Edgar Hayes and His Orchestra - Meet The Band - Original - KKBOX
Edgar Hayes and his Orchestra. Decca Condition is E- & E: VERY SHINEY & CLEAN with just 1 very short shallow faintly audible scratch on 1 side only. Performer(s): «Edgar Hayes» & «Edgar Hayes & His Orchestra» «Meet the band» Audio: Very Hq - CD Quality Sound -- MP3 Kbps. Edgar Hayes and His Orchestra Selected Favorites. Edgar Hayes and His Orchestra. Play on 3. Meet The Band - Original · Edgar Hayes and His Orchestra. 4.
But in the big scheme of things they were still few and far between and most who tentatively made the move in these early days fell on their face and quickly moved right back to where they were more comfortable. The latest in that brigade of jazz expatriates who tried their hand in rock was Edgar Hayes, somebody with a long background in the older, more established and respected jazz field who found himself at a career crossroads just as rock was becoming a more viable option for maintaining relevancy.
Unlike most of his brethren who tried making the jump from one to the other and quickly thought better of it, Hayes pulled off the feat with surprising ease and apparently without many reservations about doing so.
Rhodes we know did do just that, scoring a few Top Ten hits and being a fixture in rock for years, on his own and backing others. He may never have become a genuine star, but he was able to keep drawing paychecks to put out records that sold well and guaranteed him enthusiastic audiences at live gigs for the rest of his career. Was such an outcome simply a fluke in Rhodes case, or was the move towards rock for survival a blueprint worth following for Edgar Hayes? But when the war came his band dissolved and he was resigned to playing California clubs for years after that.
The dual recording bans and again in may have further hindered his chances at resuming the noteworthy career he seemed to be building for himself and by the time he finally regained his footing and drew interest from the Los Angeles based Exclusive Records the musical landscape had utterly transformed since his last studio shot a decade earlier.
Though jazz was still vibrant enough commercially to offer a reasonable chance for success, for some reason Hayes ventured into a different realm. What Hayes and company actually thought of the return to a more rudimentary musical approach is a mystery of course, but the effectiveness of the arrangement in this style is immediately evident.
Here there are no horns obviously and so the primary lifting is spread out between Hayes on piano and Bunn on guitar.
Edgar Hayes | Musique
He plays with bluesy tinge, largely because — to this point anyway — it had been blues which had used the guitar as a prime component of the music. He too is playing rather basic stuff, yet within that framework he bends notes and shifts tones with a casual, almost lazy confidence that keeps you leaning forward, expecting something to happen perhaps, but not altogether relying on some dramatic payoff to maintain your interest or meet your expectations.
From he was a key member of the Mills Blue Rhythm Band as pianist, arranger and sometimes musical director.
Inhe left Mills to form his own band and took Garland with him among other Mills sidemen. Although the band was only active for 5 years, it became extremely popular and it'a recordings for Varsity and Decca show an excellent, musical unit. The band had a crisp, light swinging sound with some of the Jimmie Lunceford two-beat feel. Garland frequently used himself on bass sax and Crawford Wethington on baritone to create a deep, low register reed sound.
The band had many excellent soloists, not household names but very capable jazzmen. Among the standouts were trumpeters Henry Goodwin and Leonard Davis a very underated trumpeter, his work with Eddie Condon's Hot Shots is superb ,trombonist Bob Horton a marvelous plunger player ,clarinetist Rudy Powell best known for his sides with Fats Waller and drummer Kenny Clarke.
Clarke would soon be one of the pioneers of Bop, his solid work on the tubs and vibes are a highlight of the Hayes recordings. All these men were solid pros with much experience in the Big Band style. Here are some highlights of their recorded legacy. The theme is a semi Tiger Rag clone and has fine solos by Goodwin, Horton and clarinet by possibly Garland.
Clarke's drums are very prominent and the band ends with a walk-off-a retard meant to walk the dancers off the floor. The rest of the Hayes sessions were for Decca.
On May 25, several standout instrumentals were waxed. The Hayes version of Caravan is a good one with a mystic intro, bass sax Garland and Goodwin's growling trumpet. The coda features more of the low reeds against plunger trumpet. Edgar Steps Out by Goodwin has Hayes' stride work up front, low reeds and clean, swinging brass. Goodwin's buzz mute solo is reminicent of Rex Stewart and Clarke gets in some tasty breaks.
Goodwin, Powell, Garland and the boss take solos. The trombone spot may be by Jelly James or Clyde Bernhardt. On July 27 the band cut a nice version of Laughing at Life previously recorded on May Trumpeter Bernie Flood takes an amiable vocal backed by the band's glee club a la Marie.
There's a nice sweet trombone spot along with the low reeds and a break for Clarke. Larry Clinton's Satan takes a Holiday contains elements of the stock arrangement but gives the usual drum breaks to Clarke on vibes. There are some nice clarinet-led reeds along with Garland and the boss. The band also fielded a combo within the band inspired by Benny Goodman's units.
White vocalist Bill Darnell took the vocals he sang with Red Nichols and Bob Chester and later had a succesful solo career. There are plenty of spots for Clarke's vibes not far behind Lionel HamptonPowell's tangy clarinet and the bosses' piano. Guitarist Andy Jackson lays down great rhythm on these sides.
Edgar Hayes And His Orchestra — Meet The Band
The session of October 11, featured the full band and quintet. Darnell sang with both units.Edgar Hayes - Meet the band
The Hayes rendition is a smooth medium swinger with Goodwin getting in some Louis-ish horn, Garland's tenor and more of the low reeds playing against the brass. Garland's bass sax and Horton's growling trombone are prominent along with plunger brass and Darnell's amiable vocal. The quintet and Darnell returned for three selections. The next session on January 14, is a strong one. Meet the Band, a Garland original features the low reeds against brass riffs.
Powell, Hayes, a shouting Goodwin and nice Clarke rim shots are highlights with the bass sax on the coda.