Biography
by Eugene Chadbourne
Entering her nineties, Barbara Carroll could boast that she had been playing piano for over 85 years. Not without a pause to sleep and eat, obviously, but with a determination that might suggest such extremes. Born Barbara Carole Coppersmith, she began the instrument at only five years old and went on to classical training three years later, eventually graduating from the New England Conservatory. In terms of professional stagecraft, her initial training ground was a USO tour during World War II in which she was part of an all-girl trio. This was quickly followed by leading her own trio on New York City's famous lane of jazz, 52nd Street, where she adopted a variation of her middle name, Carole, as a stage name. The pianist was associated with such fine players as guitarist Chuck Wayne and bassist Clyde Lombardi, but what would develop into an extensive discography began in 1949 with a recording session backing up multi-instrumentalist Eddie Shu for the Rainbow label.
Among female piano players, Carroll was known as the first to venture into the progressive bebop style that was especially associated with Bud Powell. Unlike the infamous Billy Tipton, Carroll also did not think it was necessary to hide the fact that she was a woman in jazz -- but this was New York City, not Oklahoma or the state of Washington. Not that Carroll had an easy time in a genre dominated by men. "People tended to put you down before they ever heard you," she commented. "If you were a girl piano player, the tendency was to say: 'Oh, how could she possibly play?' You never even got a chance to present what you could do. But then, if you did prove yourself, it almost became a commercial asset, in a sense; you were regarded as unique."
One audience that found Carroll to their liking was the high society crowd, becoming enamored with her during an extended run at the ultra-chic Embers supper club. Her group at the latter venue included the bassist Joe Shulman, whom she married in 1954. Carroll did not ignore the pop styles of subsequent decades, yet always managed to keep a strong jazz flavor present in whatever material she performed. If swing was a bay leaf, it would be said that Carroll had a large bush growing right outside her kitchen window. She recorded for many of the best labels in the genre including Verve and Atlantic and continued to be in demand at clubs and cabarets into her nineties, playing a regular gig at Manhattan's Birdland venue until December 2016. Carroll also worked as an actress on occasion, such as the Broadway play entitled Me and Juliet. She died in February 2017 at the age of 92.
https://www.allmusic.com/artist/barbara-carroll-mn0000788256/biography
Biografía
por Eugene Chadbourne
A punto de cumplir los noventa, Barbara Carroll podía presumir de llevar más de 85 años tocando el piano. No sin hacer una pausa para dormir y comer, obviamente, pero con una determinación que podría sugerir tales extremos. Nacida con el nombre de Barbara Carole Coppersmith, empezó a tocar el instrumento con sólo cinco años y, tres años más tarde, recibió formación clásica y se graduó en el Conservatorio de Nueva Inglaterra. En el terreno profesional, su formación inicial fue una gira de la USO durante la II Guerra Mundial, en la que formó parte de un trío femenino. Rápidamente se puso al frente de su propio trío en el famoso carril del jazz de Nueva York, la calle 52, donde adoptó una variación de su segundo nombre, Carole, como nombre artístico. La pianista se asoció con músicos de la talla del guitarrista Chuck Wayne y el bajista Clyde Lombardi, pero lo que se convertiría en una extensa discografía comenzó en 1949 con una sesión de grabación como telonera del multiinstrumentista Eddie Shu para el sello Rainbow.
Entre las pianistas femeninas, Carroll era conocida por ser la primera en aventurarse en el estilo bebop progresivo que se asociaba especialmente con Bud Powell. A diferencia del infame Billy Tipton, Carroll tampoco creía necesario ocultar el hecho de que era una mujer en el jazz, pero esto era Nueva York, no Oklahoma ni el estado de Washington. Carroll no lo tuvo fácil en un género dominado por hombres. "La gente tendía a menospreciarte antes de escucharte", comenta. "Si eras una chica pianista, la tendencia era decir: 'Oh, ¿cómo es posible que toque? Ni siquiera tenías la oportunidad de demostrar lo que sabías hacer. Pero luego, si demostrabas lo que sabías hacer, casi se convertía en un activo comercial, en cierto sentido; te consideraban única".
Un público que encontró a Carroll de su agrado fue el de la alta sociedad, que se enamoró de ella durante una larga temporada en el ultra-chic club Embers. Su grupo en este último local incluía al bajista Joe Shulman, con quien se casó en 1954. Carroll no ignoró los estilos pop de décadas posteriores, pero siempre se las arregló para mantener un fuerte sabor a jazz en cualquier material que interpretara. Si el swing fuera una hoja de laurel, se diría que Carroll tenía un gran arbusto creciendo justo al lado de la ventana de su cocina. Grabó para muchos de los mejores sellos del género, como Verve y Atlantic, y siguió siendo solicitada en clubes y cabarets hasta los noventa, actuando regularmente en el local Birdland de Manhattan hasta diciembre de 2016. Carroll también trabajó como actriz en ocasiones, como en la obra de Broadway titulada Me and Juliet. Murió en febrero de 2017 a los 92 años.
https://www.allmusic.com/artist/barbara-carroll-mn0000788256/biography
by Eugene Chadbourne
Entering her nineties, Barbara Carroll could boast that she had been playing piano for over 85 years. Not without a pause to sleep and eat, obviously, but with a determination that might suggest such extremes. Born Barbara Carole Coppersmith, she began the instrument at only five years old and went on to classical training three years later, eventually graduating from the New England Conservatory. In terms of professional stagecraft, her initial training ground was a USO tour during World War II in which she was part of an all-girl trio. This was quickly followed by leading her own trio on New York City's famous lane of jazz, 52nd Street, where she adopted a variation of her middle name, Carole, as a stage name. The pianist was associated with such fine players as guitarist Chuck Wayne and bassist Clyde Lombardi, but what would develop into an extensive discography began in 1949 with a recording session backing up multi-instrumentalist Eddie Shu for the Rainbow label.
