A small tribute to the works of valuable composers, musicians, players and poets. From Al Green and Alberta Hunter to Zoot Sims and Shemekia Copeland, among many others. Covering songs from styles as different as bluegrass, blues, classical, country, heavy metal, jazz, progressive, rock and soul music.

Friday 27 January 2012

Cannonball Adderley with Milt Jackson "Things are getting better" (1958)


Cannonball Adderley "Portrait of Cannonball" (1958)


Cannonball Adderley

One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen.
Adderley already had an established career as a high school band director in Florida when, during a 1955 visit to New York, he was persuaded to sit in with Oscar Pettiford's group at the Cafe Bohemia. His playing created such a sensation that he was soon signed to Savoy and persuaded to play jazz full-time in New York. With his younger brother, cornetist Nat, Cannonball formed a quintet that struggled until its breakup in 1957. Adderley then joined Miles Davis, forming part of his super sextet with John Coltrane and participating on such classic recordings as Milestones and Kind of Blue. Adderley's second attempt to form a quintet with his brother was much more successful for, in 1959, with pianist Bobby Timmons, he had a hit recording of "This Here." From then on, Cannonball always was able to work steadily with his band.
During its Riverside years (1959-1963), the Adderley Quintet primarily played soulful renditions of hard bop and Cannonball really excelled in the straight-ahead settings. During 1962-1963, Yusef Lateef made the group a sextet and pianist Joe Zawinul was an important new member. The collapse of Riverside resulted in Adderley signing with Capitol and his recordings became gradually more commercial. Charles Lloyd was in Lateef's place for a year (with less success) and then with his departure the group went back to being a quintet. Zawinul's 1966 composition "Mercy, Mercy, Mercy" was a huge hit for the group, Adderley started doubling on soprano, and the quintet's later recordings emphasized long melody statements, funky rhythms, and electronics. However, during his last year, Cannonball Adderley was revisiting the past a bit and on Phenix he recorded new versions of many of his earlier numbers. But before he could evolve his music any further, Cannonball Adderley died suddenly from a stroke.

Source: All Music.com.

Camel "Rajaz" (1999)



Camel "Echoes" (1993)


Camel "A compact compilation" (1985)


Camel "A live record" (1978)


Camel "Mirage" (1974)




