's house in Uptown New Orleans has the opening notes of "Tiger Rag" in the door screen]] "Tiger Rag" is a jazz standard, originally recorded by the Original Dixieland Jass Band in 1917.

Origins

The tune was first recorded on 17 August 1917 by the Original Dixieland Jass Band for Aeolian-Vocalion Records (the band did not use the Jazz spelling until later in 1917). The Aeolian Vocalion sides did not sell well, as they were recorded in a vertical format becoming obsolete at the time which could not be played successfully on most contemporary phonographs. Their second recording of the tune on 25 March 1918 for Victor Records, on the other hand, was a smash national hit. The song was copyrighted and credited to bandmembers Nick La Rocca, Eddie Edwards, Henry Ragas, Tony Sbarbaro, and Larry Shields, along with Harry Da Costa. "But even before the first recording, several musicians had achieved prominence as leading jazz performers, and several numbers of what was to become the standard repertoire had already been developed. "Tiger Rag" and "Oh Didn't He Ramble" were played long before the first jazz recording, and the names of Buddy Bolden, Jelly Roll Morton, Bunk Johnson, Papa Celestin, Sidney Bechet, King Oliver, Freddie Keppard, Kid Ory, and Papa Laine were already well known to the jazz community."

Other New Orleans, Louisiana musicians claimed, however, that the tune had been a standard in the city even before. Some others even copyrighted the same melody or close variations on it under their own names, including Ray Lopez under the title "Weary Weasel" and Johnny DeDroit under the title "Number Two Blues". A number of veterans of Papa Jack Laine's band said the tune had been known in New Orleans as "Number Two" long before the Dixieland Jass Band copyrighted it. In one interview, Papa Jack Laine said that the actual composer of the number was Achille Baquet. Punch Miller claimed to have originated the cornet & trombone breaks with Jack Carey, and that from Carey's characteristic growl many locals called the tune "Play Jack Carey". Jelly Roll Morton also claimed to have written the tune, basing part of it on his jazzed up version of an old French quadrille.

Frank Tirro states in Jazz: A History, "Morton claims credit for transforming a French quadrille that was performed in different meters into "Tiger Rag",. According to writer Sam Chartres, "Tiger Rag" was worked out by the Jack Carey Band, the group which developed many of the standard tunes that were recorded by the Original Dixieland Jazz Band. The work was known as "Jack Carey" by the black musicians of the city and as "Nigger # 2" by the white. It was compiled when Jack's brother Thomas, 'Papa Mutt', pulled the first strain from a book of quadrilles. The band evolved the second and third strains in order to show off the clarinetist, George Boyd, and the final strain ('Hold that tiger' section) was worked out by Jack, a trombonist, and the cornet player, Punch Miller."

While the exact details are unclear, it seems that at least something similar to "Tiger Rag" or various strains of it was played in New Orleans before the Original Dixieland Jass Band recorded it. How close these were to the Band's recording is a matter of speculation. The Band's record seems to have helped solidify a standard a version or head arrangement of the number, although one strain in the Band's recordings (just before the famous "hold that tiger" chorus) is almost invariably left out of later recordings and performances of the number.

Continuing use

After Original Dixieland Jass Band records, the tune gained national popularity. Dance band and march orchestrations were published for the benefit of bands that couldn't get the hang of the new "jazz" music.

Hundreds of recordings of the tune appeared in the late 1910s and through the 1920s. Among the more notable is the New Orleans Rhythm Kings version with a clarinet solo by Leon Roppolo.

The ubiquitous tune even echoed around the ruins of Chichen Itza in the 1920s, as archaeologist Sylvanus Morley played it over and over on his wind up phonograph.

With the coming of sound film, it often appeared on soundtracks of both live action movies and animated cartoons when something very energetic was wanted.

Famous later recordings

The Tiger Rag became a standard, with over 136 cover versions by 1942 alone. Famous artists who covered the song included Art Tatum, Benny Goodman, Frank Sinatra (in a version with lyrics), Duke Ellington, Bix Beiderbecke, and Louis Armstrong, who released the song at least twice as a 78 single, in 1930 on Okeh and in 1934 on Brunswick.

The Mills Brothers became a national sensation with their hit vocal recording of the song in 1931, and in the same year, the Washboard Rhythm Kings released a version that was later cited as an influence on the subsequent rock & roll genre.

During the early 1930s "Tiger Rag" became a standard showoff piece for Big Band arrangers and soloists, especially in England, where Ambrose, Jack Hylton, Lew Stone, Billy Cotton, Jack Payne, and Ray Noble all made recordings of it. The tune fell from popularity during the Swing era, as it had become something of a cliché.

Nonetheless cover versions continued, including a hit version for Les Paul and Mary Ford in 1952. In 1954 it featured in the Tex Avery-directed MGM cartoon Dixieland Droopy, and it was added to the Library of Congress's National Recording Registry in 2002 . Also in 2002, it appeared in the popular computer game , and in 2005 it featured in an advert for the Microsoft Xbox 360 games console.

A popular fight song

Many sports teams across America have a tiger as their mascot, and some of them use a version of Tiger Rag as their fight song.

The Mighty Sound of the South has played a version of the Tiger Rag at the University of Memphis Tigers games for many years, and one version (known as Tiger Rag 2) is a medley with the Tigers' primary fight song.

Tiger Rag – "The Song That Shakes the Southland" – is Clemson University's familiar fight song since 1942 and is performed at all Tiger sporting events, pep rallies and parades. A version has been arranged for the carillon on Clemson's campus, an instrument almost never used in a jazz setting.

Tiger Rag is a popular song of the Louisiana State University Tiger Marching Band. A section of the hit song is played at every LSU home game right after the team makes a touchdown. However, the full version of the song is reserved for very special occasions.

Tiger Rag is a secondary fight song for the University of Missouri, Princeton University, and Auburn University.

It has often been played by Dixieland bands at Detroit Tigers home games, and was particularly popular during the Tigers' runs to the 1934 and 1935 World Series.

The Cuyahoga Falls Marching Tiger Band of Cuyahoga Falls, Ohio plays Tiger Rag as one of their main fight songs.

The Massillon Tiger Swing Band of Massillon, Ohio began playing Tiger Rag at Massillon Washington High School Tigers football games in 1938 during the period the Tigers were coached by the legendary Paul Brown. It has been a Tiger tradition ever since.

Cover versions

The ODJB's original 1917 composition "Tiger Rag" became a jazz standard that was later covered by Louis Armstrong, Duke Ellington, Ted Lewis, Joe Jackson, and the Mills Brothers.

There were 136 cover versions of ODJB's copyrighted jazz standard and classic "Tiger Rag" by 1942 alone. Recordings were made by all of the following artists:

Louis Armstrong, who released the ODJB classic as a 78 single, in 1930 on Okeh and in 1934 on French Brunswick.

