The Wrong Idea," a scathingly cynical and very funny send-up of commercial dance bands and their respective gimmicks. "Ogoun Badagris" is a dazzling exercise in Caribbean-styled jazz with its roots in Haitian Vodun and the West African Yoruba pantheon. The female vocalists on this collection are Judy Ellington and Mary Ann McCall. Altogether an excellent Barnet sampler, best heard in tandem with his other Giants of Jazz title, Make Believe Ballroom: 1935-1939. ~ arwulf arwulf, All Music Guide
Charlie Barnet
Active Decades: '30s, '40s, '50s, '60s, '70s, '80s and '90s
Born: Oct 26, 1913 in New York, NY
Died: Sep 04, 1991 in San Diego, CA
Genre: Jazz
Charlie Barnet was unusual in several ways. One of the few jazzmen to be born a millionaire, Barnet was a bit of a playboy throughout his life, ending up with a countless number of ex-wives and anecdotes. He was one of the few white big band leaders of the swing era to openly embrace the music of Duke Ellington (he also greatly admired Count Basie). Barnet was a pioneer in leading integrated bands (as early as 1935). And, although chiefly a tenor saxophonist (where he developed an original sound out of the style of Coleman Hawkins), Barnet was an effective emulator of Johnny Hodges on alto in addition to being virtually the only soprano player (other than Sidney Bechet) in the 1930s and '40s.
And yet Charlie Barnet was only significant in jazz for about a decade (1939-1949). Although his family wanted him to be a lawyer, he was a professional musician by the time he was 16 and ironically in his career made more money than he would have in business. Barnet arrived in New York in 1932 and started leading bands on records the following year, but his career was quite erratic until 1939. Many of Barnet's early records are worthy but some are quite commercial as he attempted to find a niche. Best is a sideman appearance on a 1934 Red Norvo date that also includes Artie Shaw and Teddy Wilson.
In 1939, with the hit recording of "Cherokee" and a very successful run at the Famous Door in New York, Charlie Barnet soon became a household name. In addition to the fine trumpeter Bobby Burnet (who soloed on many of Barnet's Bluebird records), such sidemen as guitarist Bus Etri; drummer Cliff Leeman; singers Lena Horne, Francis Wayne, and Kay Starr; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and even trumpeter Roy Eldridge spent time with Barnet's bands. Although at the height of his popularity during 1939-1942 (when his orchestra could often play a close imitation of Ellington's), Barnet's recordings for Decca during 1942-1946 were also of great interest with "Skyliner" being a best-seller.
By 1947 Barnet was starting to look toward bop. Clark Terry was his star trumpeter that year, and in 1949 his screaming trumpet section included Maynard Ferguson, Doc Severinsen, Rolf Ericson, and Ray Wetzel. Barnet, however, soon lost interest and near the end of 1949 he broke up his band. Semi-retired throughout the remainder of his life, Charlie Barnet occasionally led swing-oriented big bands during short tours and appearances, making his last recording in 1966.
---Scott Yanow, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