Saturday 21 January 2012

Camel

The embryonic origin of CAMEL was conceived circa 1964 when brothers Andrew and Ian Latimer got together with their respective friends Alan Butcher and Richard Over to form THE PHANTOM FOUR.
Gigging extensively in their UK hometown of Guildford, The Phantom Four quickly achieved local notoriety. Rhythm guitarist, Graham Cooper soon replaced Richard Over and the band's name changed to STRANGE BREW. The group performed mainly cover tunes until mid-1968 when Ian Latimer quit to get married. Graham Cooper left the band soon after with wedding plans of his own.
Andrew Latimer and Alan Butcher placed an ad in the Surrey Advertiser for a bass player to which Doug Ferguson responded. On 13th November 1968 Ferguson arrived for an audition and promptly impressed the duo with his confidence, a 'fat' bass sound, excellent gear (Fender jazz bass, 2 Vox T-60 cabs with amps) and his own roadie! He was offered the gig on the spot. The new blues orientated trio was called... THE BREW.
Shortly after joining THE BREW, Ferguson told Latimer about an exciting drummer he knew. Despite having not seen his drums for more than 3 months, the new percussive prospect more than proved his mettle and on 15th January 1969, Andy Ward joined THE BREW at the tender age of 14 and the heart of CAMEL had begun to take shape.
Ferguson rapidly proved himself to be a great asset with his talent for getting the band attention and gigs. He was also very good at coaxing the promised fees out of promoters, who often protested they didn't have the money on hand. As a result, THE BREW enjoyed a steady stream of performance dates and recorded their first demo, 'Crossroads' in which DJM Records seemed to show interest but the trio were disappointed to learn that it was only in using them as a backing band for another of their artists, Philip Goodhand-Tait.
In 1971, they recorded an album with Goodhand-Tait, called 'I Think I'll Write A Song', but the success was minimal and the trio were dropped. The experience, however, was enlightening. Phil Tait was a piano player. The three musicians agreed a keyboard player would broaden the sound of the band and they promptly placed an ad in The Melody Maker.
On 20th September 1971, Peter Bardens responded to the ad with an extensive resume (Shotgun Express [Rod Stewart & Beryl Marsden], Them [Van Morrison], Peter B's Looners [Peter Green & Mick Fleetwood] to name but a few) as well as two solo albums under his own name. The four hit it off instantly. Bardens, who had been planning to depart England for what he thought to be "the more promising shores of the USA", had previously arranged a few gigs in Ireland. Thus, on 8th October 1971, the group performed their first gig in Belfast under the name of "Peter Bardens On".
Not long after they would collectively agree on a new name... CAMEL.
CAMEL played their first gig at Waltham Forest Technical College supporting Wishbone Ash on 4th Dec 1971.
By August of '72, CAMEL were signed to MCA Records. They quickly entered the studio to record their first self-titled album, 'CAMEL'. A collection of individual songs, chiefly from Latimer and Bardens, the album was greeted with muted success and MCA did not take an option for a second album. By now, the group had acquired management, Geoff Jukes and Max Hole of Gemini Artists (later to become GAMA Records), and moved to Decca Records where they would remain for 10 years. The push & pull relationship between Latimer and Bardens brought out the best from their compositional skills. They inspired one another with their individual solo work both in the studio and on stage. Energies were high. CAMEL gigged 9 months of the year and firmly established a reputation for their excellent live sound.
Their second album, 'MIRAGE', heightened their profile and the album sleeve attracted the unwanted attention of the USA branch of Camel cigarettes who demanded the band change the cover or face legal action. The USA record company quickly fashioned a new sleeve to avoid legal hassles. The original sleeve remained unchanged throughout the rest of the world as Geoff Jukes had already struck a deal with the European branch of the cigarette company to release tiny packets of cigarettes (5 cigarettes to a packet) using the CAMEL artwork, including track-listing. So enamoured were the executives in Europe, they visited the band in the studio trying to talk CAMEL into renaming the songs on 'MIRAGE' (e.g., "Twenty To The Pack"). They also wanted CAMEL to cover their amps with camel skins, allow advertisements and give away cigarettes at all the performances. The latter was successful as Jukes had struck a deal the band were never privy to. The band were getting 'belligerent' and a sarcastically amusing Peter Bardens suggested an album song-title of "Twenty Sticks Of Cancer".
Thus ended the association twixt the beast and the leaf.
In 1975, CAMEL 'concept' album came about. For 'MIRAGE' Latimer had written 'White Rider' (inspired by Tolkein's 'Lord Of The Rings') and Ferguson suggested doing a an entire album based on a book. All band members were fond of reading at the time so each set out in search of a good story. Bardens suggested 'Siddhartha' and 'Steppenwolf' but when Ferguson suggested Paul Gallico's 'THE SNOW GOOSE' the emotional appeal was strong. 'THE SNOW GOOSE' took fans by surprise. Entirely instrumental, 'THE SNOW GOOSE' earned them Melody Maker's "Brightest Hope" award and firmly established the band with a strong and loyal fan base. It also took author Paul Gallico by surprise. Gallico, a fierce opponent of cigarette smoking, hated the name of the band believing it to be connected to the cigarette company and threatened to sue if the title was not changed. Legalities observed, the album title had the additional words "inspired by" and the threat was subdued. This behind-the-scene drama had no effect on the appeal of the album. On 17th October 1975, accompanied by the London Symphony Orchestra, CAMEL performed 'THE SNOW GOOSE' at The Royal Albert Hall to a sold-out crowd.
The lamentable brevity of this lineup is illustrated by the lack of recording output.
In early '76, 'MOONMADNESS' brought greater critical acclaim in the USA. Producer Rhett Davies created an open, intimate sound for'MOONMADNESS', and the 'concept' was more ethereal with inspiration derived from the individual musician's characters. Yet'MOONMADNESS' would become the swansong for some. A jazzy influence had impressed itself upon CAMEL and, during the European tour, the dynamic sound of saxophonist Mel Collins marked the first change in the sound of Camel after Ferguson had encouraged Collins' inclusion in the band.
Not long after Andy Ward was pushing for a more complicated rhythm section, a style that matched neither Feguson's ability nor interest. This would be the first major change CAMEL would see. In the early days of 1977, bassist Doug Ferguson left CAMEL never to appear with them again. The loss of Ferguson's quiet strength would prove, in years beyond, to have the greatest impact on the band...
The first major shift in CAMEL's lineup created 'RAIN DANCES'. Although not an "official member" of CAMEL, Mel Collins would spend much of his time in the studio and on the road with the band. Preferring to maintain his independent status as a session player, Mel would continue to appear with CAMEL on and off until 1985.
Richard Sinclair, formerly from Canterbury's Caravan, possessed the jazzier style Andy Ward had hoped for but the mix of personalities did not posses the balance of earlier days. Inevitable change began to gather momentum. Pressure for a hit single was brought to bear from the management and Decca Records.
Latimer and Bardens struggled with their opposing styles of writing, complicating instead of complimenting their relationship. Camel's sound was further affected by a new producer, Mick Glossop. Upon release, 'BREATHLESS' proved a bit of a shock to fans with its unusual combination of pop, jazz and progressive. It was loved by some, hated by others.