Benny Goodman Trio, on Victor in 1936.

Frank Sinatra.

Duke Ellington and his Famous Orchestra, on Brunswick in 1929, in an arrangement running some 5 1/2 minutes in length, which covered both sides of a 78rpm disc.

Edward "Kid" Ory with his Creole Jazz Orchestra.

Bix Beiderbecke with the Wolverines, on Gennett in 1924.

Ethel Waters and the Jazz Masters in 1922.

Billie Holiday.

Sidney Bechet.

Bob Crosby and his Bob Cats.

Ozzie Nelson and His Orchestra.

Fats Waller.

Gene Krupa.

Phil Napoleon and his Orchestra in 1926 on Edison.

Abe Lyman and his Orchestra.

Harry Reser.

Whiteway Jazz Band.

Gene Kardos and his Orchestra (under the name of Joel Shaw, his pianist), on Crown in 1932.

Lud Gluskin's Ambassador Orchestra, who recorded 4 separate versions for various companies in 1928 and '29. All were based on the head arrangement by Jean Goldkette's orchestra, who never got to make a record of it.

The New Orleans Rhythm Kings in 1922 on Gennett.

Fletcher Henderson in 1931 on Crown.

Jelly Roll Morton in 1938.

Ray Miller's Orchestra in 1929 on Brunswick.

Red McKenzie.

Freddy Fisher.

Kenny Ball.

Acker Bilk.

Harry Roy and his Orchestra.

The Maple City Four.

The Saint Jazz Band.

Isham Jones' Orchestra in 1934 on Decca.

Eddie Condon.

Pete Fountain released "Tiger Rag" as a 45 single on Coral.

Tommy Dorsey.

Glenn Miller and his Orchestra.

Original Dixieland Jazz Band, with Eddie Edwards and Tony Spargo, 1944, V-disc

Muggsy Spanier.

George Barnes.

Teddy Wilson.

Alvino Rey.

The Mills Brothers in 1931, with lyrics by Harry DeCosta, as Brunswick 6197, #1 for 4 weeks on Billboard, sold over a million copies.

The Washboard Rhythm Kings, on Victor in 1932.

The Georgia Washboard Stompers, on Decca in 1934.

The Brian Lawrance Quartet, on Decca and US Champion in 1934.

Art Tatum in 1932.

Bert Ambrose and his Orchestra, on Decca in 1935. Their version included a vocal group with French, Scottish, Welsh, Mancunian, and Yiddish dialect impressions, all singing that they "can't find the tiger anymore."

Jack Hylton, on HMV in 1930.

Lew Stone, on Decca in 1934.

Billy Cotton and His Band (as Super Tiger Rag), on Columbia in 1933.

Jack Payne, on Rex in 1934. Payne's band also played it, specially choreographed, in a 1935 newsreel segment.

Ray Noble, on HMV and Victor in 1933.

Joe Jackson.

Django Reinhardt with the Quintette of the Hot Club of France.

Roy Smeck.

Charles Dornberger and his Orchestra, on Victor in 1927.

Sam Wooding and his Chocolate Kiddies.

Tiger Rag was covered on the 78 series entitled Studies in Swing No.1, 1927, with Nat Gonella on solo trumpet.

The Paul Whiteman Orchestra (as New Tiger Rag), on Columbia in 1930, #10 on Billboard.

Jimmy Dorsey with Spike Hughes, on English Decca in 1930.

Les Paul and Mary Ford in 1952, #2 on Billboard, #8 on Cash Box.

Appearances in Movies

Leatherheads (2008) As an a cappella during the opening scene

Memoirs of a Geisha (2005)

Double Jeopardy (1999)

King of the Hill (1993)

May Fools (1990)

Loverboy (1989)

(1988)

Pretty Baby (1978)

Dixieland Droopy (1954)

Has Anybody Seen My Gal? (1952)

Variety Girl (1947)

Uncle Tom's Cabaña (1947)

Black Angel (1946)

Blitz Wolf (1942)

Fine Feathered Friend (1942)

Puss n' Toots (1942)

Birth of the Blues (1941)

Strike Up the Band (1940)

Sandy Is a Lady (1940)

At the Circus (1939) starring the Marx Brothers

Little Miss Broadway (1938)

The First Hundred Years (1938)

Hits and Bits of 1938 (1938)

The Singing Marine (1937)

Harry Reser and His Eskimos (1936)

Oh, Susanna! (1936)

The Old Mill Pond (1936)

Betty Boop and Grampy (1935)

An All-Colored Vaudeville Show (1935)

That's the Spirit (1933)

Smash Your Baggage (1933)

I Ain't Got Nobody (1932)

Goopy Geer (1932)

Bimbo's Initiation (1931)

Is Everybody Happy? (1929)

The Band Beautiful (1928)

Gus Arnheim and His Ambassadors (1928)

References

See also

List of pre-1920 jazz standards

Category:1917 compositions Category:Original Dixieland Jazz Band songs Category:1910s jazz standards Category:Dixieland jazz standards Category:Jelly Roll Morton songs Category:Culture of New Orleans, Louisiana

Name	Winifred Atwell
Background	non_vocal_instrumentalist
Birth name	Una Winifred Atwell
Born	February 27, 1914Tunapuna, Trinidad and Tobago
Died	February 28, 1983Sydney, New South Wales, Australia
Origin	Britain
Instrument	Piano
Genre	Boogie Woogie, Ragtime, Classical
Occupation	Pianist, Druggist
Years active	1946–1980
Label	Decca Records, Philips Records RCA Records

Winifred Atwell (27 February or April 1910 or 1914– 28 February 1983) was a pianist who enjoyed great popularity in Britain and other countries (including Australia) from the 1950s with a series of boogie woogie and ragtime hits.

Biography

Childhood

Atwell was born in Tunapuna in Trinidad and Tobago as Una Winifred Atwell. She and her parents lived in Jubilee Street. Her family owned a pharmacy, and she trained as a Pharmacist, and was expected to join the family business, Winifred, however, had played the piano since a young age, and achieved considerable popularity locally. She used to play for American servicemen at the air force base (which is now the main airport). It was whilst playing at the Servicemen's Club at Piarco that someone bet her she couldn't play something in the boogie woogie style that was popular back home in the USA. She went away and wrote "Piarco Boogie" which was later renamed "Five Finger Boogie".

Leaving Trinidad

She left Trinidad in the early 1940s and travelled to the United States to study with Alexander Borovsky and in 1946 moved to London, where she had gained a place at the Royal Academy of Music. She became the first female pianist to be awarded the Academy's highest grading for musicianship. To support her studies, she played rags at London clubs and theatres. These modest beginnings in variety would one day see her topping the bill at the London Palladium. She said later, "I starved in a garret to get onto concert stages".

