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Barney Bigard
Appearances
This recording was not only Louis Armstrong's finest record of the 1950s but one of the truly classic jazz sets. Armstrong and his All-Stars [more]
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![Satch Plays Fats: The Music of Fats Waller [Bonus Tracks]](/cache/JS/e2/130x130_on-sale_e20801zh2ls.png)
Louis Armstrong and Fats Waller only worked together twice, briefly in 1925 in Erskine Tate's band and four years later in the New York [more]
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The modern trombone can be traced back to the 14th and 15th century "sackbut," a rudimentary slip horn descended from the medieval slide trumpet. The 20th century jazz trombone grew [more]
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Joe "King" Oliver was Louis Armstrong's idol and mentor. Although preceded by the earliest recordings of the Original Dixieland Jazz Band (1917) and both the [more]
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Of less importance than the concurrent release of The Best of Louis Armstrong: The Hot Five and Seven Recordings is Satch Blows the Blues, since it only distills the great [more]
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It reads splendidly on paper: Shout Factory's Doctors, Professors, Kings and Queens: The Big Ol' Box of New Orleans is a [more]
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Armstrong and the 1960 version of his All-Stars (which included trombonist Trummy Young, clarinetist Barney Bigard, pianist Billy Kyle, bassist Mort [more]
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Solidly ensconced at one of the most popular night spots in New York, the Cotton Club, when the earliest track on the album was laid down, Duke Ellington's distinctive [more]
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Although generally not as celebrated as his Victor recordings of the same period, Duke Ellington's performances for OKeh (late acquired by Columbia) are among the best of the [more]
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Draw up a list of some of the top jazz artists of all time, and the legend featured in this recording would likely be at the top of that list. Duke [more]
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Biography
- Born Mar 3rd 1906 in New Orleans, LA
- Died Jun 27th 1980 in Culver City, CA
- Styles
- Early Jazz
- Instrument(s)
Barney Bigard was one of the most distinctive clarinetists in jazz and a longtime asset to Duke Ellington's orchestra. Although he took clarinet lessons with Lorenzo Tio, Bigard's initial reputation was made as a tenor saxophonist; in fact, based on a few of his recordings (particularly those with Luis Russell), Bigard was number two behind Coleman Hawkins in the mid-'20s. After working with several groups in New Orleans, Bigard moved to Chicago in 1924 where he played with King Oliver during 1925-1927. He would also record with Jelly Roll Morton, Johnny Dodds, and future boss Louis Armstrong in the 1920s but, after short stints with Charles Elgar and Luis Russell, Bigard found his true home with Duke Ellington's orchestra, with whom he almost exclusively played clarinet. Between 1927-1942, he was well featured on a countless number of recordings with Ellington, who understood Bigard's musical strengths and wrote to showcase him at his best. From "Mood Indigo" (which he co-composed) to "Harlem Air Shaft," Bigard was an important fixture of the Ellington orchestra.
When he quit the band in 1942 (due to tiring of the road), Bigard played with Freddie Slack's big band, Kid Ory's New Orleans group, and appeared in the 1946 film {#New Orleans}. Bigard then joined the Louis Armstrong All-Stars, constantly traveling the world during 1947-1955 and 1960-1961; he spent 1958-1959 with Cozy Cole's band. Bigard became largely semi-retired after 1962, but still played now and then, recording with Art Hodes, Earl Hines, and as a leader. However, Barney Bigard, whose swing style was sometimes out-of-place with Armstrong, really sounded at his best during his Duke Ellington years. ~ Scott Yanow, All Music Guide
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