'BREATHLESS' entered the charts and quickly exited shortly thereafter. But chart success was not the last change CAMEL would encounter in '78. On 30th July, just before Camel's tour and amidst a storm of disagreements, keyboardist Peter Bardens left the band...
The split with Peter Bardens had been acrimonious but unavoidable. Bardens went straight into rehearsals with former bandmate Van Morrison for an album, "Wavelength", and tour. Bardens also promptly signed a lucrative solo deal with Arista Records and soon released 'Heart To Heart'.
But Andy Ward and Andrew Latimer decided to embrace the opportunity to expand the band. Two keyboard players would create an interplay CAMEL had not been able to experiment with previously. They contacted Richard Sinclair's cousin Dave Sinclair, and his former bandmate Jan Schelhaas for the '78 tour to promote 'BREATHLESS'. Although this lineup had no recorded output, Dave Sinclair had made a quiet appearance on 'BREATHLESS', performing keyboards on "You Make Me Smile" and "Rainbows End", a song Latimer had written for Bardens.
The 'BREATHLESS' tour lasted 3 months. The pressures of live performing took toll. By tours end, Dave Sinclair would return to Canterbury and Richard Sinclair would be asked to leave CAMEL...
Upon hearing an album by a group called "Happy The Man" in 1979, Andrew Latimer and Andy Ward immediately agreed Kit Watkins was a keyboardist they wanted in CAMEL. Bassist Colin Bass had been highly recommended and became Camel's lasting bassist. Jan Schelhaas had remained with CAMEL after the 'BREATHLESS' tour both for his playing skills and his easygoing temperament. Watkins and Bass arrived during rehearsals at Wood Farm, Suffolk, in early '79. A remarkable technician, Kit impressed all who heard him; Colin's solid, earthy sound melded with Ward in a seemingly perfect harmony.
For awhile, it appeared CAMEL would settle but, again, unavoidable circumstance would prevail. CAMEL worked nearly 12 months of '79, enjoying only short breaks in-between recording and touring. Originally titled 'Endangered Species', this title would be changed at the last minute to 'I CAN SEE YOUR HOUSE FROM HERE' a poor attempt at humour that would give the band problems, not only from their advertisers. The intensive schedule would create conflict and misunderstandings between the musicians. Watkins left the band shortly before CAMEL entered the studio to record 'NUDE' in 1981, but he would return for the tour and leave again immediately after.
The recording of 'NUDE' and the subsequent promotional tour would be the most devastating for CAMEL. In mid-1981, as he would tell 'Q' Magazine some 10 years later, Andy Ward succumbed to alcohol and drug abuse and attempted suicide, unsuccessfully to the relief of all. But it rendered Ward unable to play drums in the foreseeable future. In shock, the band dissolved, the remainder of the tour was canceled and recording for the next album was postponed in the hope that Ward would recover...
Internal problems of the band were not the concern of Decca Records to which CAMEL were contractually bound for a specific recorded output. Decca refused to be put off any longer and upped the pressure for a hit single. With delays no longer possible, Latimer had to accept that his friend and drummer would not recover and thus, with Andrew Latimer the sole surviving member of CAMEL, 'THE SINGLE FACTOR' was recorded and duly released in April 1982. Writing on demand had produced an odd mix of songs but entering the studio provided an unexpected bright spot. During the recording of NUDE in studio 3 at Abbey Road Studios, the Alan Parsons Project were recording just down the hall in studio 2. Curious by nature, singer Chris Rainbow and bassist/singer David Paton popped in on the CAMEL sessions and new friendships were forged. Unbeknownst to all at the time, this laid the groundwork for a new lineup. Eventually, 'THE SINGLE FACTOR' would see a whole new line of artists including Rainbow and Paton aswell as Anthony Phillips (former Genesis), Francis Monkmon (Sky), and guest drummers Simon Phillips (The Who, Jeff Beck, Toto), Dave Mattacks (Fairport Convention) and Graham Jarvis (Cliff Richard). Time had healed the rift between Latimer and Bardens and although their opposing musical styles would not see eye-to-eye again, Bardens made a guest appearance on the album, forging new friendships himself that would later become 'Keats'. But Ward was unable to appear on the album and hoping to keep the matter private, CAMEL naively included a simple footnote in the liner notes that Andy Ward did not appear due to an injury to his hand.
The promotional tour for 'THE SINGLE FACTOR' turned out to be just the breath of fresh air Latimer needed. The mix of personalities was magical with a ceaseless, positive energy from Chris Rainbow who, with Paton and Tosh (Scotsmen, all three) maintained a flow of laughter from start to finish of the tour. Kit Watkins had returned for his third CAMEL tour and the level of musicianship delighted audiences. Latimer would call it "the funniest tour I've ever been on".
It would be a temporary respite, however, for soon after in late October, manager Max Hole, unexpectedly announced his departure for a position with a major record company, leaving CAMEL effectively without management. Then, as 1983 dawned, the inevitable came to be. Unable to stop abusing alcohol, Ward could not continue with CAMEL. On a sad January day at the offices of Fleet Street lawyers, Ward's association with CAMEL ended. Nearly 13 years to the day he had joined Ferguson and Latimer, Andy Ward formally left CAMEL never to perform with them again. 
The loss of Ward left Latimer in limbo and musical pursuits, for the most part, were overshadowed by the need to concentrate on sorting out legal problems that had plagued the band for years. Former manager Geoff Jukes had filed a lawsuit against CAMEL claiming past commissions from CAMEL's earlier days. Having literally abandoned the band in 1978 at the point of Bardens' departure and upon the eve of a world tour, Jukes' lawsuit would ultimately prove futile. The legal battle began to heat up by 1983. Latimer battled the suit alone despite all members being named and it would take 5 stressful years at great expense, both spiritually and financially, before settlement in Camel's favour. In this year of change, Latimer fought hard. CAMEL was worth the battle.
There were musical bright spots in 1983 including a new contract with Decca Records which had just been taken over by PolyGram. In preparation for the new recording committment, Latimer had gotten in touch with Dutch keyboardist, Ton Scherpenzeel (KAYAK) whose playing he had always admired. Ton visited London and the two musicians quickly made plans to record Camel's new studio album 'STATIONARY TRAVELLER'
'STATIONARY TRAVELLER' was released in April of '84. Flush with critical acclaim of the album, CAMEL were once again on the road. Former CAMEL bassist Colin Bass returned to the UK, after having moved abroad in 1981. Bass got in touch with Latimer and the former bandmates patched up past differences. Chris Rainbow joined the tour and Paul Burgess (Jethro Tull, 10cc) who had approached Latimer prior to recording 'STATIONARY TRAVELLER' did so again for the tour. Although not fond of touring, Ton Scherpenzeel never let it show. Ton made a superb addition to CAMEL that thrilled KAYAK and CAMEL fans, though his fear of flying would severely limit his time with CAMEL to the disappointment of fans and musicians alike.
Meanwhile, producer Mike Mansfield had heard the band and wanted to include CAMEL in his upcoming television series, "Mirror Image", for the UK's Channel 4. Video recording plans mingled with tour production and an atmosphere of excitement followed throughout the tour and carried on into post-production for the live album and video that was to follow. CAMEL participated in the video recording of extra visuals for the broadcast and the pleasure of this experience concluded the year on a high note.