Life in the UK

She attracted attention with an unscheduled appearance at the Casino Theatre, where she substituted for an ill star. She caught the eye of entrepreneur Bernard Delfont, who put her on a long-term contract. She released three discs which were well received. The third, "Jezebel," scurried to the top of the best seller lists. It was her fourth disc that catapulted her to huge popularity in the UK. A fiendishly complex arrangement called "Cross Hands Boogie" was released to show her virtuoso rhythmic technique, but it was the "B" side, a 1900s tune written by George Botsford called "Black and White Rag," that was to become a radio standard. Atwell was championed by popular disc jockey Jack Jackson, who introduced her to Decca promotions manager Hugh Mendl who launched his career as a staff producer at Decca producing Atwell's recordings.

"Black And White Rag" started a craze for her honky-tonk style of playing. The rag was recorded in an unusual fashion, with technicians having "de-tuned" a concert grand for the occasion. (Contrary to popular legend, it was not recorded on a "honky tonk" piano at all.) The exuberant bell-like sound of the record was Atwell's ticket to popular success. In austere, post-war England, her brilliant playing and effusive presentation made her the nation's favourite instrumentalist.

A classic Decca recording by Winifred Atwell is George Gershwin's Rhapsody in Blue with Ted Heath's band which contains an arrangement in the slow section in the Glenn Miller style.

Winifred Atwell's husband, former stage comedian Lew Levisohn (23/04/1920-29/12/1977) was vital in shaping her career as a variety star. The two had met in 1946, and married soon after. They were inseparable up to Levisohn's death in Hong Kong in December 1977; they had no children. He had cannily made the choice, for stage purposes, of her playing first a concert grand, then a beaten up old upright piano. The latter was purchased from a Battersea junk shop for fifty shillings. This became famous as Winifred Atwell's "other piano". It would later feature all over the world, from Las Vegas to the Sydney Opera House, travelling over half a million miles by air throughout Winifred Atwell's concert career. While contributing to a posthumous BBC radio appreciation of Atwell's career, Richard Stilgoe revealed that he was now the owner of the famous "other piano".

When Winifred Atwell first came to Britain, she initially earned only a few pounds a week. By the mid-fifties, this had shot up to over $10,000. By 1952, her popularity had spread internationally. Her hands were insured with Lloyds of London for a quarter of a million dollars (the policy stipulating that she was never to wash dishes). She signed a record contract with Decca Records, and her sales were soon 30,000 discs a week. She was by far the biggest selling pianist of her time. She is the only holder of two gold and two silver discs for piano music in Britain, and was the first black artist in the UK to sell a million records. Millions of copies of her sheet music were sold, and she went on to record her best-known hits, such as Let's Have a Party, "Flirtation Waltz", Poor People of Paris (which reached number one in the charts in 1956), Britannia Rag and Jubilee Rag. Her signature "Black and White Rag" became famous again in the 1970s as the theme of the highly popular BBC snooker programme "Pot Black", which also enjoyed great popularity in Australia when screened on the ABC network. It was during this period that she discovered Matt Monro and persuaded Decca to sign him.

Her stage persona was of a gentle, warm and dignified woman who came alive at the piano. Her dazzling smile and charisma could light up a concert stage. She was the first of the post-war "personality pianists", attired in dazzling clothes and playing directly to the audience with winks, grins and invitations to sing along. Though not a jazz pianist in the strictest sense, since she did not improvise, she is nevertheless regarded as one of the world's finest popular pianists, with a technique that featured a left hand maintaining remarkable bass lines while the right produced a delightful lyricism. Her piano style was widely imitated by other keyboard players such as Russ Conway, Crazy Otto, Mrs Mills and Joe Henderson. She herself believed that her finest work was her late-sixties albums, "Chartbusters", a tour-de-force of piano pops, and the exquisite album of standards variously released as self-titled or under the name "The Plush Piano of Winifred Atwell".

Winifred Atwell's peak was the second half of the 1950s, during which her concerts drew standing room only crowds in Europe and Australasia. She played three Royal Variety Performances, appeared in every capital city in Europe, and played for over twenty million people. At a private party for Queen Elizabeth II, she was called back for an encore by the monarch herself, who requested "Roll Out the Barrel". She became a firm television favourite. She had her own series in Britain. The first of these was ponderously titled, Bernard Delfont Presents The Winifred Atwell Show. It ran for ten episodes on the new ITV network from 21 April to 23 June 1956, and the BBC picked up the series the following year. On a third triumphal tour of Australia, she recorded her own Australian television series, screened in 1960-1961. Her brilliant career earned her a fortune, and would have extended further to the U.S. but for issues of race. Her breakthrough appearance was to have been on the Ed Sullivan Show in 1956, but on arrival in America she was confronted with problems of selling the show in the south with a British-sounding black woman. The appearance was never recorded.

In 1955 Winifred Atwell arrived in Australia and was greeted as an international celebrity. Her tour broke box office records on the Tivoli circuit, bringing in £600,000 in box office receipts. She was paid $5,000 a week (the equivalent of around $50,000 today), making her the highest paid star from a Commonwealth country to visit Australia up to that time.

She toured Australia many times and took on Australian guitarist Jimmy Doyle as her musical director in the 1960s. Her enormous popularity in Australia led to her settling in Sydney in the 1970s. She became an Australian citizen two years before her death.

Later life

Atwell purchased waterside properties in Bilgola and Seaforth in Sydney, as jumping-off bases for her worldwide performance commitments. Enjoying the affection of the public, she was nevertheless keenly aware of prejudice and injustice, and was outspoken about racism in Australia. She always donated her services in a charity concert on Sundays, the proceeds going to orphanages and needy children. She spoke out against the third world conditions endured by Australian Aborigines, which made headlines during an outback tour of the country in 1962. Dismissing racism as a factor in her own life, she said she felt she was "spoiled very much by the public." She left her estate to the Australian Guide Dogs for the Blind and a small amount to her goddaughter. However a cousin of Lew Levisohn contested Atwell's will and is reported to have been granted $30,000 from her estate.

Atwell also created headlines in the 1960s with her dieting (slimming from sixteen to twelve stone on what would today be called a protein diet).

In 1978, she appeared on Australian TV's This Is Your Life and was much admired by the younger generation in Australia in the 1970s. She played her "other" piano at the end of the show with a few bars from Black and White Rag after the piano being in retirement for many years.

