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2 x CD |
| 5.451 Ft
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| 1. CD tartalma: |
| 1. | Climax Rag
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| 2. | Easy, Easy Baby
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| 3. | Gotta Travel On
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| 4. | What's I'm Gotcha
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| 5. | My Maryland
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| 6. | Chimes Blues
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| 7. | Ice Cream
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| 8. | Market Street Stomp
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| 9. | Soudan
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| 10. | Blue Turning Grey Over You
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| 11. | Margie
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| 12. | Beautiful Dreamer
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| 2. CD tartalma: |
| 1. | Goin' To Town
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| 2. | Rent Party Blues
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| 3. | High Society / When The Saints
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| 4. | Just A Little While To Stay Here
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| 5. | Too Many Drivers
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| 6. | Lord, Lord, Lord
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| 7. | Creole Love Call
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| 8. | 'S Wonderful
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| 9. | Squeeze Me
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| 10. | Revival
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| 11. | Fidgety Feet
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| 12. | Indiana *
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| 13. | Rent Party Blues * (version 2)
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Jazz
Disc 1 tracks 1-7: Berlin Concert
Recorded: 23 May, 1959, Deutschland Halle, Berlin
Chris Barber - trombone
Pat Halcox - trumpet, voc. 7
Monty Sunshine - clarinet
Eddie Smith - banjo
Dick Smith - bass
Graham Burbidge - drums
Ottilie Patterson - vocal
Disc 1 tracks 8-13 & Disc 2 tracks 1-2: Copenhagen Concert
Recorded: 1 March, 1960, K.B. Hall, Copenhagen
As Berlin except Eddie Smith plays guitar on track 12.
Disc 2 tracks 3-10: London Concert
Recorded: 31 March, 1961, The Palladium, London
As Berlin except Ian Wheeler - clarinet, Joe Harriott - alto sax guests on tracks 7 & 9.
Disc 2 tracks 11 & 12: Brighton Concert
Recorded: 1 March, 1958, The Dome, Brighton
As Berlin except Chris Barber - vocal
While I doubt that many long-time Barber fans and collectors of Chris's music will be without the three LP records that make up this latest issue from Lake Records, the double-CD Chris Barber International / The Classic Concerts is still a must-have for all fans, and there are four reasons why. First, the sound is superb and reveals nuances that I, for one, have missed on vinyl that is over forty years old. Second, the packaging is well up to Lake's usual high standards, with superb notes, personnel data, and recording dates by Paul Adams. Third, CD #2 contains a couple of tracks which, to the best of my knowledge, have never been reissued on compact disc. And, last but not least, the Copenhagen concert has never before appeared on any CD. For me it was quite a revelation to hear this record in all its glory - you can almost hear the concert hall as an "extra instrument" in a way that didn't come through on the original LP (or maybe on my much-played 45-year-old copy!).
I could go on and on about almost every single one of the 25 outstanding performances on this CD. Instead, let me invite you to listen to short clips from Climax Rag (Berlin - the band comes out flying!), Soudan (Copenhagen - with a drum solo by Graham Burbidge), and Fidgety Feet (the London Palladium concert, featuring Ian Wheeler's first recordings with the band). Then, visit the Lake Records website and place your order. -- ELJ
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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