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| 1. | Blue Blood Blues
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| 2. | Slow Drag Blues
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| 3. | Merrydown Rag
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| 4. | Chimes Blues
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| 5. | Carolina Moon
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| 6. | Misty Morning & Jungle Nights in Harlem
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| 7. | The Spell of the Blues
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| 8. | Freeze & Melt
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| 9. | All Blues
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| 10. | Battersea Rain Dance
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| 11. | Devaluation Blues
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| 12. | Jubilee Stomp
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| 13. | Black & Tan Fantasy & the Mooche
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| 14. | The Martinique
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| 15. | Lead Me on
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Jazz / Dixieland, Traditional Jazz
Recorded: Various dates in 1953 & 1954 and 2002 & 2003
Tracks 1-5: The Monty Sunshine/Ken Colyer/Chris Barber Band 1953/4
Recorded: Broadcast
Tracks 1-2: February 1953
Chris Barber - bass (1), trombone (2)
Monty Sunshine - clarinet
Len Page - banjo
Jim Bray - bass (2)
Ron Bowden - drums (2)
and probably Ken Colyer - trumpet (2) (may be Pat Halcox)
Tracks 3-5: April 1954
Chris Barber - trombone
Ken Colyer - trumpet
Monty Sunshine - clarinet
Jim Bray - bass
Lonnie Donegan - banjo
Ron Bowden - drums
Tracks 6-13: The Big Chris Barber Band 2002/3
Recorded: 2003, Jools Holland's Studio, London
except track 10: 2002, Porsche Jazz Festival, Rust, Germany
Chris Barber & Bob Hunt - trombones
Pat Halcox & Mike Henry - trumpets
John Defferary - clarinet, bassett horn & tenor sax
Tony Carter - clarinet, alto & baritone sax & flute
Trevor Whiting - clarinet, alto & tenor sax
Vic Pitt - bass
John Slaughter - guitar
Paul Sealey - banjo & guitar
Colin Miller - drums
alto sax on "Battersea Rain Dance" by John Crocker
Tracks 14-15: The Chris Barber 6-piece Band 2003
Recorded: 2003, Jools Holland's Studio, London
Chris Barber - trombone
Pat Halcox - trumpet
John Defferary - clarinet
Vic Pitt - bass
Paul Sealey - banjo
Colin Miller - drums
Jubilee Stomp is a "CD in four parts." Five recently-discovered broadcast recordings by the Sunshine - Colyer - Barber Band of 1953-54 open the disc, featuring embryo versions of "Merrydown Rag" and "Chimes Blues", both of which were highlights of the first (1954) Barber LP, New Orleans Joys. The last two tracks (also originally recorded in 1954, on New Orleans Joys and Jazz Sacred And Secular) feature the new version of the six-piece band, with John Defferary, Vic Pitt, Paul Sealey, and Colin Miller taking on the roles of Sunshine, Bray, Donegan, and Bowden. The remaining eight tracks by the Big Chris Barber Band are evenly split between early-Ellington tributes and a wide range of other influences, including Miles Davis and the Dorsey Brothers. This is an outstanding CD which is not only a fine representation of the 2003 Barber band but also an interesting comparison of their earliest and most recent recordings - a fitting "Jubilee celebration."
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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