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Kérjen
árajánlatot! |
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| 1. | Bourbon Street Parade
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| 2. | New Stack a lee
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| 3. | Life
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| 4. | Oh Eliza
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| 5. | Down in San Anton *
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| 6. | Right Placer Wrong Time
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| 7. | Such A Night
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| 8. | Sko Iko
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| 9. | The Wicked Shall Cease
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| 10. | Big boss Drum [On A Mardi Gras Day]
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| 11. | Mac*! Boogie Woogie
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| 12. | You Lie too Much
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| 13. | Memories Of Smiley
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Jazz
Profile:
"MARDI GRAS AT THE MARQUEE" In 1983 the famous London music venue the MARQUEE celebrated it's silver jubilee. One of the founders in 1958 (it was then in Oxford Street, now situated in Wardour Street was Chris Barber; so it was fitting that he should do something special with his jazz & Blues Band to mark the occasion. He there for asked well know New Orleans musician MacRebennack, better known as Doctor John to tour again with his band and to give two special concerts at the Marauee which would be recorded for future audio and video release; the recordings being made on the second night Julian Purser, co-compiler of the Chris Barber Discography, was there and reminisces: 'When you enter the Marquee for the first time it is amazing, almost as though time has stood still for a couple of decades; it
is cellar like and small; the dressing room is not much more than a broom cupboard. On the night of the 15th of April it was standing room only, and with the cameraman, technicians, cameras and cables there was hardly space fbr the very large crowd and how the band managed to march around and through the audience was astonishing. Doctor John was a very tall, striking figure, with his carved walking stick and had a magnetic stage presence. He was happy to be either band pianist or solo vocalist and pianist.Roth evenings were sold out, and fans of Doctor John and Chris Barber all enjoyed themselves listening to the feast of music. Alexis Korner was there on the second evening immersed in the music. It was an evening full of interesting and differingNew Orleans jazz and Rlues. Usteningagain brings the memory of the evening very much back to life.
ABOUT DR. JOHN
Mac Rebennack, better known as Dr. John The Nighttripper, was born in New Orleans, in 1944. He has an adventurous life behind him. His father owned a record shop and that strongly influenced his musical interests. At 15 Mac was already active as a professional musician in and around New Orleans. His first instrument was the guitar and he cut his first single record around 1958 for the Rex label.
In 1960 he switched to electric bass after being shot in his finger. Mac was working nights with a traditional jazz band and soon started concentrating on piano and organ. For some time he worked as a session musician. Mac was very much influenced by New Orleans blues singer and pianist Roy Ryrd, better known as Professor Longhair. However, Mac learned more than just music. He became a drug addict, got involved in a shooting and in the end was sent to prison after having swindled a record company he worked for. In prison he developed the scenario for a show interlarded with voodoo and other sensations. Out of prison he put these into practice. Mac's show had great success, especially at pop festivals. He made some hit records such as "Right place, wrong time" (1973) and did a European tour. Scarves, hats, feathers, an ivory earring, a carved walking stick, assorted necklets, crosses and good luck amulets, smoke, glitter dust and a touch of voodoo were the distinguishing marks of his image. However, at the end of the seventies it looked if Mac would retire from music. But luckily that proved to be untrue. He kept on playing but abandoned the extrovert shows of earlier years.In 197 9 Dr. John met Chris Rarber who at that time was thinking about a project to express his love of the New Orleans heritage. In April 1980 the Chris Barber Band and Dr. John recorded the famous album "Take me back to New Orleans". On this they presented their thoughts on the present day aspects of New Orleans music in its various guises.During February and March of the next year the band and Dr. ]ohn made an extensive tour which was repeated in April 1983. (With thanks to Mario Silvester of the Dutch magazine "jazz Freak")
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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