Charlie Barnet And His Orchestra - The Chronological Classics: 1939-1940 (2002)
BAND/ARTIST: Charlie Barnet And His Orchestra
- Title: The Chronological Classics: 1939-1940
- Year Of Release: 2002
- Label: Classics[1266]
- Genre: Jazz, Swing
- Quality: FLAC (tracks + .cue,log,scans)
- Total Time: 72:40
- Total Size: 181 MB(+3%)
- WebSite: Album Preview
Tracklist
01. The Duke's Idea (3:05)
02. My Heart Keeps Crying (2:55)
03. Lilacs In The Rain (3:13)
04. Take A Tip From The Whip-Poor-Will (2:30)
05. The Count's Idea (3:25)
06. The Girl With The Pigtails In Her Hair (2:36)
07. Ogoun Badagris (3:17)
08. Cuban Boogie Woogie (2:38)
09. Oh What You Said (3:25)
10. A Lover Is Blue (2:59)
11. The Wrong Idea (2:54)
12. The Right Idea (3:15)
13. Night Glow (3:22)
14. Two Hearts Are Better Than One (2:50)
15. Now You Know (3:23)
16. I Kinda Like You (2:46)
17. Night After Night After You (3:20)
18. Between 18th and 19th On Chestnut Street (2:57)
19. Somebody Told Me (2:53)
20. Clap Hands Here Comes Charlie (2:43)
21. Thank Your Stars (2:55)
22. Tappin' At The Tappa (3:12)
23. Comanche War Dance (2:51)
24. Southland Shuffle (3:15)
So inspired was Charlie Barnet by two of the all-time greatest Afro-American jazz orchestras that he acknowledged their influence with instrumental works conceived and rendered in honorary emulation of their respective styles. "The Duke's Idea" sounds a lot like an Ellington opus, as Barnet delivers a credible imitation of Johnny Hodges with his alto saxophone and Bob Burnet growls through his trumpet in the manner of Cootie Williams. "Count's Idea" carefully re-creates the Kansas City swing style of William Basie's formidable big band. The remaining tracks from the same date have chirping vocals by Judy Ellington and one prescription tranquilizer of a tune sung by a syrupy fellow calling himself Del Casino. This session -- and its successor conducted one month later in October of 1939 -- took place in Los Angeles. "Ogoun Badagris" is the name of a Haitian voodoo Loa. The Loas are powerful ancestral mystery spirits, directly traceable to the deities of the West African pantheon. How interesting that Barnet concocted this exciting rhythmic exercise bearing the name of a particularly fierce and awesome spiritual entity. One can only wonder how aware he was of the power inherent in the name. This is certainly one of Barnet's all-time hottest recordings, with exuberant drumming by Ray Michaels. The melody itself bears more than a passing resemblance to Buster Harding's "Lady Day." On a much sillier level, "The Wrong Idea" sends up every existing stylistic gimmick then current in popular big-band music: cute licks, steel guitar (an apparent jab at Alvino Rey), gargling Clyde McCoy-styled trumpet, even raucous "bad" notes amid wavering Guy Lombardo reeds. After a goofy spoken introduction over the strains of "Make Believe Ballroom," Billy May (as "Slappy Happy") sings about bands that "bring you down," altering Sammy Kaye's slogan as he urges listeners to "swing and sweat with Charlie Barnet." As if to assert the primacy of what he considered authentic jazz, Barnet's next selection was called "The Right Idea." This is straight-up big-band swing with no tricks or frills, followed by "Night Glow," an attractive opus for alto sax and big band. Judy Ellington made 21 records with Charlie Barnet, and "Two Hearts Are Better Than One" was to be her last. Mary Ann McCall was the new vocalist when the band returned to the studio in New York on December 11, 1939. McCall sounds sweet and slightly timid on her first half-dozen sides, even when trying to sound hip on "Between 18th and 19th on Chestnut Street." Four remaining instrumentals round off the package nicely. "Clap Hands! Here Comes Charlie," yet another vintage tune from the 1925 repertoire of the California Ramblers, gets a red-hot treatment that almost outdoes a similar version of this song recorded by Count Basie's orchestra on August 4, 1939. Three hot jams recorded in January of 1940 demonstrate exactly why this band was so popular among dancers and fans of undiluted big-band jazz.
