They were both masterful clarinetists from the South who had notable associations with rather major players. In addition to having the same B.B. initials, their careers overlapped for four decades and they had some other similarities in their careers. But despite that, Buster Bailey and Barney Bigard never recorded together. The closest that they came is a Teddy Wilson session with Billie Holiday from May 11, 1937. Bailey is on four songs while Bigard takes his place on “Sun Showers.”
Buster Bailey and Barney Bigard both had their own easily recognizable sounds and styles. Bailey had a cool tone, a quiet sound, and a virtuosic style, giving one the impression that he could play anything yet he rarely dominated the music. Bigard had a more extroverted sound and a style that was no less fluent than Bailey’s although sometimes he relied on pet phrases. They both had rather productive careers.
William “Buster” Bailey was born on July 19, 1902 in Memphis, Tennessee. He started playing clarinet when he was 13 and just two years later became a member of W.C. Handy’s orchestra. Bailey toured with Handy’s band until 1919 when he left the group to move to Chicago. While there he joined Erskine Tate’s Vendome Orchestra and took classical clarinet lessons from Franz Schoepp who also taught Benny Goodman. Chicago was his home base during this period but Bailey also visited New York on a few occasions, making his recording debut with Mamie Smith’s Jazz Hounds on Feb. 21, 1921, and also recording two numbers with singer Katie Crippen who was accompanied by a group led by pianist Fletcher Henderson.
Bailey stayed with Erskine Tate for two years, playing alongside cornetist Freddie Keppard and recording two numbers with the nine piece group on June 23, 1923. Later in the year he substituted for Johnny Dodds with King Oliver’s Creole Jazz Band on a record date that took place on Oct. 16. When Dodds and his brother Baby Dodds left Oliver in early 1924 over a money dispute, Bailey was his replacement.
While with Oliver, Buster Bailey, and Louis Armstrong struck up a friendship that would last for over 40 years. Armstrong left Oliver in mid-1924 to join the Fletcher Henderson Orchestra in New York. He spoke highly of Bailey to Henderson and, a month later, the clarinetist joined the big band. Reportedly Coleman Hawkins was particularly happy about this event because the great tenor disliked having to double on clarinet. With Bailey’s arrival, it was no longer necessary.
At 22, Buster Bailey became a key member of the Henderson Orchestra, having many solo spots during the 1924-28 period. One can certainly argue that he was the top big band clarinetist of that period before Barney Bigard began to make his presence known with Duke Ellington. Whether it was on such numbers as “Sugar Foot Stomp,” “Fidgety Feet,” and “Clarinet Marmalade” or many lesser known tunes, Bailey’s usually brief but exciting clarinet solos were a constant.
Other performers soon noticed Bailey’s impressive musicianship and he appeared on quite a few sessions as a sideman during his first Henderson period including on dates led by Ma Rainey (the original version of “See See Rider”), Alberta Hunter (with the Red Onion Jazz Babies), Trixie Smith, Bessie Smith (including “Cake Walkin’ Babies From Home”), Clarence Williams, Eva Taylor, Maggie Jones, Sippie Wallace, Leola B. Wilson, the Blue Rhythm Orchestra, Perry Bradford’s Jazz Phools, the Gulf Coast Seven, Sara Martin, Ozie McPherson, and Mary Stafford. He also led his first session in 1925 which resulted in versions of “Papa De Da Da” and “Squeeze Me” on which he was showcased while accompanied by piano and banjo.
In mid-1929, the clarinetist left the Henderson Orchestra to tour Europe with singer Noble Sissle’s big band. When Bailey returned to the US after a few months, Barney Bigard was on his way to becoming a household name in the jazz world.
Albany Leon “Barney” Bigard was born in New Orleans on Mar. 3, 1906. He was part of a very musical family which included his uncle Emile Bigard who played violin and taught Barney music early on, his brother drummer Alex Bigard, and his cousins cornetist Natty Dominique and violinist-bandleader Armand J. Piron. Bigard began on the E-flat clarinet when he was seven, he took lessons from Lorenzo Tio, Jr., and he played both the clarinet and the tenor-sax in New Orleans with a variety of bands. In 1924 he moved to Chicago where at first he was in greater demand on tenor than he was on clarinet. On a four-song record date with Luis Russell’s Heebie Jeebie Stompers from Nov. 17, 1926, Bigard showed that at the time he was second to Coleman Hawkins among tenor-saxophonists. If he had chosen to stick to that instrument, he could have become one of its giants. However he much preferred clarinet which was how he would ultimately make his mark on jazz history.
