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2 x CD |
| 6.276 Ft
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| 1. CD tartalma: |
| 1. | Doin' the Crazy Walk
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| 2. | New St Louis Blues
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| 3. | I Can't Give You Anything But Love
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| 4. | Brown Skin Mama
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| 5. | Wild Cat Blues
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| 6. | High Society
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| 7. | Whistlin' Rufus
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| 8. | April Showers
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| 9. | One Sweet Letter from You
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| 10. | Hushabye
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| 11. | Gipsy Davy
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| 12. | Doin' My Time
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| 13. | Thriller Rag
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| 14. | Sweet Georgia Brown
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| 15. | Bugle Call Rag
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| 16. | Petite Fleur
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| 17. | Wabash Blues
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| 18. | Lawdy Lawdy Blues
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| 19. | Majorca [Live]
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| 20. | Betty and Dupree
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| 21. | My Old Kentucky Home [Live]
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| 2. CD tartalma: |
| 1. | Bourbon Street Parade
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| 2. | Mean Mistreater
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| 3. | Old Man Mose
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| 4. | Mood Indigo
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| 5. | Bearcat Crawl
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| 6. | Lowland Blues
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| 7. | Panama Rag
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| 8. | Lonesome Road
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| 9. | Bill Bailey, Won't You Please Come Home
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| 10. | You Took Advantage of Me
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| 11. | Moonshine Man
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| 12. | You Rascal You
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| 13. | Georgia Grind
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| 14. | Rockin' in Rhythm
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| 15. | Careless Love
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| 16. | Strange Things Happen Every Day
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| 17. | Mama Don't Allow
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Jazz / Dixieland, Trad Jazz, Jazz Instrument, Trombone Jazz
Bonnet Composer
Chris Barber Arranger
Jimmie Gordon Composer
McGhee Arranger
Mississippi Fred McDowell Composer
Olu Dara Composer
Ottilie Patterson Arranger
Randy Newman Composer
Richard M. Jones Composer
Spencer Leigh Compilation Producer
Disc 2: Live
Castle Records CMDDD 139, issued in 2001, as a compilation of tracks recorded between 1955 and 1958, and re-released numerous times on various CDs and vinyl LPs, EPs, and singles.
Like the previous CD in this series (The Complete Decca Sessions), the Chris Barber Pye Jazz Anthology (there were similar issues for Acker Bilk and Kenny Ball) is a compilation of tracks selected from the Barber catalogue after Denis Preston arranged for distribution of his company's output through Pye for release on the Nixa jazz label. Unlike the Decca re-issue, however - which, as its title implies, was a complete set of recordings from one short period in the band's first months of existence - this Pye compilation samples representative tracks from a longer period of time and from many more original sources, including nine LPs, plus several original EPs and singles.
Overall, this is a reasonably good survey of the band's output, both in the studio and in concert, over about a four-year period, and would be an ideal overview of the Barber Band's activities in the mid- to late-50s for newcomers to the band's music who are looking for a guide as to what to buy in order to build a more complete collection.
Lower down on this page you can listen to samples from several of the tracks - none of which had to be re-recorded for this specific purpose as they also can be found on many other records mentioned elsewhere in the site. You can also see detailed scans of the original source recordings, as well as examples of the many other ways in which various combinations of tracks were originally released, re-packaged in various vinyl formats, and eventually re-issued on CDs not unlike the Pye Jazz Anthology - although in most cases not as comprehensive as the present collection.
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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