Uptown Bumps

Adolphe Paul Barbarin (May 5, 1899 – February 17, 1969) was a New Orleans jazz drummer, usually regarded (along with Baby Dodds) as one of the very best of the pre-Big Band era jazz drummers. He studied under the famed drummer, Louis Cottrell, Sr. Paul Barbarin's year of birth is often given as 1901, but his brother Louis Barbarin (born 1902) said he was quite sure that Paul was several years older than he was, and Paul Barbarin simply refused to answer the year of his birth in an interview at Tulane's Jazz Archives. From the late 1910s on, Barbarin divided his time between Chicago, New York City and New Orleans, and touring with such bands as those of Joe "King" Oliver, Luis Russell, Louis Armstrong, and Henry Red Allen. From the 1950s on he usually led his own band. He, along with Louis Cottrell, Jr. founded and led the second incarnation of the Onward Brass Band from 1960 to 1969. Barbarin was an accomplished and knowledgeable musician, a member of ASCAP, and the composer of a number of pop tunes and Dixieland standards, including "Come Back Sweet Papa", "Don't Forget to Mess Around (When You're Doing the Charleston)", "Bourbon Street Parade", and "(Paul Barbarin's) Second Line". Paul Barbarin died on February 17, 1969 while playing a New Orleans Mardi Gras parade. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Careless Love, Bucket Has A Hole, andHigh Society - Sweet Emma Barrett

"Sweet Emma" Barrett (March 25, 1897, New Orleans, Louisiana – January 28, 1983) was a self-taught jazz pianist and singer who worked with the Original Tuxedo Orchestra between 1923 and 1936, first under Papa Celestin, then William Ridgely. Also active with Armand Piron, John Robichaux, and Sidney Desvigne, Sweet Emma Barrett was at her most powerful in the early 1960s and became an iconic figure with the Preservation Hall Jazz Band.
In 1947, she accepted a steady job at a local club, Happy Landing, but it was her 1961 recording debut, with her own album in the Riverside Records New Orleans: The Living Legends series, that brought her recognition from beyond the Crescent City. According to the liner notes of this album, these were her first recording performances as a vocalist, most of the songs on the album were instrumentals.

She was nicknamed Bell Gal because she wore a red skull cap and garters with Christmas bells that jingled in time with her music. She was featured on the cover of Glamour magazine and written up in publications on both sides of the Atlantic. When the Preservation Hall Jazz Band began to "hit the road", she took it on international tours. Barrett toured in the United States as well, including a stint at Disneyland in 1963.

Despite the popular exposure she received at concerts and overseas appearances, Barrett continued to feel most comfortable in her native New Orleans, especially the French Quarter. In 1963, on her album The Bell Gal And Her Dixieland Boys Music, Barrett sings on four of the eight songs and heads two overlapping groups. While she is joined throughout by banjoist Emanuel Sayles, bassist Placide Adams, and drummer Paul Barbarin, four songs feature trumpeter Alvin Alcorn, trombonist Jim Robinson and clarinetist Louis Cottrell, Jr.; the remaining four numbers have trumpeter Don Albert, trombonist Frog Joseph and clarinetist Raymond Burke. Overall, this set gives listeners a good sampling of the sound of New Orleans jazz circa 1963 and is one of the few recordings of Barrett mostly without the regular members of what would become the Preservation Hall Jazz Band (Robinson and Sayles excepted). The ensemble-oriented renditions of such numbers as "Big Butter and Egg Man", "Bogalusa Strut", and "Take Me Out to the Ball Game"' are rendered with fun and joy.

The Preservation Hall Jazz Band made a brief appearance in the 1965 film, The Cincinnati Kid, which featured Barrett as vocalist and pianist for the band and included a close-up of her.

In 1967, she suffered a stroke that paralyzed her left side, but she continued to work and occasionally, to record, until her death in 1983.
If you like what I’m doing, Like Bman’s Blues Report Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

I Ain't Gonna Give Nobody None Of My Jellyroll - Sweet Emma Barrett

"Sweet Emma" Barrett (March 25, 1897, New Orleans, Louisiana – January 28, 1983) was a self-taught jazz pianist and singer who worked with the Original Tuxedo Orchestra between 1923 and 1936, first under Papa Celestin, then William Ridgely. Also active with Armand Piron, John Robichaux, and Sidney Desvigne, Sweet Emma Barrett was at her most powerful in the early 1960s and became an iconic figure with the Preservation Hall Jazz Band.
In 1947, she accepted a steady job at a local club, Happy Landing, but it was her 1961 recording debut, with her own album in the Riverside Records New Orleans: The Living Legends series, that brought her recognition from beyond the Crescent City. According to the liner notes of this album, these were her first recording performances as a vocalist, most of the songs on the album were instrumentals.

She was nicknamed, Bell Gal, because she wore a red skull cap and garters with Christmas bells that jingled in time with her music. She was featured on the cover of Glamour magazine and written up in publications on both sides of the Atlantic. When the Preservation Hall Jazz Band began to "hit the road", she took it on international tours. Barrett toured in the United States as well, including a stint at Disneyland in 1963.

Despite the popular exposure she received at concerts and overseas appearances, Barrett continued to feel most comfortable in her native New Orleans, especially the French Quarter. In 1963, on her album The Bell Gal And Her Dixieland Boys Music, Barrett sings on four of the eight songs and heads two overlapping groups. While she is joined throughout by banjoist Emanuel Sayles, bassist Placide Adams, and drummer Paul Barbarin, four songs feature trumpeter Alvin Alcorn, trombonist Jim Robinson and clarinetist Louis Cottrell, Jr.; the remaining four numbers have trumpeter Don Albert, trombonist Frog Joseph and clarinetist Raymond Burke. Overall, this set gives listeners a good sampling of the sound of New Orleans jazz circa 1963 and is one of the few recordings of Barrett mostly without the regular members of what would become the Preservation Hall Jazz Band (Robinson and Sayles excepted). The ensemble-oriented renditions of such numbers as "Big Butter and Egg Man", "Bogalusa Strut", and "Take Me Out to the Ball Game"' are rendered with fun and joy.

The Preservation Hall Jazz Band made a brief appearance in the 1965 film, The Cincinnati Kid, which featured Barrett as vocalist and pianist for the band and included a close-up of her.

In 1967, she suffered a stroke that paralyzed her left side, but she continued to work and occasionally, to record, until her death in 1983.