Описание CD

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  Исполнитель(и) :
   Crosby, Bob  (Vocals)
◄◄◄        ►►►

  Наименование CD :
   His Orchestra & The Bob Cats: 1937-1939

Год издания : 1996

Компания звукозаписи : EPM Musique

Музыкальный стиль : Jazz, Big Band

Время звучания : 1:09:05

Код CD : 157662 AD 052

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Retro Records)      

Jazz Archives No 39

Recording Date: February 8, 1937 - January 23, 1939

Released in 1996, this is a superb collection of vintage swing played by the Bob Crosby Orchestra and his scaled-down Dixieland group, the Bobcats. Crosby's players were well versed in both traditional jazz and pop music suitable for jitterbugging; the recordings assembled here paint a vivid group portrait of a swinging sodality of musicians who bent over backwards to please their listeners. The stars of this group as featured here include pianists Joe Sullivan ("Gin Mill Blues" and "Little Rock Getaway") and Bob Zurke ("Big Foot Jump"), string bassist and famously adept whistler Bob Haggart ("Dogtown Blues" and "Big Noise from Winnetka"), saxophonist Eddie Miller ("I Hear You Talking"), trumpeter Yank Lawson ("Five Point Blues"), and drummer Ray Bauduc ("The Big Crash from China"). This music was designed for partying, relaxing, and fooling around.

All Music Guide


It is never easy to be Bob when your brother's name is Bing an your family's name is Crosby. With just about sums up the career history of Bob Crosby, an artist who nevertheless succeeded in making a substantial name for himself in music by choosing a role in which his renowned elder brother proved unable to compete : that of bandleader.

Yet Bob had at first been unwise enought to embark upon a career as a singer, hence running the risk of forever remaining in the immense shadow cast by an elder he for years considered his father rather than his brother. The story began in 1933, when the Ben Pollack Orchestra disbanded. Many of its members resolved to stick together in the hope of forming another band under a new leader. It would nevertheless take them until the spring of 1935 to get round to deciding that a young singer by the name of Bob Crosby was the very man they were looking for. His principal qualifications ? A pleasant personality and undeniable stage-presence. Since at this time a bandleader was often little more than a figure-head, Bob had no problem filling the bill. But Crosby Junior soon proved he had genuine talent of his own, both as a leader of men and as an arbiter of musical taste. And the outfit he fronted was duly rechristened Bob Crosby and His Orchestra. This all took place, remember, at the height of the big-band era; so competitors, whether black or white, were legion. It was unthinkable for Bob and his men to rival Duke Ellington, Count Basie, Benny Goodman or Tommy Dorsey, for they simply hadn't the means. Their soloists lacked the prestige, their leader was not a great musician and they did not benefit from the services of top arrangers. But as jazz is not the exclusive preserve of just the great and the famous, the Crosby team decided to go their own simple way; not just to be different, but mainly to do what they enjoyed doing and what they were naturally good at. Their approach was by no means lacking in subtlety. The orchestra based its output on the music of New Orleans, since three of its principal pillars were natives of that very city : drummer Ray Bauduc, guitarist Nappy Lamare and saxophonist Eddie Miller. This Crosby outfit hence offered audiences a living link with what was, after all, the first major capital of jazz. Their music proved a refreshingly natural extension of the white Dixieland trend started way back in 1917 by the Original Dixieland Jazz Band, rather than a pale imitation of the earthy black jazz of King Oliver and Louis Armstrong.

But such neat pigeon-holing can all too quickly prove a misleading over-simplification. For while the orchestra's repertoire consisted of an attractive mix of originals by members of the ban (Gin Mill Blues, Little Flock Getaway...) and of old Dixieland warhorses [Fidgety Feet...), it did also feature some well-known pieces from the pens of top black jazzmen (Squeeze Me, Wolverine blues...).

Not content with just a high proportion of original compositions, the Crosby men also established an original formula. It consisted of orchestrating themes that others would have treated as light-hearted Dixieland improvisations, a style already far past its days of glory. In this thriving era of big-band jazz, soloists were expected to pay their dues to discipline. And the Crosby orchestra could boast not only all the necessary discipline, but also the solo strenght to set off against it. Leadind the Crosby pack at the time of the present recordings were trumpeters Yank Lawson and Billy Butter-field, clarinettists Matty Matlock and Irving Fa-zola, saxophonist Eddie Miller and pianist Bob Zurke.