Though a dynamic stage personality, Atwell was, in person, a shy, retiring and soft-spoken woman of modesty. Eloquent and intellectual, she was well read and, unlike many in the world of professional showbusiness, keenly interested in and informed about issues and current events. Voracious in her reading habits and a devotee of crosswords, she confessed to an inordinate love of mangos, a dislike of new shoes, and a keen interest in televised cricket (she backed England). She was also a devout Catholic, who unpretentiously played the organ for her parish church.

Atwell often returned to her native Trinidad, and on one occasion she bought a house in Saint Augustine, a home she adored and later renamed Winvilla and which was later turned into the Pan Pipers Music School by one of her students, Louise McIntosh. In 1968 she had recorded Ivory and Steel, an album of standards and classics, with the Pan Am Jet North Stars Steel Orchestra (director/arranger Anthony Williams), and supported musical scholarships in the West Indies. She was awarded the Gold Hummingbird, Caribbean music's highest award for achievement. In the early 1980s, Atwell's sense of loss following her husband's death made her consider returning to Trinidad to live, but she found the weather too hot.

Atwell suffered a stroke in 1980. She officially retired on The Mike Walsh Show, then Australia's highest rating television variety program, in 1981. Her only public performances from this point were as an organist in her parish church at Narrabeen. She categorically stated on the Mike Walsh show that she would retire and not return as a public performer, but that she had had an excellent career. Her last TV performance was "Choo Choo Samba" followed with a medley of "Black and White Rag" and "Twelfth Street Rag", before being given a standing ovation and awarded a bouquet. In 1983 following an electrical fire that destroyed her Narrabeen home, she suffered a heart attack and died aged 72 while staying with friends in Seaforth. She is buried beside husband Lew Levisohn in South Gundurimba Private Cemetery in northern New South Wales, just outside Lismore.

Discography

Singles 7" (UK Charts)

Britannia Rag

Coronation Rag

Flirtation Waltz

Let's Have A Party

Rachmaninoff's 18th Variation On A Theme By Paganini

Let's Have Another Party

Let's Have A Ding Dong

The Poor People Of Paris

Port-Au-Prince

Left Bank (C'Est A Hamburg)

Make It A Party

Let's Rock 'N' Roll

Let's Have A Ball

The Summer Of The Seventeenth Doll

Piano Party

Notes

External links

45rpm discography

Winifred Atwell at Find-A-Grave

Winifred Atwell at the National Film and Sound Archive

Winifred Atwell Discography at Discoogle

1953 Australian TV 1981

Category:1914 births Category:1983 deaths Category:British pianists Category:Boogie-woogie pianists Category:Ragtime pianists Category:Trinidad and Tobago musicians Category:Trinidad and Tobago people of Black African descent Category:Australian people of Caribbean descent Category:Australian people of Black African descent Category:Australian people of Trinidad and Tobago descent Category:Australian pianists

Background	solo_singer
Born	June 24, 1944Wallington, England
Instrument	Guitar, bass, talk box, vocals
Genre	Blues-rock, jazz fusion, instrumental rock, hard rock, electronica, progressive rock
Occupation	Musician, songwriter
Years active	1965–present
Label	EMI, Epic
Associated acts	The Yardbirds, The Jeff Beck Group, The Honeydrippers, Beck, Bogert & Appice, Stevie Ray Vaughan, Big Town Playboys, Upp, Eric Clapton
Url	www.jeffbeck.com
Notable instruments	Fender Jeff Beck Signature Model StratocasterJeff Beck 1954 Les Paul Oxblood

Geoffrey Arnold "Jeff" Beck (born 24 June 1944) is an English rock guitarist. He is one of the three noted guitarists, along with Eric Clapton and Jimmy Page, to have played with The Yardbirds. Beck also formed The Jeff Beck Group, and Beck, Bogert & Appice, besides his successful solo career.

Jeff Beck was ranked 14th in Rolling Stone's list of the "100 Greatest Guitarists of All Time", and the magazine has described him as "one of the most influential lead guitarists in rock". MSNBC has called him a "guitarist's guitarist" Much of Beck's recorded output has been instrumental, with a focus on innovative sound and his releases have spanned genres ranging from blues-rock, heavy metal, jazz fusion and most recently, an additional blend of guitar-rock and electronica. Beck has earned wide critical praise; furthermore, he has received the Grammy Award for Best Rock Instrumental Performance five times. Although he has had two hit albums (in 1975 and 1976) as a solo act, Beck has not established or maintained a broad following or the sustained commercial success of many of his collaborators and bandmates. as saying:

Beck is cited as saying that the first electric guitar player he singled out as impressing him was Les Paul. Upon leaving school he attended Wimbledon College of Art, after which he briefly was employed as a painter and decorator, a groundsman on a golf course, and a job spray painting cars. Beck's sister would also play an instrumental role in introducing him to another teen hopeful named Jimmy Page.

Early career

Jeff Beck began his career in the 1960s, working as a session guitarist. He joined "The Rumbles" a Croydon band in 1963 for a short period, and was lead guitarist playing covers for Gene Vincent and Buddy Holly songs, displaying his amazing genius for mimicking other guitarist styles. His first appearance on vinyl was a 1964 Parlophone single by The Fitz and Startz entitled 'I'm Not Running Away' c/w 'So Sweet'. In March 1965, Beck was recruited to replace Eric Clapton in The Yardbirds, on the recommendation of fellow session man, Jimmy Page, who had been their initial choice. It was during Beck's tenure with The Yardbirds that the band recorded most of their Top 40 hit songs. Beck's time with The Yardbirds was short, allowing him only one full album; Yardbirds which became known as Roger the Engineer, released in 1966. He spent September to November 1966 sharing the dual lead guitar role with Page, who initially joined The Yardbirds as a bass player but this never eventuated. Nick Mason recalls in his autobiography that, "None of us had the nerve to ask him".

The group produced two albums for Columbia Records: Truth (August 1968) and Beck-Ola (July 1969). Both albums are highly acclaimed. Truth, released five months before the first Led Zeppelin album, features a cover of "You Shook Me", a song first recorded by Willie Dixon which was also covered on the Led Zeppelin debut. It sold well (reaching number 15 on the Billboard charts) and received great critical praise, Beck-Ola while well-received, was less successful both commercially and critically. Resentment, coupled with touring-related incidents, led the group to dissolve in July 1969.

After the break-up he took part in the Music From Free Creek "super session" project, billed as "A.N. Other" and contributed lead guitar on four songs, including one co-written by Beck himself. After deciding not to continue working with Stewart he teamed up with bassist Tim Bogert and drummer Carmine Appice, the rhythm section of the Vanilla Fudge. In September 1969 Bogert and Appice came to England to start resolving their contractual issues, but when Beck fractured his skull in a car accident near Maidstone in December 1969 the plan ended up being postponed for two and a half years, during which time Bogert and Appice formed Cactus. Meanwhile, Rod Stewart teamed up with Ronnie Wood and the Small Faces.

