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| 6.650 Ft
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| 1. | Ory's Creole Trombone
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| 2. | Come On Baby
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| 3. | Burgundy Street Blues
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| 4. | New Orleans Hula
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| 5. | Solitariness
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| 6. | Bagatelle
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| 7. | Mood Indigo
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| 8. | I Hate Myself For Being Mean to You
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| 9. | On The Sunny Side Of The Street
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| 10. | Oh Baby
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| 11. | Making Whoopee
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| 12. | Phil's Late
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| 13. | Original Charleston Strut
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| 14. | Body Soul
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| 15. | Cookie
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| 16. | Sweet Lorraine
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| 17. | It's Only A Paper Moon
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| 18. | New Stack O'Lee
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| 19. | C'est L'Armour
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| 20. | Till We Meet Again
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Jazz
Recorded: Various dates between April, 1960 and July, 1962
Chris Barber (trombone)
Pat Halcox (trumpet), Monty Sunshine (clarinet, soprano sax), Ian Wheeler (clarinet, alto sax), Eddie Smith (banjo, guitar), Dick Smith (bass), Graham Burbidge (drums), Ottilie Patterson (vocals)
Although it was always a cooperative and ensemble outfit, the Barber Band of the 1950s and 1960s comprised six outstanding musicians -- seven if you count Ottilie Patterson. The band's records included many fine solos, not only by the front line of Pat Halcox, Monty Sunshine or Ian Wheeler, and Chris Barber, but also, on occasion, by the members of the rhythm section. Perhaps in recognition of the growing fame of the individual band members, and the difficulty of finding them adequate feature space on the normal run of recordings, a series of EP (extended play) 45-RPM records was released on the UK Columbia label between 1959 and 1963.
The five records, which together numbered twenty tracks, began with Ottilie, continued with Monty, and then carried on with Pat. Fourth came Introducing Ian, a vehicle to showcase the talents of the new reedman after he replaced Monty Sunshine. I've always thought it a marker of his unselfishness as a bandleader that Chris himself not only did not play on many of these tracks, but also stepped aside until the fifth and last in the series, In Barber's Chair, for his own feature. It's a pity that none of the rhythm section (Eddie Smith, Dick Smith, and Graham Burbidge) enjoyed his own moment in the spotlight, but each of them shines through on these tracks, both individually and together. Surely this was the best rhythm section in British traditional jazz at the time!
In Barber's Chair is the first of a reissue series from Lake Records, The Record Supervision Collection, comprised of recordings from Denis Preston's Lansdowne Jazz Series of the 1950s and 1960s. The CD contains twenty tracks, 16 of them from four of the EPs mentioned above: Monty, Pat, Introducing Ian, and In Barber's Chair. Many of these tracks have not previously been available on CD, and the sound re-mastering is superb. As a bonus, producer Paul Adams has written some entertaining and informative liner notes for the CD, which should be an indispensable part of every Barber fan's collection. See the back of the jewel box, below, for a list of track titles.
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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