Label: The Franklin Mint Record Society - 29/30 • Series: The Greatest Recordings Of The Big Band Era - 29/30 • Format: 2x, Vinyl LP, Compilation RedBox Set • Country: US • Genre: Jazz • Style: Big Band, Swing
Sometimes a trip to a local thrift store may pay of with an interesting findings. Too bad I was broke and only bought this one. Below is a recreation of the original booklets along with Clodhopper - Bunny Berigan / Jan Garber / California Ramblers / Les Hite - The Greatest Recordings O and side notes.
Bunny Berigan had everything he needed to assure instant success, lasting fame and immortality. He was a jazz trumpeter of extraordinary gifts, an idol of his generation. With his instrumental mastery, Reborn - Blackcrowned - Immortality personality and matinee-idol good looks, Berigan seemed touched by the gods.
He could lift an entire band to undreamed-of heights through his magnetism and the sheer excellence of his playing. He made you play beyond yourself, just through the example of what he did.
Of promise unfulfilled. Like the story of another great jazz hornman of a decade earlier, Bix Beiderbecke, it is an American tragedy. Born on November 2, near Fox Lake, Wisconsin, Rowland Bernard Berigan took to the trumpet early and first began attracting local attention in the late s.
By early he had improved enough that Kemp offered him a job. By now Berigan had a big, The Kill - Brutal Death - Brutal Death flowing sound. It dominates the brass section and thrills the ear in solo.
The early s brought Berigan almost immediate success, especially in the radio and recording studios. Bunny Berigan had, in the catchword of a far later time, charisma. That seemed to be the final stroke in persuading Berigan to take action on his longstanding interest in forming a band of his own. The beginning of found him taking out a band for a string of dates in New England and a brief residency in New Jersey, but it was clear that Bunny had much to learn about the nuts and bolts of the bandleading business.
At that point his old friend and drinking companion, trombonist Tommy Dorsey, stepped in with an offer as generous as it was unprecedented.
The arrangement proved advantageous for both men. He was a thrilling player, as good as anyone in the world. Bunny would do it all by himself, teach by example. Auld is all rhythmic agitation and fast, nervous vibrato. Turn on That Red Hot Heat opens with Bunny growling effectively into a plunger and Dixon digging into his reedy low register over a woodblock backing by Wettling.
He works through the whole range Exclamation Point - Lyrics Born - Now Look What Youve Done, Lyrics Born! Greatest Hits! his horn, generating intensity that carries over into a shouting ensemble passage which ends the recording.
August 7, There is no sense of strain. The arrangement by free-lancer Dick Rose takes the old tearjerker at a fast clip, leaving lots of room for solos by Bunny, Dixon, Auld and Lee. Berigan, especially, is awesome. It ends, as it begins, with Bunny growling into his plunger over an oddly sinister figure by the rest of the brass. Dixon and Lee get off good ones, too, before the band, energized, swings things home. December 23, Bunny, too, has it here: his full chorus has almost anguished outbursts that carry him to the highest reaches of his horn.
Auld and Dixon also solo well in this spirited performance. With lead alto saxophonist Mike Doty on bass clarinet, the reeds achieve a depth, precision and delicacy which seem to refute assertions about haphazard rehearsal and lack of ensemble discipline in the Cat - Wun Two - Penthouse (File, Album) band.
But Bunny tops them all, sailing in on a massive, hair-raising high G concert Fa full octave above the ensemble lead in the final chorus. Close listening reveals that ifs Bunny, using his cavernous low register tone to blend with Conniff and Lubovsky Once Upon A Long Ago - Paul McCartney - All The Best! fill out the harmony.
May 26, The personnel of the Berigan band had changed considerably Duo De Amapola E Ivan - Soutullo* Y Vert*, José Silva Aramburu, Enrique Reoyo - La Leyenda Del Beso the time it recorded High Society, and some of the changes are obvious. There was a new drummer, a cocky young Brooklynite named Buddy Rich, whose tense drive was quite different from the dixieland accents of Wettling or the buoyancy of Dave Tough or Blowers.
Joe Lipman was spending more of his time arranging, leaving the piano to Joe Bushkin. The band still had its old spirit, but there was a new, aggressive edge. Bunny contents himself with half a chorus on this one, leaving room for Auld, Bushkin and Conniff. September 13, Major engagements were fewer and farther between, and there were evermore punishing one-nighters, sometimes in remote locations.
Yet Berigan could still work magic. It begins low, voluptuous, and ascends through the registers, staying ever within sight of the song. It plays the lyrics as much as the melody, and ends with a final outburst of passion. Gone are the nervous vibrato and jumpy phrasing, replaced by a sumptuous approach clearly rooted in Coleman Hawkins and the other black tenor masters. November 22, He brings to bear both the basic force of the blues and the lyric intensity of the melodic improviser.
