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| 1. | Out of Nowhere
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| 2. | The Sheik
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| 3. | Royal Garden Blues
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| 4. | One O'Clock Jump
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| 5. | Ghost of a Chance
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| 6. | Knucklehead
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| 7. | Baby Won't You Please Come Home
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| 8. | In My Solitude
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| 9. | Red Top
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| 10. | Perdido
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| 11. | When the Saints Go Marching In
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| 12. | Royal Garden Blues
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| 13. | Mood Indigo
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| 14. | Lover
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| 15. | I Surrender, Dear
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| 16. | Old Maid Blues
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| 17. | St. Louis Blues
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Jazz / Dixieland, Jazz Instrument, Trumpet Jazz
Alvin "Buddy" Banks Bass
Anatol Schenker Liner Notes
Benny Waters Clarinet, Sax (Soprano), Sax (Alto)
Bill Coleman Vocals, Trumpet
Bill Tamper Trombone
Count Basie Composer
Dicky Wells Trombone
Eddie DeHaas Bass
Gordon Clifford Composer
Guy Lafitte Sax (Tenor), Clarinet
Harry Barris Composer
Johnny Green Composer
Randy Downes Piano
Traditional Composer
W.C. Handy Composer
Wallace Bishop Drums
Zutty Singleton Drums
In addition to the friendliest photograph of Bill Coleman ever published, this fourth installment in the Classics Coleman chronology presents material performed live in Paris, France. The first 11 tracks were recorded on October 18, 1952, with Coleman as MC in front of a wildly appreciative audience at the Salle Pleyel, 252 Rue de Faubourg St-Honore. The opening number is an extended duet on "Out of Nowhere" played by pianist Randy Downes and bassist Alvin "Buddy" Banks. A brief crowd-pleasing take of "The Sheik" consists mostly of Zutty Singleton beating the hell out of a cymbal. Guy Lafitte is heard on clarinet and tenor sax (very nicely handled on "Ghost of a Chance") and Dicky Wells blows his trombone with either laconic eccentricity or a boisterous if somewhat dog-eared abandon. Coleman, as always, sounds like a trumpeter who was inspired by Louis Armstrong and gradually developed his own sound without ever deviating very far from the Armstrong influence. "Knuckle Head," composed by Coleman and Wells, is a solid example of what in 1945 was often referred to as "rebop." Coleman uses a mute most beautifully on Duke Ellington's "Solitude" and Lafitte demonstrates a Barney Bigard-like approach to the clarinet. "Perdido" heavily features bassist Buddy Banks. The author of the liner notes assumed that Wells was loaded and needed to be "rescued" by Coleman. This is debatable; on the excellent "Red Top" the trombonist sounds like he's fully in command of himself. Given the tastes of the average Parisian jazz head in 1952, it is not surprising that this band ended its gig with a singalong version of "When the Saints Go Marching In." Lafitte's very modern tenor solo on this historical New Orleans street stomp perfectly addresses the European fascination with the entire history of jazz. The rest of the material issued here was recorded at the Cluny Palace in the Cluny de Luxe Hotel on October 23, 1953, with trombonist Bill Tamper, veteran reedman Benny Waters, and a tight rhythm section propelled by percussionist Wallace Bishop. Coleman exercises his vocal chords on the last three tracks. Benny Waters takes one of the toughest solos of his career on Eddie "Cleanhead" Vinson's rocking "Old Maid Blues," a facetious tune addressed to a 35-year-old woman. ~ arwulf arwulf, All Music Guide
Bill Coleman
Active Decades: '20s, '30s, '40s, '50s, '60s, '70s and '80s
Born: Aug 04, 1904 in Paris, KY
Died: Aug 24, 1981 in Toulouse, France
Genre: Jazz
A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. In 1927, he went to New York with Cecil and Lloyd Scott's band, with whom he made his recording debut. He worked with Luis Russell (1929-1932) and Charlie Johnson, and then in 1933 traveled to France with Lucky Millinder. Coleman recorded with Fats Waller (1934) and played with Teddy Hill's Orchestra (1934-1935), but then moved to France for the first time in 1935. While overseas, he recorded frequently as a leader (really coming into his own), with Willie Lewis' Orchestra, and on dates with Django Reinhardt. He ventured as far as Bombay, and spent 1938-1940 in Egypt with Herman Chittison. Returning to New York, Coleman played with Benny Carter, Teddy Wilson, Andy Kirk, Mary Lou Williams, and John Kirby during 1940-1945, and recorded with Lester Young and Coleman Hawkins (both in 1943). However, he preferred life in Europe and, after a period with groups led by Sy Oliver and Billy Kyle, in 1948, Coleman moved permanently back to France, staying active and recording fairly regularly up until his death in 1981.
---Scott Yanow, All Music Guide |
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