Cherokee - Charlie Barnet

 

East Side, West Side

Cherokee

Charlie Barnet

Everest SDBR-1008

A Product Of Belock Recording

A Division Of Belock Instrument Corporation

1958

From the back cover: Charlie Barnet has been one of the small, select number of names synonymous with big band swing for more than 26 years. That time span is difficult to reconcile with his continuing good looks and athletic behavior, but Barnet, born in New York of a wealthy family October 26, 1913, actually led his first band on an ocean liner when he was 16.

In 1932, he had a band at the Paramount Hotelin New York, and then went on the road with one of the most stimulating, swinging bands of the thirties. His big hit was the 1939 Cherokee for Bluebird, but he had several other major record successes, most of them recreated on this album. His love of big bands has never diminished, and so far as conditions have permitted, he's always had one. This band, collected for this recording, he termed after the final session to be the best one he'd ever led.

The basic personnel for the session (there were a few changes) consisted of: trumpets – Charlie Shavers, Irving Markowitz, Clark Terry, Al Stewart; trombones – Billy Byers, Frank Saracco, Bobby Byrnes, Erwin Price; reeds – Danny Bank, baritone; Dick Hafer; tenor, Kurt Bloom, tenor; Vinnie Dee, alto; Pete Mondello, alto, tenor, baritone, rhythm – Chubby Jackson, bass; Nat Pierce, piano; Terry Snyder, drums; Bunny Briggs, vocals.

The pandas sometimes happens, was ready to wail, and the result, as you'll hear, brings back the roar of those big, bursting, burning bands of the thirties like Barnet's. Barnet's bands, in fact, have always been noted for their unabashed emotion and for their earthy force that often came with overblowing saxes, trumpet screams and shouts, and other evidences of difficult-to-contain enthusiasm. By contrast there was the precise accuracy of the not-as-swinging Goodman band. Barnet was – and is – also conscious of presentation. He would not compromise with the basic drive he preferred, but he felt it necessary to project to an audience, and even carried a man with him for a time – Roxy – who handled the lights for the band.

But above all, as this album especially underlines, Barnet emphasized enjoying the act of playing, and this band comes on as if it were playing an all-night session for itself. "It was so happy and funny a date."says Chubby Jackson," and so relaxed. "It made it seem worthwhile for Barnet Mohave flown from California to Bayside, Long Island, just for this session – his most exciting on record in many years.

East Side, West Side, an Andy Gibson arrangement, has solos by Barnet and Clark Terry, Wild, Mob Of The Fishpond (or Code 288 A) involves Barnet, Charlie Shavers and Dick Safer. Arrangement is by Billy Holman. Moten Swing, based on the theme of Billy May's original, was arranged by Holman and features Barnet, Clark Terry, Billy Byers and Nat Pierce.

Cherokee, arranged by Billy May, has solos by trumpeter Jimmy Nottingham, Nat Pierce and Barnet. Andy Gibson charted Redskin Rhumba and statements are by Barnet and Nottingham. In Billy Moore's Skyliner chart, there are Barnet and Pierce. Gibson is responsible for Smiles with solos by Terry, Pierce, Barnet and Don Lamond, drummer on that particular date.

Bill Holman's version of Charleston Alley leaves places for Charlie Shavers and Barnet while Holman's chart of Souther Fried has Byers and Barnet. Holman is also the writer of Blue Juice with Shavers, Byers and Barnet. Pompton Turnpike here is based on Billy May's original arrangement with changes by Andy Gibson and Bob Young and the duet is between Barnet and Clark Terry.

The frequency of Holman arrangements is due to Barnet's belief that Bill is "probably at the apex of his arranging career. The first time you run through them, they sound good. You don't have to battle his arrangements. You don't have to play them every night for a week before they even sound."

Like other big band leaders who have recorded for Everest, Barnet sees real signs of a resurgence. "The weekend before I flew here for this session," he said, "we played the Palladium on a Saturday night. The response was tremendous, and those were all  young, smiling faces. The more the band swung, the better they liked it, the direct opposite of past practice in recent years. And finally, kids were coming up an asking who was on drums and who was on trumpet and what the name of the tune was. It was very encouraging. Then at Las Vegas recently, Harry James filled in for an act for three days, doing a show from 3 a.m. on. James broke it up; the owners revamped the room; and are brining him back for three weeks of jazz band concerts.

If the bands do roar back, Barnet – in symbol and in vigorous practice, as here – will be there to conquer the ballrooms again. – Nat Hentoff

Cherokee

Redskin Rhumba

Serenade To May

Moten Swing

Pompton Turnpike

East Side, West Side

Charleston Alley

Skyliner

Blue Juice

Code 288A

Southern Fried

Smiles