01. The Duke's Idea (3:05)
02. My Heart Keeps Crying (2:55)
03. Lilacs In The Rain (3:13)
04. Take A Tip From The Whip-Poor-Will (2:30)
05. The Count's Idea (3:25)
06. The Girl With The Pigtails In Her Hair (2:36)
07. Ogoun Badagris (3:17)
08. Cuban Boogie Woogie (2:38)
09. Oh What You Said (3:25)
10. A Lover Is Blue (2:59)
11. The Wrong Idea (2:54)
12. The Right Idea (3:15)
13. Night Glow (3:22)
14. Two Hearts Are Better Than One (2:50)
15. Now You Know (3:23)
16. I Kinda Like You (2:46)
17. Night After Night After You (3:20)
18. Between 18th and 19th On Chestnut Street (2:57)
19. Somebody Told Me (2:53)
20. Clap Hands Here Comes Charlie (2:43)
21. Thank Your Stars (2:55)
22. Tappin' At The Tappa (3:12)
23. Comanche War Dance (2:51)
24. Southland Shuffle (3:15)
So inspired was Charlie Barnet by two of the all-time greatest Afro-American jazz orchestras that he acknowledged their influence with instrumental works conceived and rendered in honorary emulation of their respective styles. "The Duke's Idea" sounds a lot like an Ellington opus, as Barnet delivers a credible imitation of Johnny Hodges with his alto saxophone and Bob Burnet growls through his trumpet in the manner of Cootie Williams. "Count's Idea" carefully re-creates the Kansas City swing style of William Basie's formidable big band. The remaining tracks from the same date have chirping vocals by Judy Ellington and one prescription tranquilizer of a tune sung by a syrupy fellow calling himself Del Casino. This session -- and its successor conducted one month later in October of 1939 -- took place in Los Angeles. "Ogoun Badagris" is the name of a Haitian voodoo Loa. The Loas are powerful ancestral mystery spirits, directly traceable to the deities of the West African pantheon. How interesting that Barnet concocted this exciting rhythmic exercise bearing the name of a particularly fierce and awesome spiritual entity. One can only wonder how aware he was of the power inherent in the name. This is certainly one of Barnet's all-time hottest recordings, with exuberant drumming by Ray Michaels. The melody itself bears more than a passing resemblance to Buster Harding's "Lady Day." On a much sillier level, "The Wrong Idea" sends up every existing stylistic gimmick then current in popular big-band music: cute licks, steel guitar (an apparent jab at Alvino Rey), gargling Clyde McCoy-styled trumpet, even raucous "bad" notes amid wavering Guy Lombardo reeds. After a goofy spoken introduction over the strains of "Make Believe Ballroom," Billy May (as "Slappy Happy") sings about bands that "bring you down," altering Sammy Kaye's slogan as he urges listeners to "swing and sweat with Charlie Barnet." As if to assert the primacy of what he considered authentic jazz, Barnet's next selection was called "The Right Idea." This is straight-up big-band swing with no tricks or frills, followed by "Night Glow," an attractive opus for alto sax and big band. Judy Ellington made 21 records with Charlie Barnet, and "Two Hearts Are Better Than One" was to be her last. Mary Ann McCall was the new vocalist when the band returned to the studio in New York on December 11, 1939. McCall sounds sweet and slightly timid on her first half-dozen sides, even when trying to sound hip on "Between 18th and 19th on Chestnut Street." Four remaining instrumentals round off the package nicely. "Clap Hands! Here Comes Charlie," yet another vintage tune from the 1925 repertoire of the California Ramblers, gets a red-hot treatment that almost outdoes a similar version of this song recorded by Count Basie's orchestra on August 4, 1939. Three hot jams recorded in January of 1940 demonstrate exactly why this band was so popular among dancers and fans of undiluted big-band jazz.
Jazz | FLAC / APE | CD-Rip
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