The orchestra's staff-arrangers (Such as Bob Haggart, Dean Kincaide, Matty Matlock and Joe Sullivan) showed great skill at concocting appealingly melodic, infectiously swinging arrangements that served as ideal wehicles for some generous portions of unfettered solo blowing. One particular speciality of the house was the full-blooded orchestration of piano pieces, especially those borrowed from the boo-giewoogie idiom then so much in fashion. The recipe proved an immense success. The Bob Crosby Orchestra conquered a large audience, creating an enthusiastic, faithful following that continued until 1941, when World War II finally forced the group to disband. Yet this Crosby co-operative in fact survived way beyond the Swing Era. Over the years, and even until quite recent times, it periodically re-formed, each time undertaking a "positively final" tour to salute its numerous admirers.

Adapted from the French by Don Waterhouse.

  Соисполнители :

Andrew Ferretti (Trumpet)
Bill Stegmeyer (Clarinet)
Billy Butterfield (Trumpet)
Bob Haggart (Bass)
Bob Zurke (Piano)
Deane Kincaide (Tenor Saxophone)
Eddie Miller (Clarinet, Tenor Saxophone)
Gil Rodin (Clarinet, Alt Saxophone, Tenor Saxophone)
Haig Stephens (Bass)
Irving Fazola (Clarinet)
Joe Kearns (Alt Saxophone)
Mark Bennett (Trombone)
Matty Matlock (Clarinet, Alt Saxophone)
Nappy Lamare (Guitar)
Noni Bernardi (Alt Saxophone)
Ray Bauduc (Drums)
Sterling Bose (Trumpet)
Ward Silloway (Trombone)
Warren Smith (Trombone)
Yank Lawson (Trumpet)
Zeke Zarchy (Trumpet)

№ п/п

Наименование трека



   1 Gin Mill Blues         0:03:25 Joe Sullivan
   2 Squeeze Me     T       0:03:16 Fats Waller / Clarence Williams
   3 Little Rock Getaway         0:02:32 Joe Sullivan
   4 Fidgety Feet         0:02:41 Eddie Edwards / Edwin Edwards / Nick LaRocca / Henry W. Ragas / Tony Sbarbaro / Larry Shields
   5 You're Driving Me Crazy     T       0:02:52 Walter Donaldson
   6 Coquette         0:03:04 Johnny Green / Gus Kahn / Carmen Lombardo
   7 Who's Sorry Now?     T       0:02:56 Bert Kalmar / Harry Ruby / Ted Snyder
   8 Dogtown Blues         0:04:13 Bob Haggart
   9 South Rampart Street Parade         0:03:35 Ray Bauduc / Bob Crosby / Bob Haggart
   10 Wolverine Blues         0:02:57 Jelly Roll Morton / Benjamin Franklin Spikes / John Spikes
   11 Yancey Special         0:03:18 Meade 'Lux' Lewis / Andy Razaf / Jimmy Yancey
   12 March Of The Bob Cats         0:02:35 Ray Bauduc / Bob Crosby / Bob Haggart
   13 The Big Crash From China         0:02:45 Ray Bauduc
   14 Big Foot Jump         0:02:38 Bob Zurke
   15 Five Point Blues         0:03:04 Yank Lawson
   16 I Hear You Talking         0:02:28 Ray Bauduc / Eddie Miller
   17 The Big Noise From Winnetka         0:02:37 Ray Bauduc / Bob Crosby / Bob Haggart / Gil Rodin
   18 Honky Tonk Train Blues         0:03:14 Meade 'Lux' Lewis
   19 Swingin' At The Sugar Bowl         0:03:09 Bob Crosby / Bob Haggart / Nappy Lamare / Gil Rodin
   20 Diga Diga Doo         0:05:38 Dorothy Fields / Jimmy McHugh
   21 The Skater's Waltz (In Swingtime)         0:02:57 Emile Waldteufel
   22 Stomp Off And Let's Go         0:03:11 Elmer Schoebel


 T   'щелкнуть' - переход к тексту композиции.

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