In 1970, when Beck had regained his health he set about forming a band with entirely new members. His first recruit was drummer Cozy Powell. Beck, Powell and producer Mickie Most flew to the US and recorded several tracks at Motown Studios with Motown session men, but the results remained unreleased. By April 1971, Beck had finalised the line-up of his new group with guitarist and vocalist Bobby Tench, keyboard player Max Middleton and bassist Clive Chaman. The new band performed as Jeff Beck Group and had a substantially different sound from the first line-up

Rough and Ready (October 1971) was the first album recorded by this line-up and Beck wrote or co-wrote six of the album's seven tracks (the exception written by pianist Middleton). Rough and Ready included elements of soul, rhythm and blues and jazz, foreshadowing the direction Beck's music would take later in the decade.

A second album Jeff Beck Group (July 1972) was recorded at TMI studios in Memphis, Tennessee, using the same personnel and Beck employed Steve Cropper as producer. This album displayed a strong soul influence with five of the nine tracks being covers of songs by American artists. One such track "I Got To Have A Song" was the first of four Stevie Wonder compositions covered by Beck. Shortly after the release of the Jeff Beck Group album the band was officially dissolved and Beck's management put out this statement:

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Beck then started to work on achieving his long time ambition of collaborating with bassist Tim Bogert and drummer Carmine Appice, who became available following the demise of Cactus. Beck immediately continued touring as Jeff Beck Group in August 1972 to fulfil contractual obligations with his promoter, with a new line-up including Bogert, Appice, Max Middleton and vocalist Kim Milford. After only six appearances Milford was replaced by Bobby Tench, who was flown in from UK in time for the Arie Crown Theatre Chicago performance and appeared with the band for the rest of the tour. The tour concluded at the Paramount North West Theatre in Washington.

After this US tour Tench and Middleton left the band when Beck formed the power trio Beck, Bogert & Appice and drummer Appice took on the role of vocalist with Bogert and Beck contributing vocals occasionally.

In April 1973 Beck, Bogert & Appice was released (on Epic Records) and featured the long-awaited line-up of Beck, Bogert & Appice. While critics acknowledged the band's instrumental prowess the album was not commercially well received, except for its cover of Stevie Wonder's hit, "Superstition". On 3 July 1973 Beck appeared as a guest artist during David Bowie's Ziggy Stardust Tour, when he joined Bowie on-stage to perform "The Jean Genie"/"Love Me Do" and "Around and Around", a song written by Chuck Berry but popularised by Bowie. Even though the show was recorded and filmed, none of the released editions included the performances with Beck.

During October 1973 Beck recorded tracks for Michael Fennelly's album Lane Changer and attended sessions with Hummingbird, a band derived from The Jeff Beck Group, but did not to contribute to their eponymous first album

Early in January 1974 the band played at the Rainbow Theatre, as part of a European tour. The concert was broadcast in full on the US show Rock Around the World in September the same year. This was the last recorded work by the band and previewed material which was intended for a second studio album and songs from these performances were included on the bootleg At Last Rainbow. The tracks Blues Deluxe and BBA Boogie from this concert were later included on the Jeff Beck compilation Beckology (1991).

Beck, Bogert & Appice dissolved in April 1974, before their second studio album (produced by Jimmy Miller) was finished. This led their live album, Beck, Bogert & Appice Live in Japan recorded during their 1973 tour of Japan was not released until February 1975 by Epic/Sony.

After a few months recuperation, Beck entered Underhill Studio to work on new ideas. There he met with the group Upp, whom he recruited as backing band for his appearance on the BBC TV programme "Guitar Workshop" in August 1974. Beck produced and played on their self-titled debut album. Beck also produced their second album This Way Upp released in 1976 and played on the tracks "Dance Your Troubles Away" and "Don't Want Nothing To Change", although his contributions to the second album went uncredited in the album's liner notes. In October 1974 Beck began to record instrumentals at AIR Studios. During these sessions he worked with keyboard player Max Middleton, bassist Phil Chen and drummer Richard Bailey, using George Martin as producer and strings arranger. Blow by Blow (March 1975) evolved from these sessions and showcased Beck's technical prowess in jazz-rock. The album reached number four in the charts and is Beck's most commercially successful release.

Beck was fastidious about overdubs and was often dissatisfied with his solos, returning to AIR Studios to record his performances until he was satisfied that he had performed his best. A couple of months after the sessions had finished Martin received a telephone call from Beck, who wanted to record a solo section again. Bemused, Martin replied: "I'm sorry, Jeff, but the record is in the shops!"

At this point, Beck was a tax exile and took up residency in the US, remaining there until his return to the UK in the autumn of 1977. In the spring of 1978, he began rehearsing with bassist Stanley Clarke and drummer Gerry Brown towards a projected appearance at the Knebworth Festival, but this was cancelled after Brown dropped out. Beck toured Japan for three weeks in November 1978 with an ad-hoc group consisting of Clarke and newcomers Tony Hymas (keyboards) and Simon Phillips (drums) from Jack Bruce's band. Work then began on a new studio album at The Who's Ramport Studios in London and continued sporadically throughout 1979, resulting in There and Back in June 1980. It featured three tracks composed and recorded with Jan Hammer, while five were written with Hymas. Stanley Clarke was replaced by Mo Foster on bass, both on the album and the subsequent tours. Its release was followed by extensive touring in the USA, Japan and the UK.

1980s

In 1981 Beck made a series of historic live appearances with his Yardbirds predecessor Eric Clapton at the Amnesty International-sponsored benefit concerts dubbed The Secret Policeman's Other Ball shows. He appeared with Clapton on "Crossroads", "Further On Up The Road", and his own arrangement of Stevie Wonder's "Cause We've Ended As Lovers". Beck also featured prominently in an all-star band finale performance of "I Shall Be Released" with Clapton, Sting, Phil Collins, Donovan and Bob Geldof. Beck's contributions were seen and heard in the resulting album and film, both of which achieved worldwide success in 1982. Another benefit show, the ARMS Concert for Multiple Sclerosis featured a jam with Beck, Eric Clapton and Jimmy Page. they performed "Tulsa Time" and "Layla". This is the only time all of the Yardbirds lead guitarists appeared on stage together.

Beck went on to record sporadically, due in part to a long battle with noise-induced tinnitus, and recorded with Rod Stewart, Jan Hammer, Tony Hymas, and Terry Bozzio. His rockabilly influenced album Crazy Legs (1993) included songs by Gene Vincent and was recorded with The Big Town Play Boys.

