Biography
Jazz history singles out Barney Bigard for his singular voice on clarinet and for the long stretch he spent anchoring Duke Ellington’s orchestra. Although Lorenzo Tio gave him formal lessons on the instrument, Bigard first earned notice on tenor saxophone; a handful of early sides, especially those cut with Luis Russell, placed him immediately behind Coleman Hawkins among the leading tenor players of the mid-1920s. After several New Orleans engagements he relocated to Chicago in 1924 and spent the next three years in King Oliver’s band. During the same decade he also recorded with Jelly Roll Morton, Johnny Dodds, and the man who would later become his employer, Louis Armstrong, yet brief periods alongside Charles Elgar and another stay with Luis Russell preceded his decisive move. In 1927 he joined Duke Ellington and remained until 1942, concentrating almost entirely on clarinet. Ellington repeatedly spotlighted him, crafting arrangements that highlighted his strengths on dozens of sessions and even sharing composer credit on “Mood Indigo.” Pieces such as “Harlem Air Shaft” further illustrated how central Bigard had become to the band’s sound.
Road fatigue prompted his departure in 1942. He subsequently worked with Freddie Slack’s orchestra and with Kid Ory’s New Orleans ensemble, and he appeared in the 1946 motion picture New Orleans. Two extended engagements with the Louis Armstrong All-Stars followed, the first running from 1947 to 1955 and the second occupying 1960–1961, both involving worldwide travel. Between those tours he spent 1958–1959 in Cozy Cole’s group. After 1962 Bigard performed only sporadically, though he still recorded with Art Hodes, Earl Hines, and under his own name. His swing-oriented approach occasionally sat uneasily beside Armstrong, yet it meshed most convincingly during the Ellington years.
Road fatigue prompted his departure in 1942. He subsequently worked with Freddie Slack’s orchestra and with Kid Ory’s New Orleans ensemble, and he appeared in the 1946 motion picture New Orleans. Two extended engagements with the Louis Armstrong All-Stars followed, the first running from 1947 to 1955 and the second occupying 1960–1961, both involving worldwide travel. Between those tours he spent 1958–1959 in Cozy Cole’s group. After 1962 Bigard performed only sporadically, though he still recorded with Art Hodes, Earl Hines, and under his own name. His swing-oriented approach occasionally sat uneasily beside Armstrong, yet it meshed most convincingly during the Ellington years.
Albums
