Friday, 27 January 2012
Cannonball Adderley
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.
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
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
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.
Friday, 6 January 2012
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