The live performance video and CD of the 'STATIONARY TRAVELLER' tour was appropriately called 'PRESSURE POINTS' . CAMEL wanted to include the entire concert but due to lighting problems on the night of recording, the first half was too dark for Mansfield's approval so only the second half of the performance made it to broadcast and a video cassette. Astonishingly, the earlier portion of the concert would actually be erased by PolyGram and lost forever! Decca Records (now owned by PolyGram) flexed their muscles and insisted on dividing the concert material so that both recordings had different track listings, under the auspicious assertion that it created more diversity for the buying public. There was an added pleasure for many fans when Richie Close joined the tour at the 11th hour on backup keyboards. Sadly, Richie died just a few years later from Legionnaire's disease. He will be forever young on Camel's video.
The lawsuit with Jukes reached fever pitch by 1985. Latimer divided his time between lawyer's offices and record companies as he sought an outlet for Camel's new material titled ''DUST AND DREAMS''. Each pursuit was filled with roadblocks but the lawsuit would finally take a sudden turn for the better. As Latimer scrutinized old contracts it came to light that CAMEL were owed royalties that had never been paid by Camel's management/production company, GAMA Records. Highly charged by this discovery, Latimer gathered support from Bardens, Ward and Ferguson to file a suit against GAMA. This lawsuit, by comparison, would be brief and glorious. On 25th March 1985, long overdue, they finally reaped the benefits of their past work together. Reunited in the same attorney's office that had accepted Ward's resignation from CAMEL just two years earlier, happier times now prevailed. The former bandmates settled their lawsuit with GAMA and received their first of many royalty payment to come. Formalities completed, they celebrated at a local pub until closing time. Old wounds healed, memories flourished and, though they no longer had interest in playing together, all parted as friends.
Geoff Jukes would finally accept the futility of his lawsuit and offer settlement. After lawyer's fees, court costs and general expenses were paid, CAMEL received "...just enough money to buy dinner for one (in a Bistro)". But it was a moral victory of momentous proportions and the end of a long haul for CAMEL.
Since the PolyGram takeover, the changes at Decca had reached the extreme and Latimer could see that CAMEL needed to get out of their contract. After a 10 year association, Decca and CAMEL would mutually and amicably agree to go their separate ways on 10th April 1985. CAMEL was free to search for a more like-minded record company, yet this newly found freedom also brought a shock to Latimer when he would later remark he "couldn't get arrested with new CAMEL material". That material would evolve to become ''DUST AND DREAMS''.
When not a lawyer's office, Latimer had hawked CAMEL for a deal. In late 1987, he began negotiating with EG Records, on a seemingly successful course. A small label, EG hosted such names as Brian Eno, Robert Fripp, Brian Ferry to name a few, and a CAMEL/EG marriage seemed a promising step. But negotiations dragged on for 6 months only to come to an abrupt end when Latimer was asked why Peter Frampton wasn't in the band any longer...
Disillusioned, Latimer made a drastic change. In mid-1988, he sold his London home and moved to America. He would take a 1-year sabbatical and during this time, he realised the "slap in the face" EG Records had given him was the sign of the future for CAMEL. He decided the second half of 'DUST AND DREAMS' "wasn't quite right", and rewrote it in 1990. He used the proceeds from the sale of his London home to finance construction of a small studio where he recorded and produced 'DUST AND DREAMS'. He then set out, once again, to find a deal but this time around, 'DUST AND DREAMS' was a finished product and things would be different. Or so he thought...
Latimer would look back on his experiences and eventually laugh. With 'DUST AND DREAMS' completed and ready for release, finding a record company seemed a mere matter of formality. But the same attitudes greeted him and time dragged on without success. After a lengthy and unproductive meeting with a Virgin Records A&R rep, Latimer, along with partner Susan Hoover, decided to use the remaining finances from the sale of the London home to set up their own production company, Camel Productions (CP). They would release 'DUST AND DREAMS' themselves.
'DUST AND DREAMS' would give Latimer yet another shock only this time it was the shock of unprecedented success. Dealing directly with distributors who knew of CAMEL, sales took off. The high energy output was intoxicating. CP soon began organising a world tour and set about licensing Camel's first album for release on compact disc. Thus began the resurgence of CAMEL with the two recordings most poignant... the first, 'CAMEL' and the newest, 'DUST AND DREAMS'.
During the move to set up the studio, Latimer stumbled upon some old reel-to-reel tapes. These rare gems would launch the hugely successful 'Offical Bootleg' series. Latimer was disgusted by the poor sound quality and extortionate prices bootleggers charged for such recordings. Soon, 'WARNING: CAMEL ON THE ROAD 1972' would become the flagship for this series, the artwork inspired by a bumper sticker a fan had sent to Latimer years before which proved amusingly appropriate. It was lovingly mastered and fairly priced. By August, CAMEL were ready to hit the road after a 7 year absence. Paul Burgess resumed his drum stool and keyboardist Mickey Simmonds (FISH, Mike Oldfield) was drafted in. Colin Bass and Andrew Latimer were now the mainstays of CAMEL and fans greeted CAMEL with open arms. So emotional would this tour become, it would find some bandmembers fighting to hold back tears on-stage.
The tour ended at London's Town & Country Theatre (now defunct). At the hotel afterwards, there would be a celebration that lasted long into the night.
In early '93 as Latimer was preparing to produce 'NEVER LET GO', a live recording from the '92 tour, sadness loomed on the horizon. By March, instead of working in the studio, Latimer would see his father die and begin a new learning process in life. A musician himself, Stan Latimer had been the one to recognise young Andrew's talent and send him to lessons. The experience stunned Latimer and delayed production of 'NEVER LET GO' until August '93. Afterwards, he spent personal time with his family. As they shared stories and recollections of Stan Latimer and their mutual past, Latimer discovered his fraternal roots. In 1994, he returned to the studio seeking solace in music and began work on the album that would become 'HARBOUR OF TEARS'. Latimer would pour his heart into the album and end it with a track titled 'The Hour Candle (A song for my father)' which had been inspired by a hymn sung at the funeral. Fans would write to share their experiences of loss and recovery. Latimer's grief would gradually ease and CAMEL began to prepare for another tour.
CAMEL prepared to set out on the road once again. On the '92 tour, fans proved that absence does indeed make the heart grow fonder and turned out in droves. The '97 tour was even more successful, reaching new territories in a now opened Eastern Block including the Czech Republic and Poland. CAMEL would see the customary changes in their makeup, with Paul Burgess and Mickey Simmonds struggling to balance time with their young children and life on the road. Dave Stewart would take Burgess' place and Foss Patterson would replace Simmonds. Thus, another live performance was captured on tape and video recorded for posterity.
In 1998, joining the highly successful collection of live recordings, 'COMING OF AGE' was released on both video and compact disc. Recorded in Los Angeles, California, the performance was attended by fans and friends alike including original keyboardist, Peter Bardens whose appearance was announced to the audience when Latimer dedicated 'Never Let Go' to "Me old mate, Pete". By evening's end, an impromptu party ensued and the two musicians privately reminisced until the early hours while the rest of the entourage danced the night away.
