El clarinetista George Lewis fue el típico jazzman de New Orleans, autodidacta, incapaz de leer música y sin embargo supo desarrollar su propio estilo, un modo de tocar absolutamente personal que sólo pudo darle la escuela del segregacionismo y de la miseria.
Se estrenó profesionalmente muy joven en Nueva Orleáns; fue miembro de la "Black Eagle Band" y tocó después con Leonard Parker, Chris Kelly, Kid Rena y con la orquesta de Buddy Petit. A diferencia de muchos otros músicos, George Lewis, jamás se desplazó de su lugar de origen en busca de fortuna, pero sí consiguió formar su propia orquesta con el trompetista, Henry Red Allen. Lamentablemente, a principios de los años treinta su popularidad decayó, por lo que hubo de abandonar la escena musical y empezó a trabajar como estibador portuario en su ciudad natal.
Por fortuna, Gene Williams lo redescubrió en 1942, convirtiéndose en uno de los principales exponentes de la New Orleáns Renaissance, fenómeno que revolucionó el mundo del jazz en los años cuarenta. Por aquel entonces, Lewis fue contratado en el grupo de Bunk Johnson, el célebre trompetista de New Orleáns, también "repescado" en aquella época. En 1943, formó la "George Lewis New Orleáns Stompers", formada por el trompetista, Avery Hodward, el trombonista, Jim Robinson, el banjoísta, Lawrence Marrero, el contrabajista, Chester Zardis y el baterista, Edgar Mosley. Con esa formación grabó para la American Music y también con otra formación de Bunk Johnson denominada, "Bunk Johnson and Street Paraders".
En 1957, después de algunos años invernando en New Orleáns, viajó a Inglaterra para tocar con la orquesta de Ken Colyer. Posteriormente en 1959 realizó una gira por Europa y Japón, donde cosechó grandes éxitos. De vuelta a Nueva Orleáns, siguió tocando y actuando, sobre todo en el "Preservation Hall" con la orquesta de Deedee Pierce hasta que le sobrevino la muerte en 1968.
https://es.wikipedia.org/wiki/George_Lewis
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Biography
by Scott Yanow
George Lewis never tried to be a virtuoso soloist. He loved to play melodic ensembles where his distinctive clarinet was free to improvise as simply as he desired. When Lewis was inspired and in tune, he could hold his own with any of his contemporaries in New Orleans and he always sounded beautiful playing his "Burgundy Street Blues." To everyone's surprise (including himself), he became one of the most popular figures of the New Orleans revival movement of the 1950s.
It took Lewis a long time to achieve fame. He taught himself clarinet when he was 18 and worked in the '20s with the Black Eagle Band, Buddy Petit, the Eureka Brass Band, Chris Kelly, Kid Ory, the Olympia Orchestra, and other New Orleans groups. He played with Bunk Johnson in Evan Thomas' group in the early '30s but had a day job throughout most of the decade. When Bunk was discovered in 1942, Lewis became part of his band, playing with him Johnson, however, was difficult to get along with and a homesick Lewis returned to New Orleans by 1946. He played locally with his own group (featuring trombonist Jim Robinson) and in 1950 was portrayed in an article for Look. That exposure led to him recording regularly, and by 1952, Lewis was in such great demand that he was soon working before crowds in California and touring Europe and Japan. In addition to Robinson, Lewis' band in its prime years often featured trumpeter Kid Howard, pianist Alton Purnell, banjoist Lawrence Marrero, bassist Alcide "Slow Drag" Pavageau, and drummer Joe Watkins. George Lewis, who recorded for many labels (a Mosaic box set of his Blue Note sessions is one of the best reissues), became a symbol of what was right and wrong about the New Orleans revival movement, overpraised by his fans and overcritized by his detractors. At his best he was well worth hearing.
https://www.allmusic.com/artist/george-lewis-mn0000945658/biography
Tracks:
A1 - Salutation March - 2:59
A2 - Salty Dog - 2:50
A3 - Winin' Boy Blues - 2:48
A4 - Pork Chops - 3:22
A5 - Down By The Riverside - 2:53
A6 - Linger Awhile - 2:49
B1 - In The Sweet By & By - 2:35
B2 - Burgundy Street Blues - 4:17
B3 - Indian Sagua - 2:19
B4 - Careless Love - 2:39
B5 - Listen To The Mockingbird - 3:15
B6 - St. Louis Blues - 2:45
Label: Atlantic – 1411
Series: Jazz At Preservation Hall – IV
Released: 1963
Genre: Jazz
Style: Dixieland
https://www.discogs.com/release/4130717-The-George-Lewis-Band-Of-New-Orleans-Jazz-At-Preservation-Hall-IV
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You got the wrong biography! This George Lewis is an old timer, certainly not the avant-gardist described in the notes.
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