1990s

Beck is featured on lead guitar on Roger Waters' 1992 concept album Amused to Death, and on Kate Bush's 1993 album The Red Shoes.

Beck rehearsed with Guns N' Roses for their concert in Paris in 1992, but did not play in the actual concert due to ear damage caused by a Matt Sorum cymbal crash, causing Beck to become temporarily deaf. The Yardbirds were inducted into the Rock and Roll Hall of Fame in 1992. In Beck's acceptance speech he humorously noted that:

}} He accompanied Paul Rodgers of Bad Company on the album in 1993. Jeff Beck won his third Grammy Award, this one for 'Best Rock Instrumental Performance' for the track "Dirty Mind" from You Had It Coming.

2000s

The song "Plan B," from the 2003 release Jeff, earned Beck his fourth Grammy Award for Best Rock Instrumental Performance, and was proof that the new electro-guitar style he used for the two earlier albums would continue to dominate. Jeff Beck was the opening act for B.B. King in the summer of 2003 and appeared at Eric Clapton's Crossroads Guitar Festival in 2004.

on the 2007 Crossroads Guitar Festival tour]] In 2007, he accompanied Kelly Clarkson for her cover of Patty Griffin's "Up to the Mountain (MLK Song)", during the Idol Gives Back episode of American Idol. The performance was recorded live and afterwards was immediately released for sale. In the same year, he appeared once again at Clapton's Crossroads Guitar Festival, performing with Vinnie Colaiuta, Jason Rebello, and the then twenty-one-year old bassist Tal Wilkenfeld.

Beck announced a world tour in early 2009 and remained faithful to the same lineup of musicians as in his tour two years before, playing and recording at Ronnie Scott's in London to a sold out audience. Beck played on the song "Black Cloud" on the 2009 Morrissey album Years of Refusal and later that year, Harvey Goldsmith became Beck's Manager.

Beck was inducted into the Rock and Roll Hall of Fame on 4 April 2009, as a solo artist. The award was presented by Jimmy Page. On 4 July 2009, David Gilmour joined Beck onstage at the Albert Hall. Beck and Gilmour traded solos on "Jerusalem" and closed the show with "Hi Ho Silver Lining".

Beck's 2010 World Tour band features Grammy winning musician Narada Michael Walden on drums, Rhonda Smith on bass and Jason Rebello on keyboards. Beck's latest album, Emotion & Commotion, was released in April 2010. It features a mixture of original songs and covers such as "Over the Rainbow" and "Nessun Dorma". Joss Stone provides some of the guest vocals. Beck collaborated on "Imagine" for the 2010 Herbie Hancock album, The Imagine Project along with Seal, P!nk, India.Arie, Konono N°1, Oumou Sangare and others.

Temperament

Stories about Beck's temper began to circulate early on in his career. His perfectionism, coupled with the faulty equipment often in use during the 1960s, led to many stories about his willingness to take out frustrations on his equipment. The 1966 movie Blowup contains a scene where the Yardbirds perform "Stroll On" and Beck becomes so enraged by equipment problems that he smashes his guitar. Although this scene was staged for the movie, it was a re-creation of an actual event that director Michelangelo Antonioni witnessed at a concert of The Who. This was also spoofed in the movie This is Spinal Tap, with the character Nigel Tufnel (who is partly based on Beck).

Influences

One of the most influential guitarists in the history of rock music, Jeff Beck has cited his major influences as Les Paul, Chet Atkins, Django Reinhardt and Lonnie Mack. Of John McLaughlin, he said: "he has given us so many different facets of the guitar and introduced thousands of us to world music, by blending Indian music with jazz and classical. I'd say he was the best guitarist alive."

While Beck was not the first rock guitarist to experiment with electronic distortion, he nonetheless helped to redefine the sound and role of the electric guitar in rock music. Beck's work with The Yardbirds and The Jeff Beck Group's 1968 album Truth were seminal influences on heavy metal music, which emerged in full force in the early 1970s.

Technique and equipment

Category:English blues guitarists Category:English songwriters Category:English rock guitarists Category:Lead guitarists Category:English vegetarians Category:Musicians from London Category:People from Wallington, London Category:Rock and Roll Hall of Fame inductees Category:The Yardbirds members Category:Grammy Award winners Category:Fingerstyle guitarists Category:1944 births Category:Living people Category:Blues-rock musicians

Name	Imelda May
Landscape	yes
Background	solo_singer
Birth name	Imelda Mary Clabby
Born	July 10, 1974Dublin, Ireland
Instrument	Vocals, bodhrán
Genre	Rockabilly, blues, jazz
Occupation	Musician
Years active	2003–present
Label	Decca Records, Ambassador Records (Universal Music Ireland)
Url	http://www.imeldamay.com/

Imelda Mary Higham (born 10 July 1974), known as Imelda May, Clabby, is an Irish vocalist and musician. Hailing from The Liberties area of Dublin, May began her career in music at 16 and released her debut album in 2005. May also plays the bodhrán. She won the Best Female Artist of the Year award at the 2009 Meteor Awards.

Early life and career

May was born in Dublin on 10 July 1974. She is the youngest of five siblings, sisters Edel Foy and Maria O'Reilly, and brothers Brendan Clabby and Fintan Clabby. Moving to The Liberties area of Dublin at a young age, May's early musical influences were folk and rock and roll. "My brother was a mad Elvis fan, and I found a tape in his room with Elvis, Eddie Cochran and Gene Vincent," May said. "I thought the music was fantastic."

By age nine, May was a fan of rockabilly and blues, particularly Elmore James and Billie Holiday. At age fourteen, May sang in an advertisement for Findus Fish Fingers. However, May's career began at age 16 when she began touring the Dublin club circuit with her brother in law Seán Foy who got her many of these gigs. Singing alongside Blue Harlem and Mike Sanchez in a seven-piece blues band, she was occasionally barred from her own shows at Dublin’s Bruxelles club for being underage. "I was getting tips from the best musicians in Dublin," May said. "One of them said, 'your voice is great, but it needs to roughen.'" It was around this time, when driving a tearful Imelda to a gig, that her father asked her “"Is your heart broken? Excellent. Now you can sing the blues." May regards this moment as a turning point in her life.

Professional career

May began her professional career in 2003, forming her band and releasing No Turning Back under her maiden name Imelda Clabby. Specializing in rockabilly music, the album was later rerecorded and reissued, by her own label and under her current name in 2005.