'COMING OF AGE',would prove a superb visual and audio testament to the enduring strength of CAMEL. The appearance of the Hale-Bopp comet in the heavens added an allure to the tour, seeming to follow the band around the world. This tour would be as emotional as the '92 tour. The affection for CAMEL was tangible.
As the 20th Century wound towards the 21st (metaphorically speaking), CAMEL would reach a quiet turning point. No longer bound by the shackles of record company whims and pressures, CAMEL has attained a level of acceptance and maturity. Independence is hard work, but ultimately satisfying, and artistic freedom a price worth paying. CAMEL prepared for the final release of the century. Bass, long since involved in the world music scene, had given Latimer a gift of a book entitled 'World Music - A Rough Guide'. In the section on Arabic music, Latimer read about a form of musical poetry called 'rajaz'. Sung in ancient times, 'rajaz' was a spontaneous composition inspired by the rhythm of the camels footsteps to help the weary travelers reach their destination. Latimer was smitten with the idea that the rhythm of the camel would help people reach their journey's end. Returning to his musical roots, Latimer composed chiefly on the guitar and in October 1999, 'RAJAZ' was released. A beautiful collection of songs, hypnotically interwoven, 'RAJAZ' also welcomed the return of Ton Scherpenzeel on keyboards (courtesy of CD-ROM). Sending files electronically and communicating directly, the two former bandmates plan future projects together including a guest appearance by Latimer on a Y2K Kayak album.
For more than 27 years, CAMEL have been and endearing, enduring musical force. Players have come and gone; some have returned. Some albums have been better than others but this is always an assertion for the beholder. Few agree on which album is their best. But there is no doubt that the single, most durable force behind CAMEL has been and always will be Andrew Latimer. Latimer has guided CAMEL through the highs and lows of musical tastes, trends and fashions. He has, from time to time, stumbled beneath the pressures of outside forces and these times are left to the listener to decipher. But all will agree that Latimer has never compromised the sound, feel and integrity of CAMEL. Latimer has stayed true to himself and it is his 'sound' that transports you back or holds you in the present. Like good friends getting together after a long break, you pick up right where you left off, as if you'd never parted.
Life's what happens when you're busy making plans...no sooner did the dust seem to settle than a storm blew up that surpassed everyone's worst nightmares. It began in late 1999...
As Camel arranged the early preparations for their Y2K tour to tour with 'Rajaz', the clouds began to gather. At first, things proceeded smoothly with Latimer, Bass and Stewart eagerly anticipating their reunion and rehearsals for Y2K. Camel's UK agent, Paul Boswell, was dilligently booking performance dates and it was shaping up to be a more extensive tour for the band, with opportunities to perform in new countires. With the lineup of the trio seemingly solid, all thought it a straight-forward matter to arrange a keyboardist. A message from East coast promoter Rob La Duca reached CP in early 2000, with a simple suggestion to check out a French-Canadian keyboardist named Guy LeBlanc. Good ol' technology. LeBlanc, also an independent recording artist, had his own internet presence so it was merely a matter of visiting his site and listening to a few sound bites. Latimer promptly arranged to meet Guy LeBlanc.
In mid-March, Guy LeBlanc officially joined Camel for tour Y2K. It was smooth sailing for a whole 2 weeks when Camel Productions received an unexpected e-mail from drummer Dave Stewart saying he had accepted a position as manager of an Edinburgh drum shop and would not keep his commitment to the tour. Momentarily stunned by the news, Latimer, Bass and Hoover tried unsuccessfully to negotiate with Stewart, eventually accepting the need to replace him, albeit with great reluctance.
Bass suggested his former band-mate Clive Bunker who had once played with Jethro Tull. Bunker accepted the gig and arrived at Little Barn Studios for rehearsals on 4th August. Spirits were momentarily high but years of alternative playing styles hampered Bunker's ability to perform the difficult time-sequences demanded by Camel music and spirits quickly crashed. This, it would transpire, would be little more than a mere blip on the artistic landscape. Only 48 hours later a virtual tidal wave struck when manager Susan Hoover was seriously injured in a horse-riding accident. As the Life Flight Rescue heliopter lifted her skyward, it seemed tour plans would vanish into the clouds along with her.
Hoover would later quip "I wasn't about to take the hit for cancelling the tour". Insisting the band was made of sterner stuff, she refused to cancel the tour and promptly began working from her hospital bed. But there was still the problem of a drummer. Fortunately, LeBlanc had an ace up his sleeve. 10 days from the first performance, LeBlanc's compatriot, Denis Clement (pronounced Den-ee Clahmah) arrived at Little Barn studios. Despite being a completely unknown entity, it was clear after 10 minutes into their first 'jam' that he was the man they needed.
High energy replaced the tension and rehearsals began in earnest. On 21st September, Hoover left hospital in a wheel chair and 3 days later attended Camel's full scale rehearsal to hear Camel Y2K for the first time. 26th August saw the first official performance of the band where, at concerts end, Hoover received a standing ovation.
But of course it just wouldn't be interesting if it suddenly all went smoothly. Performing to sell-out crowds that were blown backward by the power and force of this lineup, events would catch Latimer up. Finally relaxed and his guard down, a cold virus firmly took hold after as many days as Clement had before the first performance. He would suffer throughout the tour, eventually losing his voice altogether in Holland. Upon reaching the UK in early October, Latimer chipped a bone in his knee, which was eventually nicknamed 'chip', but his cold would claim the Dublin performance at the 11th hour when doctors ordered him to rest or risk damaging his vocal chords. During the interim, Hoover recovered adequately to travel to the UK by 4th October and triumphantly walk, unaided, into the Cambridge gig. By the time the band hit Greece, Latimer was sufficiently recovered and Camel's Tour Y2K ended on the high note of a 'Lady Fantasy' sing-along as the Greeks gave the band a sendoff that would erase any thought of the previous drama, replacing it with a sense tremendous accomplishment and satisfaction.
In spring of 2001, Camel completed a much-anticipated tour of South and Central America. This segment of Y2K had been postponed from November 2000 due to prior committments of other band members and due to Latimer's need to return home not only to recover fully from the cold that had plagued him but also for knee surgery to remove 'Chip'. By Easter of 2001, Camel were enjoying the warm welcome of fans throughout the southern hemisphere.
On the 3rd March, Camel were included in the UK's Channel 4 television series 'Top Ten' (on Progressive Rock) which included interviews with Camel's original band members. Much was said about change, the good the bad and the ugly of it, but mostly the good. Andrew Latimer is keenly aware of his responsibility to the 'sound' that is Camel. Whatever changes the future may bring, Latimer will guide Camel carefully, always maintaining contact with the roots of Camel. As original drummer Andy Ward said in his interview 'change is a good thing and it's been good for Camel'.

