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CD |
| 3.801 Ft
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| 1. | Sweet Sue
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| 2. | Just a Blues [Take 2]
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| 3. | Stompin' at the Savoy
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| 4. | Nobody's Sweetheart
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| 5. | I Can't Give You Anything But Love [Take 1]
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| 6. | Rosetta
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| 7. | Jazz Me Blues
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| 8. | I'm Gonna Sit Right Down (And Write Myself a Letter)
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| 9. | Just a Blues [Take 3]
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| 10. | I Can't Give You Anything But Love [Take 2]
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| 11. | Blues in B Flat
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| 12. | In the Good Old Summertime
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Jazz
George Lewis - Clarinet
Alex Bigard - Drums
Chester Zardis - Bass
De De Pierce - Cornet
George Blood - Trumpet
J.R. Smith - Tuba
Jay Brackett - Trombone
Jim Robinson - Trombone
Lars Edegran - Piano
Ronnie Bill - Banjo
* Arnold S. Caplin - Producer, Reissue Producer
* Dr. Toby Mountain - Digital Engineer, Engineer
* Duncan P. Schiedt - Original Cover Photography, Photography
* Tex Wyndham - Liner Notes
Some of clarinetist George Lewis' finest playing of the 1960s was done outside of the confines of his regular group. On 11 of the 12 numbers included on this CD reissue (two of the tunes were previously unissued), Lewis is joined by a New Orleans group called the Mustache Stompers, which consists of trumpeter George Blood, trombonist Jay Brackett and a three-piece pianoless rhythm section; the other number is with trumpeter De De Pierce. Although none of his sidemen are that distinctive, their musicianship and enthusiasm seem to inspire Lewis to play at his best. Most of the tunes are Dixieland and New Orleans standards (such as two versions of "I Can't Give You Anything but Love," "Rosetta" and "Jazz Me Blues"), but there are also a couple of ad-lib blues and an effective jam on "Stompin' at the Savoy." Recommended.
--- Scott Yanow, All Music Guide
George Lewis
Active Decades: '20s, '30s, '40s, '50s and '60s
Born: Jul 13, 1900 in New Orleans, LA
Died: Dec 31, 1968 in New Orleans, LA
Genre: Jazz
Styles: Dixieland, New Orleans Jazz
George Lewis never tried to be a virtuoso soloist. He loved to play melodic ensembles where his distinctive clarinet was free to improvise as simply as he desired. When Lewis was inspired and in tune, he could hold his own with any of his contemporaries in New Orleans and he always sounded beautiful playing his "Burgundy Street Blues." To everyone's surprise (including himself), he became one of the most popular figures of the New Orleans revival movement of the 1950s.
It took Lewis a long time to achieve fame. He taught himself clarinet when he was 18 and worked in the 1920s with the Black Eagle Band, Buddy Petit, the Eureka Brass Band, Chris Kelly, Kid Ory, the Olympia Orchestra and other New Orleans groups. He played with Bunk Johnson in Evan Thomas's group in the early '30s but had a day job throughout most of the decade. When Bunk was discovered in 1942, Lewis became part of his band, playing with him on and off through 1945 and getting opportunities to lead his own sessions during 1943-45. However Johnson was difficult to get along with and a homesick Lewis returned to New Orleans by 1946. He played locally with his own group (featuring trombonist Jim Robinson) and in 1950 was portrayed in an article for Look. That exposure led to him recording regularly and by 1952 Lewis was in such great demand that he was soon working before crowds in California and touring Europe and Japan. In addition to Robinson, Lewis's band in its prime years often featured trumpeter Kid Howard, pianist Alton Purnell, banjoist Lawrence Marrero, bassist Alcide "Slow Drag" Pavageau and drummer Joe Watkins. George Lewis, who recorded for many labels (a Mosaic box set of his Blue Note sessions is one of the best reissues), became a symbol of what was right and wrong about the New Orleans revival movement, overpraised by his fans and overcritized by his detractors. At his best he was well worth hearing.
--- Scott Yanow, All Music Guide |
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