Bigard was a member of King Oliver’s Dixie Syncopators as a tenor-saxophonist off and on during 1924-27, making quite a few records with the cornetist. He also recorded during this early period on other dates with Russell (playing alongside Kid Ory), Chippie Hill, Sara Martin, Albert Wynn’s Gut Bucket Five, and Johnny Dodds’ Black Bottom Stompers (Bigard’s first recording with Louis Armstrong), mostly on tenor. However Jelly Roll Morton was impressed by Bigard’s clarinet playing and featured him on that instrument on a trio set with drummer Zutty Singleton (Dec. 17, 1929) that resulted in four songs including “Turtle Twist” and “Smilin’ The Blues Away.” But by then, Bigard was employed regularly elsewhere.
In Dec. 1927, Barney Bigard joined the Duke Ellington Orchestra, replacing Rudy Jackson. Ellington loved Bigard’s New Orleans sound, took advantage of his impressive technical skills, and for over 14 years every clarinet solo on Ellington’s records was by Bigard. Giving up the tenor except to play ensemble parts, Bigard became recognized as one of jazz’s most significant clarinetists of the period. He took solos on a countless number of Ellington recordings, composed “Mood Indigo” and “Saturday Night Function,” and was showcased on “Clarinet Lament” (which was subtitled “Barney’s Concerto”). Working nightly at the Cotton Club into 1931, touring regularly (including visiting Europe) in the decade that followed, and even appearing in movies with Ellington’s orchestra, there was little incentive for Bigard to go elsewhere.
To help keep his sidemen happy, Ellington started having some of his sidemen become leaders for record dates that Duke generally played on and organized. Barney Bigard’s Jazzopators, a septet from the orchestra, debuted on Dec. 19, 1936, with four songs including the original versions of “Caravan” and “Stompy Jones.” Bigard also led seven other sessions with Ellington sidemen (one had the first recording of “C Jam Blues”) and appeared on dates led by Johnny Hodges, Cootie Williams, and Rex Stewart. On rare occasions he freelanced away from the world of Ellington including appearances on isolated selections led by Rosetta Howard and Trixie Smith, and an all-star session in Dec. 1940 led by Jack Teagarden.
In June 1942 Bigard, who was tired of living his life on the road, left the Duke Ellington Orchestra to settle in Los Angeles. However there would be a lot more traveling in his future.
After touring Europe with Noble Sissle during part of 1929 and participating on two record dates in England, Buster Bailey returned to the US in time for the Depression to hit. If he had been a white musician in those segregated times, he would have been a natural for studio work. Fortunately Bailey had a strong reputation due to his time with Fletcher Henderson and he was able to keep busy as a freelancer. He worked with Edgar Hayes and Dave Nelson, recorded with Bubber Miley and Clarence Williams, and had a second period playing with Noble Sissle during 1931-33.
Bailey returned to the Fletcher Henderson Orchestra in 1934 where he was back in his old spot as a soloist. He also recorded with trumpeter Red Allen who was a member of the band. When Henderson broke up his orchestra later in 1934, Bailey and Allen joined what became the strongest version of the Mills Blue Rhythm Band. The clarinetist led his first record date in nine years, utilizing such sidemen as Allen, trombonist J.C. Higginbotham, and altoist Benny Carter. He also made dates with two singers inspired by Fats Waller: Bob Howard and Putney Dandridge.
In 1936 when Fletcher Henderson formed a new big band, one that had a hit with “Christopher Columbus,” Bailey was back but this final association did not last long. He went back to freelancing with small groups including making record dates with Allen, Chu Berry, Teddy Wilson, Lil Armstrong, Billie Holiday, Clarence Williams, Willie “The Lion” Smith, Lionel Hampton, Stuff Smith, Half Pint Jaxon, Maxine Sullivan (including “Loch Lomond”), Midge Williams, the Harlem Hamfats, Rosetta Howard, Blue Lu Barker (“Don’t You Make Me High”) and Red Norvo among others. While never famous with the general public, Bailey was in constant demand due to his flawless musicianship and ability to take hot and concise solos.