Among female piano players, Carroll was known as the first to venture into the progressive bebop style that was especially associated with Bud Powell. Unlike the infamous Billy Tipton, Carroll also did not think it was necessary to hide the fact that she was a woman in jazz -- but this was New York City, not Oklahoma or the state of Washington. Not that Carroll had an easy time in a genre dominated by men. "People tended to put you down before they ever heard you," she commented. "If you were a girl piano player, the tendency was to say: 'Oh, how could she possibly play?' You never even got a chance to present what you could do. But then, if you did prove yourself, it almost became a commercial asset, in a sense; you were regarded as unique."
One audience that found Carroll to their liking was the high society crowd, becoming enamored with her during an extended run at the ultra-chic Embers supper club. Her group at the latter venue included the bassist Joe Shulman, whom she married in 1954. Carroll did not ignore the pop styles of subsequent decades, yet always managed to keep a strong jazz flavor present in whatever material she performed. If swing was a bay leaf, it would be said that Carroll had a large bush growing right outside her kitchen window. She recorded for many of the best labels in the genre including Verve and Atlantic and continued to be in demand at clubs and cabarets into her nineties, playing a regular gig at Manhattan's Birdland venue until December 2016. Carroll also worked as an actress on occasion, such as the Broadway play entitled Me and Juliet. She died in February 2017 at the age of 92.
https://www.allmusic.com/artist/barbara-carroll-mn0000788256/biography
///////
Biografía
por Eugene Chadbourne
A punto de cumplir los noventa, Barbara Carroll podía presumir de llevar más de 85 años tocando el piano. No sin hacer una pausa para dormir y comer, obviamente, pero con una determinación que podría sugerir tales extremos. Nacida con el nombre de Barbara Carole Coppersmith, empezó a tocar el instrumento con sólo cinco años y, tres años más tarde, recibió formación clásica y se graduó en el Conservatorio de Nueva Inglaterra. En el terreno profesional, su formación inicial fue una gira de la USO durante la II Guerra Mundial, en la que formó parte de un trío femenino. Rápidamente se puso al frente de su propio trío en el famoso carril del jazz de Nueva York, la calle 52, donde adoptó una variación de su segundo nombre, Carole, como nombre artístico. La pianista se asoció con músicos de la talla del guitarrista Chuck Wayne y el bajista Clyde Lombardi, pero lo que se convertiría en una extensa discografía comenzó en 1949 con una sesión de grabación como telonera del multiinstrumentista Eddie Shu para el sello Rainbow.
Entre las pianistas femeninas, Carroll era conocida por ser la primera en aventurarse en el estilo bebop progresivo que se asociaba especialmente con Bud Powell. A diferencia del infame Billy Tipton, Carroll tampoco creía necesario ocultar el hecho de que era una mujer en el jazz, pero esto era Nueva York, no Oklahoma ni el estado de Washington. Carroll no lo tuvo fácil en un género dominado por hombres. "La gente tendía a menospreciarte antes de escucharte", comenta. "Si eras una chica pianista, la tendencia era decir: 'Oh, ¿cómo es posible que toque? Ni siquiera tenías la oportunidad de demostrar lo que sabías hacer. Pero luego, si demostrabas lo que sabías hacer, casi se convertía en un activo comercial, en cierto sentido; te consideraban única".
Un público que encontró a Carroll de su agrado fue el de la alta sociedad, que se enamoró de ella durante una larga temporada en el ultra-chic club Embers. Su grupo en este último local incluía al bajista Joe Shulman, con quien se casó en 1954. Carroll no ignoró los estilos pop de décadas posteriores, pero siempre se las arregló para mantener un fuerte sabor a jazz en cualquier material que interpretara. Si el swing fuera una hoja de laurel, se diría que Carroll tenía un gran arbusto creciendo justo al lado de la ventana de su cocina. Grabó para muchos de los mejores sellos del género, como Verve y Atlantic, y siguió siendo solicitada en clubes y cabarets hasta los noventa, actuando regularmente en el local Birdland de Manhattan hasta diciembre de 2016. Carroll también trabajó como actriz en ocasiones, como en la obra de Broadway titulada Me and Juliet. Murió en febrero de 2017 a los 92 años.
https://www.allmusic.com/artist/barbara-carroll-mn0000788256/biography
Tracks:
01. You'd Be So Nice to Come Home To
02. Ace In the Hole
03. I Wish I Could Forget You
04. As Long as I Live
05. Song for Griffin
06. Hundred Years From Today
07. Now's the Time
08. Ev'rything I Love
09. Heavenly
10. That Face
11. Chelsea Bridge
Personnel
Barbara Carroll (vocals)
Randy Sandke (trumpet)
Jay Berliner (acoustic guitar)
Bucky Pizzarelli (guitar)
Jay Leonhart (bass)
Joe Cocuzzo (drums)
Jim Saporito (percussion)
MORE Piano Jazz ...
This file is intended only for preview!
I ask you to delete the file from your hard drive or device after reading it.
thank for the original uploader
This file is intended only for preview!
I ask you to delete the file from your hard drive or device after reading it.
thank for the original uploader
Tip: Use JDownloader
No comments:
Post a Comment