Source: Camel Productions.com.

Burt Bacharach "Magic moments: The definitive Burt Bacharach collection" (2008)


Burt Bacharach

Burt Bacharach is one of the most accomplished popular composers of the 20th Century. In the ’60s and ’70s, he was a dominant figure in pop music, responsible for a remarkable 52 Top 40 songs. In terms of musical sophistication, Bacharach’s songs differed from much of the music of the era. Bacharach compositions typically boasted memorable melodies, unconventional and shifting time signatures, and atypical chord changes. Combining elements of jazz, pop, Brazilian music and rock, Bacharach created a unique new sound that was as contemporary as it was popular. Lyricist Hal David, Bacharach’s primary collaborator, supplied Bacharach’s music with tart lyrics worthy of the best Tin Pan Alley composers. David’s unsentimental, bittersweet lyrics were often in striking contrast to Bacharach’s soaring melodies. While in the late 1970s Bacharach’s name became synonymous with elevator music (due in great part to its sheer familiarity), a closer listening suggests that his meticulously crafted, technically sophisticated compositions are anything but easy listening.
Burt Freeman Bacharach was born in Kansas City, Mo., on May 12, 1928. The son of nationally syndicated columnist Bert Bacharach, Burt moved with his family in 1932 to Kew Gardens in Queens, New York. At his mother’s insistance, he studied cello, drums and then piano beginning at the age of 12. Burt hated taking piano lessons. His dream was to play professional football, but his size–or lack thereof–kept him out of that field.
As a teenager, Bacharach fell in love with jazz and sometimes used a fake ID to sneak into 52nd Street nightclubs to see bebop legends like Dizzy Gillespie and Charlie Parker. Bebop’s unconventional harmonies and melodies became a major influence on the young composer.
When he was 15, Bacharach started a 10-piece band with high school classmates. With Burt on piano, the group gained exposure playing parties and dances. After graduating from Forest Hills High School, Bacharach enrolled in the music studies program at McGill University in Montreal. It was there that Burt says he wrote his first song, “The Night Plane to Heaven.”
Bacharach went on to study theory and composition at the Mannes School of Music in New York City; at the Berkshire Music Center; and at the New School for Social Research, where he studied under composers Bohuslav Martinu, Henry Cowell and Darius Milhaud (whose influence on Bacharach’s style is apparent). He was also awarded a scholarship to the Music Academy of the West in Santa Barbara, Calif.
From 1950-52 Bacharach served in the Army, playing piano at the officer’s club on Governor Island and in concerts at Fort Dix. His perfomances then consisted primarily of improvisations and pop medleys of the day, although he was billed as a concert pianist.
While serving as a dance-band arranger with the Army in Germany, Bacharach met vocalist Vic Damone. After their discharge, at the age of 24, Bacharach became Damone’s piano accompanist. He also worked nightclubs and restaurants and accompanied performers including the Ames Brothers, Imogene Coca, Polly Bergen, Joel Grey, Georgia Gibbs, Steve Lawrence and a young singer named Paula Stewart. Bacharach and Stewart were married in 1953 (they divorced in 1958). 
In 1957, Bacharach collaborated for the first time with lyricist Hal David (b. May 25, 1921), whom he had met while both worked at the Famous Paramount Music Company in New York’s legendary Brill Building. The pair struck gold almost immediately with hits for Marty Robbins (“The Story of My Life,” which reached No. 15 in 1957) and Perry Como (“Magic Moments,” which reached No. 8 in 1958), but their greatest success together wouldn’t begin until a few years later. Also in 1958, Burt also scored a novelty hit with “(Theme From) The Blob,” which reached No. 33.
From 1958-61 Burt toured Europe and America as musical director for Marlene Dietrich. During this period, three Bacharach-composed songs became big hits: “Please Stay” by the Drifters, “Tower of Strength” by Gene McDaniel (with lyrics by Bob Hilliard) and “Baby It’s You” by the Shirelles (lyrics by Hal’s brother Mack David and Barney Williams). All three were recorded in 1961.
In 1962, Bacharach collaborated with lyricist Bob Hilliard on “Any Day Now,” which reached No. 23 for Chuck Jackson, but his greatest success was achieved in collaboration with Hal David, who co-wrote the No. 4 hit “The Man Who Shot Liberty Valance,” inspired by the John Wayne/James Stewart movie, and the No. 2 hit “Only Love Can Break a Heart.” Both were recorded by Gene Pitney. Bacharach & David also scored a hit that year with Jerry Butler’s “Make It Easy On Yourself,” which reached No. 20. 
Bacharach worked extensively with the Drifters during this period, arranging horns and strings and writing (with Bob Hilliard) the group’s 1961 singles “Mexican Divorce” and “Please Stay.” It was at a Drifters session that Bacharach met Marie Dionne Warwick (born Dec. 12, 1940, in East Orange, N.J.), a member of backup vocal group the Gospelaires and niece of vocalist Cissy Houston. It soon becamse apparent that Warwick possess a remarkable ability to navigate even the most difficult of Bacharach’s melodies and tempos. She began cutting demo records for Bacharach & David, one of which was for “Make It Easy On Yourself.” Warwick mistakenly believed “Make It Easy On Yourself” would be her commercial debut, and when the songwriters revealed that the song had been given to Jerry Butler, she angrily shot back, “Don’t make me over, man!” (slang for don’t lie to me). Warwick’s angry response became the seed of her first Top 40 hit, 1962′s “Don’t Make Me Over,” which reached No. 21. Bacharach & David went on to write and produce 20 Top 40 hits for Warwick over the next 10 years, seven of which went Top Ten: “Anyone Who Had a Heart” (1963), “Walk On By” (1964), “Message to Michael” (1966), “I Say a Little Prayer” (1967), “Do You Know the Way to San Jose” (1968), “This Girl’s in Love with You” (1969) and “I’ll Never Fall in Love Again” (1969). 
Besides their work writing and producing albums for Warwick, the team of Bacharach & David was also responsible for hits with other performers, including Jackie DeShannon (“What the World Needs Now”), the Fifth Dimension (“One Less Bell to Answer”), Manfred Mann (“My Little Red Book”), Bobby Vinton (“Blue on Blue”), Herb Alpert (“This Guy’s in Love With You”), Tom Jones (“What’s New, Pussycat?” “Promise Her Anything”), Jack Jones (“Wives and Lovers”), Dusty Springfield (“The Look of Love”) and B.J. Thomas (“Raindrops Keep Fallin’ On My Head”). Other performers covered Bacharach composition to chart-topping effect, including the Walker Brothers (whose version of “Make It Easy on Yourself” hit No. 16 in 1965), the Carpenters (whose version of “[They Long to Be] Close to You” hit No. 1 in 1970), and Sergio Mendes & Brasil 66 (whose version of “The Look of Love” hit No. 4 in 1968).  
Through his wife, screen star Angie Dickinson (whom he married in 1966 and divorced in 1980), Bacharach moved into film scores. His credits include the tile song to Alfie, a hit for Cilla Black and Dionne Warwick, and film scores for What’s New, Pussycat?, (its title song was a Top 5 hit for Tom Jones in 1965), After The Fox, Casino Royale (which introduced “The Look of Love”) and Butch Cassidy and the Sundance Kid, which spawned the No. 1 hit “Raindrops Keep Falling on My Head” and earned Bacharach a pair of Oscars (Best Score and Best Theme Song) as well as a Grammy for best score. A less-well-known theatrical project of Bacharach & David is the television musical On the Flip Side (1966), which starred Rick Nelson as a pop star whose luster had faded.
In 1968, producer David Marrick recruited Bacharach & David to work with playwright Neil Simon on a musical version of the 1960 Billy Wilder film The Apartment. The result was the Broadway musical Promises, Promises, which ran for three years and 1,281 performances and won two Tonys and a Grammy for best cast recording.
In 1966, the songwriter became a recording artist in his own right. His album Hit Maker! Burt Bacharach Plays the Burt Bacharach Hits, which featured his own mostly instrumental re-recordings of some of his best-known songs, became a hit in the U.K. The album was reissued in America as Burt Bacharach Plays His Hits. Bacharach went on to release several more collections of his own recordings of his hits, including Reach Out (1967), Make It Easy On Yourself (1969), Burt Bacharach (1971), Living Together (1973), Futures (1977) and Woman (1979), an ambitious song cycle recorded live in the studio with the Houston Philharmonic Orchestra. 
In 1973, Bacharach & David collaborated on a high-profile musical version of the 1937 film Lost Horizon. Producer Ross Hunter’s Lost Horizon was a resounding flop with both critics and the public. The soundtrack failed to generate a significant hit (although the 5th Dimension’s cover of “Living Together, Growing Together” reached No. 32) and Bacharach privately complained about the difficulty working with actors who were not trained singers. In the wake of Lost Horizon, Bacharach, David and Warwick went through a bitter professional divorce, with Warwick suing Bacharach and David, David suing Bacharach and Bacharach countersuing David.
