  |
|
|
 |
|
CD |
| 2.893 Ft
|
|
| 1. | At the Jazz Band Ball
|
| 2. | You, You and Especially You
|
| 3. | That Da Da Strain
|
| 4. | If Dreams Come True
|
| 5. | At the Jazz Band Ball
|
| 6. | Blue and Disillusioned
|
| 7. | I Don't Stand a Ghost of a Chance With You
|
| 8. | Poor Butterfly
|
| 9. | Doin' the New Low Down
|
| 10. | Night and Day
|
| 11. | That's How Dreams Should End
|
| 12. | Ain't Misbehavin'
|
| 13. | Sunrise Serenade
|
| 14. | Embraceable You
|
| 15. | Twelve Bars Stampede
|
| 16. | Bugle Call Rag
|
| 17. | I Surrender, Dear
|
| 18. | Ja Da
|
| 19. | Dardanella
|
| 20. | Good Morning
|
| 21. | That Old Gang of Mine
|
| 22. | Clarinet Marmalade
|
| 23. | After I Say I'm Sorry
|
| 24. | Singin' the Blues (Till My Daddy Comes Home)
|
Jazz
Bobby Hackett - Cornet, Trumpet
Bernie Mattinson - Drums
Billy Kyle - Piano
Bob Knight - Guitar (Electric)
Brad Gowans - Trombone (Valve)
Bud Freeman - Sax (Tenor)
Chester Hazlett - Clarinet, Sax (Alto)
Claire Martin - Vocals
Clyde Newcombe - Bass
Cozy Cole - Drums
Dave Bowman - Piano
Don Carter - Drums
Eddie Condon - Guitar
Ernie Caceres - Sax (Baritone)
Frankie Carle - Piano
George Brunies - Trombone
George Dessinger - Sax (Tenor)
George Troup - Trombone
George Wettling - Drums
Hayes Alvis - Bass
Jack Thompson - Trumpet
Joe Marsala - Clarinet
John Grassi - Trombone
Johnny Blowers - Drums
Ken Binford - Guitar
Lola Bard
Mary Walsh - Vocal Group
Maxine Sullivan - Vocals
Milt Rettenberg - Piano
Pee Wee Russell - Clarinet, Sax (Tenor)
Sid Jacobs - Bass
Slats Long - Clarinet, Sax (Tenor)
Stan Wilson - Trumpet
Sterling Bose - Trumpet
The two instrumentals from the first session, "At The Jazz Band Ball" and "That Da Da Strain", are typical Dixieland fare with interesting solos, especially from Pee Wee Russell. The other two sides, "You, You And Especially You" and "If Dreams Come True", are more commercially designed and have vocals by Lola Bard. The live version of "At The Jazz Band Ball" taken from a "Saturday Night Swing Club" broadcast, provides an interesting comparison with the one from the studio recording session and the solos are rather different, as one might expect from a jazz group."Blue And Disillusioned", with a nice vocal from Linda Keene, is the attempt for commercial success from the second session with two sides, "Ghost Of A Chance" and "Poor Butterfly", designed to show off Hackett's playing. The final side, "Doin' The New Lowdown", is more of a group jazz vehicle with good solos.Even as early as 1938 he had acquired a reputation for his ability to enhance the performance, not only by his discrete embellishments behind the vocal but his sympathetic solos as well. This dual ability is beautifully illustrated on Maxine Sullivan's "Night And Day".There are two outstanding Hackett performances on the standards, "Ain't Misbehaving" and "Embraceable You".Two sides with Hackett as leader have vocals and were obviously intended to strike a more commercial note but the two instrumentals, "Clarinet Marmalade" and "Singing The Blues", show Hackett at his best especially in his tribute to Bix Beiderbecke on the second of these - not that he recreates either the style or the sound of Bix but the flavour is certainly present.
Bobby Hackett
Active Decades: '30s, '40s, '50s, '60s and '70s
Born: Jan 31, 1915 in Providence, RI
Died: Jun 07, 1976 in Chatham, MA
Genre: Jazz
Styles: Dixieland, Swing, Traditional Pop
Bobby Hackett's mellow tone and melodic style offered a contrast to the brasher Dixieland-oriented trumpeters. Emphasizing his middle-register and lyricism, Hackett was a flexible soloist who actually sounded little like his main inspiration, Louis Armstrong.
When Hackett first came up he was briefly known as "the new Bix" because of the similarity in his approach to that of Bix Beiderbecke, but very soon he developed his own distinctive sound. Originally a guitarist (which he doubled on until the mid-'40s), Hackett performed in local bands, and by 1936 was leading his own group. He moved to New York in 1937, played with Joe Marsala, appeared at Benny Goodman's 1938 Carnegie Hall concert (recreating Beiderbecke's solo on "I'm Coming Virginia"), recorded with Eddie Condon, and by 1939 had a short-lived big band. Hackett played briefly with Horace Heidt, and during 1941-1942 was with Glenn Miller's Orchestra, taking a famous solo on "String of Pearls." Next up was a stint with the Casa Loma Orchestra, and then he became a studio musician while still appearing with jazz groups. Hackett was a major asset at Louis Armstrong's 1947 Town Hall Concert, in the 1950s he was a star on Jackie Gleason's commercial but jazz-flavored mood music albums, and he recorded several times with Eddie Condon and Jack Teagarden. During 1956-1957, Hackett led an unusual group that sought to modernize Dixieland (using Dick Cary's arrangements and an unusual instrumentation), but that band did not catch on. Hackett recorded some commercial dates during 1959-1960 (including one set of Hawaiian songs and another in which he was backed by pipe organ), he worked with Benny Goodman (1962-1963); backed Tony Bennett in the mid-'60s; co-led a well-recorded quintet with Vic Dickenson (1968-1970); and made sessions with Jim Cullum, the World's Greatest Jazz Band, and even Dizzy Gillespie and Mary Lou Williams, remaining active up until his death. Among the many labels Bobby Hackett recorded for as a leader were Okeh (reissued by Epic), Commodore, Columbia, Epic, Capitol, Sesac, Verve, Project 3, Chiaroscuro, Flying Dutchman, and Honey Dew.
---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 |
|
|