In 2007, May received a recording contract with Ambassador Records, a sublabel of Universal Music Ireland, and recorded her second album. Reaching No. 1 in Ireland, Love Tattoo received wide critical acclaim and caught the attention of Jools Holland, whom she later supported on tour, which led him to request that she appear on his well-known music show Later... with Jools Holland. Performing to an audience that included Jeff Beck, Elbow and Roots Manuva, May was well received in the United Kingdom. Her first two singles, "Johnny Got a Boom-Boom" and "Big Bad Handsome Man" were released on 23 January 2009. May appeared and performed on Ireland's most popular television show, The Late Late Show, the longest running chat show in the world, which at the time of her appearance was presented by veteran broadcaster Pat Kenny. She won Female Artist of the Year at the 2009 Meteor Awards. May has also toured the United States including, most recently, a tour with Jamie Cullum. On 14 August 2009, she appeared on RTÉ's Other Voices singing "Johnny Got a Boom Boom" and an unplugged version of "Big Bad Handsome Man."

On 31 January 2010, May performed at the 52nd Grammy Awards with Jeff Beck in tribute to Les Paul. After some promotional performances at festivals, such as the Eurosonic Festival in Groningen, Netherlands, she released her third studio album, Mayhem, in Ireland on September 3, 2010 — again reaching No. 1 in the Irish Album Charts — and in the United Kingdom on 4 October 2010.

Performances with other artists

May has shared the stage with Alison Moyet, Dionne Warwick, Bryan Ferry, Anastasia, The Supremes, Sister Sledge, Scissor Sisters, The Dubliners, Madeleine Peyroux, Matt Bianco, Elvis Costello, Jools Holland, Jeff Beck and Elton John. May also sings in The Candy Box Burlesque Club in Birmingham. She has appeared alongside The World Famous Palookaville! Burlesque Orchestra at every Candy Box show since it started in February 2006.

In 2006, May featured as a vocalist on Blue Harlem Jazz Band's album, Talk to Me. In 2009, May recorded the official Children In Need single alongside Cara Dillon, Sir Terry Wogan, Hayley Westenra and others at Abbey Road Studios. In 2010, she participated on Emotion & Commotion by Jeff Beck, singing on the track "Lilac Wine" and also on the Japanese CD bonus track "Poor Boy." *On 11 November 2010, May appeared as a guest on BBC2's comedy panel music show Never Mind The Buzzcocks.

As of 2010, she is currently performing with Meat Loaf as part of the UK leg of his Hang Cool Tour.

Personal life

May is married to her guitarist and band member, Darrel Higham. The pair married in 1998. She is a vegetarian.

Discography

Studio albums

Singles

Band members

Imelda May – vocals, bodhrán

Al Gare – double bass, bass guitar

Steve Rushton – drums

Darrel Higham – guitar

Dave Priseman – trumpet, flugelhorn, percussion, guitar

References

External links

Imelda May Album Review

No Turning Back (Imelda Clabby) Review

Blue Harlem (featuring Imelda May) Reviews

Music On-Air Interview

Liberation Frequency interview

Category:1974 births Category:Living people Category:Irish female singers Category:Irish jazz singers Category:Music from Dublin Category:People from Dublin (city) Category:Irish musicians

Harry F. Reser (January 17, 1896 – September 27, 1965) was an American banjo player and bandleader. Born in Piqua, Ohio, Reser was best known as the leader of The Clicquot Club Eskimos.

Career

Reser was regarded by some as the best banjoist of the 1920s. He played with midwestern dance bands, relocating to Buffalo, New York in 1920. Arriving in Manhattan the following year, he became an in-demand session musician during the early 1920s.

In 1925, he found fame as the director for NBC's Clicquot Club Eskimo Orchestra, continuing with that weekly half-hour until 1935. At the same time, he also led other bands using pseudonyms. "Harry Reser and His Six Jumping Jacks," with vocals by Tom Stacks, were the zany forerunners to comedy bands like Spike Jones and His City Slickers.

Reser and his band introduced on record, the standard "Santa Claus Is Coming To Town" in 1934.

Harry Reser played "Tiger Rag" and "You Hit the Spot" in the Vitaphone musical short Harry Reser and His Eskimos (1936).

Reser remained active in music for the rest of his life, leading TV studio orchestras and playing with Broadway theatre orchestras. In 1960 he appeared with Bing Crosby, Peggy Lee and Buster Keaton in "A 70th Birthday Salute to Paul Whiteman" on TV's The Revlon Revue. He wrote several instructional books for the banjo, guitar, and ukulele.

In 1965 Reser died of a heart attack in the orchestra pit of the Broadway stage version of Fiddler on the Roof just prior to a performance. He was inducted into the National Four-String Banjo Hall of Fame, a museum in Oklahoma, in 1999.

See also

Banjo Hall of Fame Members

Reser revivals

In 2002, banjoist Michael Mason portrayed Harry Reser in Heartland Chautauqua, a tent-show recreation of a 1920s traveling Chautauqua show at Nifong Park in Missouri. Guitarist Howard Alden switched to a banjo to recreate the sound of Harry Reser in his recording Howard Alden Plays the Music of Harry Reser (Stomp Off Records, 1988). Alden recorded 15 compositions written by Reser during the years 1922 to 1935.

Watch

Harry Reser and His Eskimos (1936)">Reser plays "Tiger Rag" in clip from Harry Reser and His Eskimos (1936)

Listen to

Red Hot Jazz: Harry Reser

Rhapsody: Harry Reser

External links

Pseudonyms of the Harry Reser Orchestra

The Maneater: "Jazz Age brought to life": Michael Mason as Harry Reser

Category:1896 births Category:1965 deaths Category:American bandleaders Category:American banjoists Category:Vocalion Records artists

Name	Chris Barber
Landscape	no
Background	non_vocal_instrumentalist
Born	April 17, 1930Welwyn Garden City, Hertfordshire, EnglandUnited Kingdom
Instrument	Trombone
Genre	Skiffle, ragtime, swing, blues, trad jazz, folk
Occupation	Musician, songwriter, bandleader
Label	Lake Records
Associated acts	Lonnie Donegan, Ken Colyer
Url	Official website

Donald Christopher 'Chris' Barber (born 17 April 1930, Welwyn Garden City, Hertfordshire, England) is best known as a jazz trombonist.

Biography

Early life

He is the son of a statistician father and headmistress mother and was educated at St Paul's School in London and the Guildhall School of Music.

Music career (1950s and 1960s)

Barber played trombone with Ken Colyer in 1949 and began leading his own bands in which he played trombone and double bass in 1950. Barber helped to create the careers of many diverse musicians, most notably the blues singer Ottilie Patterson, who was at one time Mrs Barber. Others include vocalist and banjo player Lonnie Donegan who rose to his own fame during the skiffle music craze of the mid 1950s. He had his first transatlantic hit during his time in Chris Barber's band with the release of "Rock Island Line".

