The Cradle Of Jazz: 17 – Bill Coleman - Buster Bailey – Cuttin' Out - Bitrate: 192

Bill Coleman

01 Believe It, Beloved
02 Baby Brown
03 I Believe In Miracles
04 Rosetta
05 Georgia On My Mind
06 Im In The Mood For Love
07 After Youve Gone
08 Coquette
09 Sweet Sue
10 Between The Devil And The Deep Blue Sea
11 Hangin Around Boudon
12 Indiana
13 Bill Street Blues
14 Swing Guitars
15 Three OClock Jump
16 O.K. For Baby
17 Beale Street Blues
18 I Newer Knew
19 Hawkins Barrel House
20 I'm Fer It Too
21 Linger Awhile

go !!

Buster Bailey

01 Copenhagen
02 Santa Claus Blues
03 Jazzbo Brown From Memphis
04 Sensation
05 Kentucky
06 Theres A House In Harlem For Sale
07 Wild Party
08 Shanghai Shuffle
09 Warmin Up
10 More Than That
11 Rhythm, Rhythm
12 Ive Found A New Baby
13 Dizzy Debutante
14 Lorna Doone Short Bread
15 Knock-Kneed Sal
16 Corrine Corrini
17 Royal Garden Blues
18 Im Cuttin Out
19 Eccentric Rag
20 Cant We Be Friends?
21 Coquette
22 St. Louis Blues

go !!



Bill Coleman

A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. In 1927, he went to New York with Cecil and Lloyd Scott's band, with whom he made his recording debut. He worked with Luis Russell (1929-1932) and Charlie Johnson, and then in 1933 traveled to France with Lucky Millinder. Coleman recorded with Fats Waller (1934) and played with Teddy Hill's Orchestra (1934-1935), but then moved to France for the first time in 1935. While overseas, he recorded frequently as a leader (really coming into his own), with Willie Lewis' Orchestra, and on dates with Django Reinhardt. He ventured as far as Bombay, and spent 1938-1940 in Egypt with Herman Chittison. Returning to New York, Coleman played with Benny Carter, Teddy Wilson, Andy Kirk, Mary Lou Williams, and John Kirby during 1940-1945, and recorded with Lester Young and Coleman Hawkins (both in 1943). However, he preferred life in Europe and, after a period with groups led by Sy Oliver and Billy Kyle, in 1948, Coleman moved permanently back to France, staying active and recording fairly regularly up until his death in 1981. ~ Scott Yanow, All Music Guide


Buster Bailey

Buster Bailey was a brilliant clarinetist who, although known for his smooth and quiet playing with John Kirby's sextet, occasionally really cut loose with some wild solos (including on a recording called "Man With a Horn Goes Berserk"). Expertly trained by the classical teacher Franz Schoepp (who also taught Benny Goodman), Bailey worked with W.C. Handy's band in 1917. He moved to Chicago in 1919 and was soon working with Erskine Tate and King Oliver's Creole Jazz Band. He gained some fame in 1924 when he joined Fletcher Henderson's orchestra in New York. Bailey was with Henderson off and on during 1924-1934 and 1936-1937, also playing with Noble Sissle and the Mills Blue Rhythm Band (1934-1935). Next up was the cool-toned swing of John Kirby's sextet (1937-1946), a role he fit perfectly. With the end of the Kirby band, Bailey was mostly employed in Dixieland settings with Wilbur DeParis (1947-1949), Big Chief Russell Moore (1952-1953), Henry "Red" Allen (1950-1951 and 1954-1960), Wild Bill Davison (1961-63), and the Saints and Sinners (1963-1965), finishing up with the Louis Armstrong All-Stars (1965-1967). One of the most technically skilled of the clarinetists to emerge during the 1920s, Buster Bailey never modernized his style or became a leader, but he contributed his talents and occasional wit to a countless number of rewarding and important recordings. ~ Scott Yanow, All Music Guide

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