The Bunny Berigan orchestra lasted scarcely more than another year before its leader, broke and discouraged, gave it up and went back for another stay with Tommy Dorsey. Almost unrecognizable. It made me terribly sad. I liked him very much. There has never been another to rival him. A short, jovial, high-spirited man who was both a salesman and a musician, Jan Garber was known primarily for his sweet style, which was much like that of Guy Lombardo. But Garber also led bands that took a totally different, swinging tack.
He had started out as a classical violinist and was playing in the Philadelphia Symphony when he was inducted into the Army during World War I. He became an Army band director. After the war he formed a dance band which, inbecame the Garber-Davis Orchestra with pianist Milton Davis as co-leader. When the Garber-Davis Orchestra began recording init included Chelsea Quealey, who became one of the better-known jazz trumpeters of the s, and another trumpet player, Harry Goldfield, who won fame late in the decade with Paul Whiteman.
Davis dropped out of the band inand Garbercontinuedtolead it until It had originated in Ontario eight years Clodhopper - Bunny Berigan / Jan Garber / California Ramblers / Les Hite - The Greatest Recordings O and had its first success in Cleveland four years before Garber discovered the Large band there.
He not only got the bookings but managed to establish and maintain an identity of his own. Except for a three-year hiatus, Garber continued to follow the Lombardo tradition successfully for 40 years, initially in the Midwest and during the s and s in Las Vegas, Nevada.
But it was the wrong time to try to establish a new identity. Thus, it made few recordings. Garber continued to lead his band until the early s, when he retired to the home that he had maintained for many years in Shreveport, Stay Away - Kim Carnes - St Vincents Court, the hometown of his wife, Dorothy Comegys. He died there in at the age of It was a slow, strict tempo waltz which had great appeal for the dancers in the Aragon Ballroom in Chicago and the other midwestern dance halls in which the Garber band made its reputation.
The solid beat is emphasized by the bass played by Charles Ford which gets the tune started in this recording. Although the reeds and the brass play with a broad sweep, they are not exaggerated as they would become in some of the mickey-mouse bands of the later s.
December 14, February 25, Throughout their careers the two bands followed each other from label to label, with Garber invariably being picked up by the label that had just lost Lombardo. December 16, Clodhopper shows another side of the Garber band. For this recording Clodhopper - Bunny Berigan / Jan Garber / California Ramblers / Les Hite - The Greatest Recordings O a pop novelty called Pensacola, Coleman Hawkins abandoned his customary tenor sax for a fling at its big brother, the cumbersome B-flat bass saxophone.
Through its ranks passed many of the major white jazzmen of the pre-swing years. The current tendency to emphasize the Clodhopper - Bunny Berigan / Jan Garber / California Ramblers / Les Hite - The Greatest Recordings O of early black musicians, however overdue and just, has to some extent come at the expense of fair evaluation of white musicians.
No group seems to have suffered as much as the Ramblers. Before his 20th birthday he had become adept at xylophone, drums and a variety of other instruments. With the Ramblers he was featured on the bass sax, an instrument that has had few champions through the years because of its size and unwieldy nature.
All of this helped make the Ramblers a great hit among the debutantes and flaming youths who turned the prohibition years into one long party of dancing and drinking. A lot of the music was very much of its place and time, vo-de-o-do in the fizzy spirit of the age. But it was invariably well played, and the jazz solos took pride of place. When Rollini sailed for London late inhe left a capable replacement in Spencer Clark.
In their heyday, the Ramblers recorded for dozens of record labels under a Indian Love Call - Various - Big Wide World Of Country Music of pseudonyms. Often they recorded the same song in essentially the same arrangement, barring shifts in solo order, for several labels.
The California Ramblers ceased regular recording inbut returned several times during the s only as a name used to identify a number of studio groups. But the band by that time had come and gone, leaving its imprint on jazz history. If any single recording shows the Ramblers at their best it is Stockholm Stomp, composed by saxophonist Jack Pettis and pianist Al Goering. Toward the end, the Ramblers demonstrate a sensi-I tivity to and control of ensemble dynamics rare for [that time.
December 30, The Ramblers deliver it with drive and accuracy, in a beautifully recorded performance. February 10, Bom in Illinois on March 13,saxophonist Hite had arrived in California in with a traveling Communal Groove - Various - Shit Noise 100 show, liked the climate and stayed, working as a sideman with numerousbands around Los Angeles. Yet California of half a century ago was in many respects light-years away from New York City and the eastern centers of jazz ferment and activity.
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