In addition to Donegan, Barber also featured Pat Halcox on trumpet from 1954 onwards, once Ken Colyer had moved on after a difference of opinion as to the way the band should develop. The band formed in 1953 took Colyer's name as they thought that his recent spell in New Orleans would be an attraction, with Monty Sunshine on clarinet, Donegan, Jim Bray (bass), Ron Bowden (drums) and Barber on trombone. In April, 1953, the band made its public debut in Copenhagen where Chris Albertson recorded several sides for the then new Danish Storyville label, including some with a trio from the band, Sunshine, Donegan and Barber (on bass). Later, back in London, Sunshine and Barber recorded a version of Bechet's "Petite Fleur" that made it to #3 in the UK Singles Chart, spending a total of twenty-four weeks therein. It sold over one million copies, and was awarded a gold disc. Although the Barber band featured traditional jazz in the New Orleans style, it later also engaged in ragtime, swing, blues and R&B; and worked with other artists including Louis Jordan and Dr. John. After 1959 he toured the United States many times.

In the late 1950s and early 1960s, Barber was mainly responsible for arranging the first UK tours of seminal blues artists such as Big Bill Broonzy, Sonny Terry & Brownie McGhee and Muddy Waters. This, along with encouragement from local enthusiasts such as Alexis Korner and John Mayall, sparked the interest of young local prospective musicians such as Peter Green, Eric Clapton and the members of the The Rolling Stones in the blues, and caused the British blues explosion that in turn resulted in the British invasion exported back to the US in the middle to late 1960s. In January 1963, the British music magazine, NME reported that the biggest trad jazz event to be staged in Britain had taken place at Alexandra Palace. The event included George Melly, Diz Disley, Acker Bilk, Alex Welsh, Kenny Ball, Ken Colyer, Sunshine, Bob Wallis, Bruce Turner, Mick Mulligan and Barber.

Originally a six-piece band, with a back line of drums, bass and banjo, and a front line of trombone, clarinet and trumpet, Barber stunned the traditionalists in 1964 by introducing blues guitarist John Slaughter into the line up. Apart from a break between April 1978 and August 1986, when Roger Hill took over the spot, John played in the band until shortly before his death in 2010.

Barber then added a second clarinet/saxophone, making it an eight-piece band, and this continued right up until 1999. With a long time love of the Duke Ellington music, Barber added fellow trombonist and arranger Bob Hunt into the line up, along with another clarinet and trumpet. The band is now known as "The Big Chris Barber Band", boasting an eleven man line-up and a broad range of music, still catering for many tastes but also still having a spot in the concert programme for the original traditional, six man line-up.

Also in the early 1960s a recording of the Lennon/McCartney composition "Catswalk" was made. It can be heard, retitled as "Cat Call", on the album The Songs Lennon and McCartney Gave Away. This song was written by Paul McCartney and later given to The Chris Barber Band. The song was recorded in late July 1967 and released as a single in the UK on 20 October 1967.

Recent work

The current line up is Gregor Beck - drums; Dave Green double bass (January 2007); John Slaughter - guitar; Joe Farler - banjo & guitar, forming the rhythm section. Front line Chris Barber, Bob Hunt (after an 18 month break, rejoined January 2010) - trombones; Mike Henry, Pete Rudeforth - trumpets; Zoltan Sagi, David Horniblow and Richard Exall - clarinets, alto sax, tenor sax, baritone sax. Recent band members who have moved on: Pat Halcox, trumpeter with the Chris Barber Band since its formation on 31 May 1954, retired after playing his last gig with the Big Chris Barber Band on 16 July 2008. Halcox and Barber were together in the band for 54 years - the longest continuous partnership in the history of jazz, exceeding even that of Duke Ellington and Harry Carney (48 years between 1926 and 1974). Tony Carter (reeds) also left the band at this time.

Vic Pitt - double bass retired in January 2007 after 30 years with the band. His feature duet with the drummers of the day - "Big Noise From Winnetka" was not only a feature of the Barber concerts, but also his time with the Kenny Ball band immediately before.

Many of the band's classic albums from the 1950s and 1960s can be found on the UK's Lake Records label.

At St. Luke's London, on 9 June 2007, Barber appeared in the horn section of Nick Lowe's band during a concert. In 2008, Barber, along with Eric Clapton and others, were involved in a new cooperative record company, Blues Legacy. On 23 July 2009, Barber, Bilk, and Ball played a one-off concert at Indigo2 at The O2 in Greenwich. The concert was presented by The British Music Experience.

The new double CD "Chris Barber - Memories of my trip" will be released in the UK in early 2011. The dates for the supporting tour can be found on the official website as well as on The Big Chris Barber Band's Myspace and Facebook pages.

He performed at De Doelen in Rotterdam on 12 December 2010.

Selected discography

Bestsellers: Chris Barber & Papa Blue's Viking Jazzband, 1954

Original Copenhagen Concert, (live) 1954

Chris Barber in Concert, (live) 1956

Chris Barber Plays, Vol. 2, 1956

Chris Barber Plays, Vol. 3, 1957

Chris Barber Plays, Vol. 4, 1957

Chris Barber in Concert, Vol. 2, (live) 1958

"Petite Fleur", 1958

In Budapest, 1962

Louis Jordan Sings, 1962

Live in East Berlin, 1968

Chris Barber & Lonnie Donegan, 1973

Echoes of Ellington, Vol. 1, 1976

Echoes of Ellington, Vol. 2, 1976

Echoes of Ellington, 1978

Take Me Back to New Orleans, 1980

Copulatin' Jazz: The Music of Preservation Hall, 1993

Live at the BP Studienhaus, 1997

Cornbread, Peas & Black Molasses, (live) 1999

The Big Chris Barber Band with Special Guest Andy Fairweather Low: As We Like It, 2009

Chris Barber's Jazz Band, Chris Barber 1957-58, 2009

The Chris Barber Jazz & Blues Band, Barbican Blues, 2009

The Big Chris Barber Band, Barber At Blenheim, 2009

Chris Barber's Jazz Band with Sonny Terry & Brownie McGhee, Sonny, Brownie & Chris, 2009

Chris Barber Memories Of My Trip, 2011

References

External links

Official website

Chris Barber Facebook

Chris Barber Myspace

Chris Barber Twitter

Chris Barber Youtube

[ Chris Barber @ Allmusic]

Category:1930 births Category:Living people Category:People from Welwyn Garden City Category:Dixieland jazz musicians Category:English jazz musicians Category:Jazz bandleaders Category:Jazz trombonists Category:Old Paulines Category:Skiffle Category:Timeless Records artists Category:English bandleaders

Andy Quin (born 12 August 1960 in London, UK) is a composer and jazz pianist.

External links

Official website

Biography at allaboutjazz.com

Category:Living people Category:1960 births Category:English composers Category:English jazz pianists