In 1975, Bacharach & David wrote and produced Stephanie Mills’ album “For the First Time,” but the new partnership failed to match their previous success with Warwick.
In 1977, Bacharach released his sixth solo album, Futures, and in 1979 he released Woman, an ambitious song cycle recorded in a single four-hour session with the Houston Symphony.
In 1979, Bacharach collaborated with Paul Anka for the soundtrack to the Italian film Together? The soundtrack garnered a minor hit for Burt with Jackie DeShannon’s “I Don’t Need You Anymore,” which reached No. 86 in 1980.
In 1981, Bacharach returned to the top of the charts with Christopher Cross’ “Arthur’s Theme (The Best That You Can Do),” from the film Arthur, which Bacharach also scored. “Arthur’s Theme” earned Bacharach his third Oscar and also united him professionally with lyricist Carol Bayer Sager. The partnership would prove fruitful. Bacharach and Sager, who married in 1982 (Sager gave birth to their only child, Cristopher, in 1986), collaborated on hits for Sager (“Stronger Than Before,” 1981), Roberta Flack (“Making Love,” 1982), Dionne Warwick and Friends (“That’s What Friends Are For,” 1985), Patty Labelle and Michael McDonald (“On My Own,” 1986), and Dionne Warwick and Jeffrey Osborne (“Love Power,” 1987) among others. “Arthur’s Theme,” “That’s What Friends Are For” and “On My Own” each were No. 1 hits. Bacharach also scored a major hit around this time with a collaboration with Neil Diamond (“Heartlight” hit No. 5 in 1982), and British synth pop group Naked Eyes put an old Bacharach song back on the charts with their cover of “(There’s) Always Something There To Remind Me,” which reached No. 8 in 1983. 
In 1982, Bacharach composed the music for Ron Howard’s Night Shift, which first introduced “That’s What Friends Are For” (performed on the soundtrack by Rod Stewart), and, in 1988, the music for the sequel to Arthur, Arthur 2: On the Rocks.
In 1985, Bacharach and Sager composed the title theme to the TV series Finder of Lost Loves, which was a minor hit for Dionne Warwick. Bacharach and Sager divorced in 1991.
Bacharach has been involved in thoroughbred racing as an owner and breeder for more than 30 years, and his horses have competed in some of the sport’s most prestigious events. Burt’s Heartlight No. One, a three-year old filly named for his hit collaboration with Neil Diamond, was a thoroughbred champion in 1983, and Soul of the Matter was a Breeder’s Cup starter in 1994 and 1995.
In 1993, Bacharach emerged from a relatively quiet period in his career with a number of new projects, most notably a reunion with Hal David and Dionne Warwick for the song “Sunny Weather Lover” from Warwick’s Friends Can Be Lovers album. He also wrote two songs for James Ingram’s Always You album: “This Is The Night” (Bacharach, Ingram, Bettis) and “Sing for the Children” (Bacharach, Ingram, Bettis). Both were produced by Thom Bell. That same year he wrote “Two Hearts” (White, Bacharach, Bailey) for Earth, Wind and Fire’s album Milennium. He also wrote “Don’t Say Goodbye Girl (Walden, Bacharach, Dakota) for Tevin Campbell’s album I’m Ready in 1993.
During this period, Bacharach also worked with lyricist B.A. Robertson, of Mike + the Mechanics, on a modern musical retelling of Snow White that apparently was shelved.
Bacharach underwent a remarkable resurgence in popularity in the 1990s, with alternative acts such as Pizzicato Five, Oasis, REM, Stereolab, Faith No More, Yo La Tengo, Ben Folds Five, the White Stripes and John Zorn each paying homage to Bacharach in interviews and through recordings. 
While it had slowly been building for a few years, Burt’s “comeback” began in earnest in 1995 when he began a collabortion with Elvis Costello on a song for Allison Anders’ film “Grace of My Heart.” Working from different continents via telephone and fax machine, the pair wrote “God Give Me Strength,” a striking ballad that recalled Bacharach’s classic work with David and Warwick without resorting to nostalgia. The composition served notice that Bacharach’s talents had not diminished over time. The song was nominated for a Grammy and sparked a partnership between Costello and Bacharach that would result in 1998′s Painted From Memory, which comprised 11 new Bacharach-Costello songs in addition to “God Give Me Strength.” The duo embarked on a well-received mini-tour and in February 1999 won a Grammy in the Pop Collaboration with Vocals category for Painted From Memory’s “I Still Have That Other Girl.”
In January 1996, Burt was the subject of a BBC documentary, Burt Bacharach–This Is Now, which was later broadcast in America on “Great Performances.” For an appearance in London at the Royal Festival Hall in June 1996, Oasis’ Noel Gallagher joined Burt onstage to croon “This Guy’s In Love With You.” (A photograph of Bacharach appears on the cover of the band’s 1994 record Definitely Maybe). On Dec. 31, 1996, Burt and Dionne Warwick performed a special concert, “Live from the Rainbow Room,” which was broadcast on the American Move Classics cable television network.
In 1997, Bacharach made a memorable cameo appearance in Mike Myers’ film Austin Powers: International Man of Mystery, further cementing his reputation among a new generation of fans.
In November 1997, Burt hosted a tribute concert at New York’s Hammerstein Ballroom. The concert, taped by TNT and recorded for the CD and video Burt Bacharach: One Amazing Night, featured Bacharach songs sung by stars including Sheryl Crow, Chrissie Hynde, Mike Myers, Barenaked Ladies, Luther Vandross, David Sanborn and George Duke, All Saints, Wynonna, Elvis Costello, Ben Folds Five, Dionne Warwick and Bacharach himself. “Burt Bacharach: One Amazing Night” aired on TNT in April 1998.
In November 1998, Rhino Records issued The Look of Love: The Burt Bacharach Collection, a three-disc anthology of Bacharach’s work spanning his entire career, from “The Story of My Life” (Bacharach’s first Top 40 hit) to 1998′s “God Give Me Strength.”
In 1998, he and Elvis Costello collaborated on a rendition of “I’ll Never Fall in Love Again” for the soundtrack to the Austin Powers sequel “The Spy Who Shagged Me,” and the duo makes a cameo appearance in the film as well.
In 2000, Burt composed the score and reunited with Hal David and Dionne Warwick on two songs for Isn’t She Great, a film based on the life of novelist Jacqueline Susann.
A Tribute to Burt Bacharach and Hal David, a July 2000 concert at Royal Albert Hall featuring Bacharach along with Dionne Warwick, Elvis Costello, Petula Clark and others was released on CD and DVD in 2001. Jazz vocalist Diana Krall recorded “The Look of Love” as the title track to her 2001 CD.
A musical based on Bacharach and David’s music, What the World Needs Now, opened in Sydney, Australia, in August 2002.
In 2002, Bacharach appeared for the third time in an Austin Powers movie, turning up as the credits rolled on “Austin Powers in Goldmember” (which also included a rendition of “Alfie”–recast as “Austin”–sung by Susanna Hoffs). Burt also reportedly began a collaboration with rapper Dr. Dre, composing melodies over drum loops supplied to him by Dre.
In May 2003, The Look of Love, a musical built around the songs of Bacharach & David, opened at the Brooks Atkinson Theater, bringing the music of Bacharach back to Broadway for the first time in 35 years. The show, which Burt had no personal involvement with, got mostly poor reviews and closed on June 29.
In July 2003, Bacharach went into Capitol’s legendary Studio A and B, the site of classic sessions by Nat King Cole and Frank Sinatra, to record a CD with vocalist Ron Isley. The result is the DreamWorks Records release Here I Am, which features Isley’s soulful vocals on 11 classic Bacharach compositions along with two new songs. Produced by Bacharach and featuring new arrangments, Here I Am proves that, after 50 years in the business, Bacharach’s talents as a composer, producer, conductor and arranger are undiminished.
In December 2003, a television special, McCormick Present Burt Bacharach: Tribute On Ice, aired on NBC. The special featured world-class skaters including Brian Boitano, Ilia Kulik and Nicole Bobek performing live accompanied by Bacharach and vocalists James Ingram and Michael McDonald.
In November 2005, Bacharach released At This Time, the first solo album to be released under Bacharach’s name in 26 years. The record–which included contributions from Dr. Dre, Chris Botti, Elvis Costello and Rufus Wainwright–was the first of his career to feature lyrics written by Bacharach himself. Those lyrics–and Burt’s public comments on the political and social situation that inspired the lyrics–generated a great deal of controversy and led to At This Time being labeled Burt’s most political record. The controversy apparently didn’t affect members of the Recording Academy, which in February 2006 awarded At This Time the Grammy for Best Pop Instrumental Album. Bacharach was also nominated in the Best Pop Instrumental Performance category for the track “In Our Time,” a collaboration with Chris Botti.
In April 2007, Bacharach contributed several songs to New Music From An Old Friend, a CD on 180 Music that features new compositions and collaborations between legendary songwriters including Brian Wilson, Kris Kristofferson, Carole King, Paul Williams and Willie Nelson.

Source: Bacharach Online.com.

Saturday 7 January 2012

Bunny Berigan

Bunny Berigan enjoyed a relatively brief period of fame, lasting from 1931 through 1939 -- for the first half of those eight years a rapidly rising name within the music business, and for the second as a star before the public, featured in the bands he played in and leading his own outfit. And from 1935 through 1939, he was regarded as the top trumpeter in jazz (with his main competition being Louis Armstrong and Roy Eldridge). Yet despite the brevity of his career and his all-too-short life, he remains one of the most compelling trumpet players in the history of the music, and in the 21st century, six decades after his death, his work was still being compiled in premium-priced box sets that had an audience. It's all in the sheer quality of his work -- blessed with a beautiful tone and a wide range (Berigan's low notes could be as memorable as his upper-register shouts), Berigan brought excitement to every session he appeared on. He was not afraid to take chances during his solos and could be a bit reckless, but Berigan's successes and occasional failures were always colorful to hear, at least until he drank it all away.
He was born Roland Bernard Berigan in Hilbert, WI, in 1908, and he was a natural musician as a boy. He took to the trumpet early, and at age 12 he was playing in a youth band organized and led by his grandfather. In his teens he branched out, passing through various local bands and college orchestras, and in 1928, at 19, he auditioned for Hal Kemp and he was rejected at the time, amazingly enough because of his thin tone; but by 1930 he was part of Kemp's band for their European tour, and also got to lay down the first recorded solos of his career with Kemp. Following his return to the United States that fall, Berigan joined Fred Rich's CBS studio band, which was one of the busiest such "house bands" in the burgeoning field of radio, and included such players as Artie Shaw in its ranks. And when he wasn't playing under the auspices of CBS, he was working freelance sessions for a multitude of artists out of various studios in New York City, and also playing the pit orchestras on Broadway. One such engagement, cited by Richard M. Sudhalter, had Berigan working alongside the Dorsey brothers and Jack Teagarden for the musical Everybody's Welcome, a mere footnote in the history of the Great White Way (notable only as the stage piece that introduced the Herman Hupfeld song "As Time Goes By," which was subsequently rescued by Warner Bros. and revived in Casablanca). He played dozens upon dozens of sessions, growing as a musician and his reputation keeping pace -- and found time to marry and have two daughters in the midst of it all -- accompanying numerous pop performers and vocalists, distinguishing many of the resulting records with his solos. Fred Rich's orchestra was his primary home through 1935, apart from a hiatus in late 1932 and early 1933 in which he sat with Paul Whiteman's orchestra, and a short stint with Abe Lyman in 1934.
Berigan soon gained a strong reputation as a hot jazz soloist and he appeared on quite a few records with studio bands, the Boswell Sisters, and the Dorsey Brothers. It didn't matter who was fronting or what the songs covered at the session were; everything he touched musically turned to gold, at least where he touched it, and producers and bandleaders knew it, too, and booked him accordingly. The movie business also beckoned around this time, and he made his only film appearance in 1934, in association with Fred Rich in the musical short Mirrors. During 1935, he was still doing some session work, with contract frontmen such as Red McKenzie, the comb-player/vocalist (with whose band Berigan later played at the Famous Door, which resulted in more recording gigs) and contract singers like Chick Bullock, but his most visible role that year came during the few months he spent with Benny Goodman's orchestra. It was enough to launch the swing era -- Berigan had classic solos on Goodman's first two hit records ("King Porter Stomp" and "Sometimes I'm Happy") and was with B.G. as the latter went on his historic 1935 tour out West, climaxing in the near riot at the Palomar Ballroom in Los Angeles. He was also in Glenn Miller's band for Miller's first time out as leader that same year.
Berigan soon returned to the more lucrative studio scene, which included more work with McKenzie's band from the Famous Door as well as sessions with Billie Holiday under the auspices of John Hammond in 1936. The following year, he joined Tommy Dorsey's band and was once again largely responsible for two hits: "Marie" and "Song of India." Two of Dorsey's most beloved records, they featured astonishingly fine ensemble work, even for the thoroughly polished and virtuoso Dorsey band (vocally as well as instrumentally in the case of "Marie"), yet even in those surroundings, Berigan's solos on these tunes were what everyone remembered. They were so famous that in future years Dorsey had them written out and orchestrated for the full trumpet section. After leaving Dorsey, Bunny Berigan finally put together his own orchestra. He scored early on with his biggest hit, "I Can't Get Started," which remains a jazz standard to this day, and has been reissued too many times to count on record and CD, as well as reused with great effectiveness in several movies, starting with Martin Scorsese's 1967 Vietnam allegory The Big Shave, through John G. Avildsen's acclaimed Save the Tiger (1973), to the soundtrack of Roman Polanski's Chinatown (also notable for its Jerry Goldsmith score and the trumpet work of Uan Rasey). With Georgie Auld on tenor and Buddy Rich on drums, Berigan had a potentially strong band. Unfortunately, he was already an alcoholic and a reluctant businessman, and the headaches of running a band -- even one that benefited from the presence of such names as Joe Bushkin, Ray Conniff, Hank Wayland, Bob Jenney, and George Wettling -- only drove him deeper toward the refuge of the bottle; not even regular appearances on CBS' Saturday Night Swing Club could ensure the group's success. One can see the toll in the surviving photographs -- in his late twenties at the end of the 1930s, he has the look of a man double that age. (One is almost grateful that the old Hollywood never made a biopic about him the way they did on Bix Beiderbecke, with all due respect to Kirk Douglas -- though one could see Sean Penn perhaps trying the role on for size, if only they'd get the music right).
By 1939, there had been many lost opportunities and the following year Berigan (who was bankrupt) was forced to break up his band. He rejoined Tommy Dorsey for a few months but never stopped drinking and was not happy being a sideman again. All of these external events were signs of more dire conditions, psychic and physical, on the inside, and it didn't take too long for these to manifest themselves to all concerned. Berigan formed a new orchestra, but his health began declining, and despite the warnings of doctors, he neither slowed down in his work nor gave up drinking. He collapsed on May 30, 1942, and died on June 2, just 33 years old. His death at that moment, just as the swing era was starting its long draw to a close, inevitably raises the question, what would this brilliant swing trumpeter have done in the bop era? As it is, his work, mostly in context with various swing and dance orchestras, ranging from Fred Rich to Tommy Dorsey, and acts such as the Boswell Sisters, has continued to be reissued and is widely known among jazz and big-band aficionados as well as pop music enthusiasts focused on the era. And in 2004, Mosaic Records issued a magnificent seven-CD set, The Complete Brunswick, Parlophone and Vocalion Bunny Berigan Sessions, pulling together over 150 of Berigan's recordings made between 1931 and 1935. It's a sign of the quality of his work and the reputation Berigan enjoys even 60 years after his death that the latter set, which doesn't even cover the period usually considered Berigan's very prime, received rave reviews from jazz critics who normally display little patience for pop sides cut by their most beloved heroes.

Source: All Music.com.