Buster Bailey had first started playing with bassist John Kirby in 1934 when they were both members of the Fletcher Henderson Orchestra. They were together on a variety of record dates during the next two years including a Bailey session from 1937 resulting in “Afternoon In Africa” and “Dizzy Debuntante” which hinted at what was to come. A record date with Red Norvo on Sept. 29, 1938, had the xylophonist joined by all of the members of the John Kirby Sextet, a group that made their official recording debut a month later.
Bailey was a member of the John Kirby Sextet (which originally also included trumpeter Charlie Shavers, altoist Russell Procope, pianist Billy Kyle, and drummer O’Neill Spencer) from its start in 1937. It was the perfect outlet for his clarinet playing. He was able to play the complex arranged ensemble parts flawlessly, his cool tone added to the band’s occasionally eerie atmospheric works, and he could swing hard when it was required. Whether it was an adaptation of a classical melody, Charlie Shavers’ “Undecided,” or a romp, Bailey was a major part of the group’s sound. He also could be witty, although never more so than on Dec. 7, 1938 when he led a similar group (as Buster Bailey’s Rhythm Busters) on the wild and somewhat hilarious “Man With A Horn Goes Berserk.”
Bailey recorded often with the Kirby Sextet including when they were employed for sessions led by Mildred Bailey, Nat Gonella, Teddy Grace, Maxine Sullivan, Una Mae Carlisle, and Larry Adler. He was also on some Dixieland-oriented dates by Wingy Manone which foreshadowed the clarinetist’s work in the 1950s. The most loyal of Kirby’s sidemen, Bailey was part of his sextet until the summer of 1944 although he would rejoin the group on and off during 1945-46. By then the heyday of the John Kirby Sextet was past and the music world was changing, giving Bailey other opportunities and challenges.
Barney Bigard was also looking for new opportunities when he left Duke Ellington in 1942, or at least a chance to rest. In Los Angeles he worked with the Freddie Slack Orchestra for a year and appeared on local radio shows including on several Jubilee shows. He recorded with the Capitol Jazzmen, and was part of the Esquire All American Band concert in 1944 and the related record dates which gave him an opportunity to play next to Louis Armstrong. Since the award-winning groups also included Jack Teagarden and drummer Big Sid Catlett, it could be seen as an early start for the Louis Armstrong All-Stars although that band would not actually be formed for another three years. Bigard also played with Armstrong in the 1946 movie New Orleans.
Bigard led a trio date with pianist Eddie Heywood and drummer Shelly Manne in 1944, and then joined Kid Ory’s new band which also included trumpeter Mutt Carey. While Bigard had been associated with Duke Ellington and swing since the late 1920s, his New Orleans sound and adaptable style allowed him to sound quite comfortable playing traditional New Orleans jazz. He led a few sessions of his own (which were generally a bit more modern), was on record dates led by Etta Jones, Benny Morton, Sonny Greer, Kay Starr, and Charlie Ventura, and then became a key member of the Louis Armstrong All-Stars in 1947.
So much for getting off the road! Bigard was with Armstrong during 1947-55, constantly traveling the world. The clarinetist was part of Armstrong’s tremendous success during this long period. During the first few years, he sounded consistently inspired in the freewheeling setting, particularly when the group included Jack Teagarden. But by 1953 when many of the songs performed had tight formats and more predictable solos, he was clearly bored and worn out by the nonstop travel. In 1955 when he was 49, Bigard finally left the road.
While he was certainly not worn out in 1946, Buster Bailey faced a similar crossroads in his career. The John Kirby Sextet had declined in popularity and was nearing its end so Bailey reluctantly went out on his own. He was on dates led by Trummy Young and Billy Kyle, briefly led his own band, and then switched to playing Dixieland with an unrecorded version of Wilber DeParis’ band during 1947-49. Bailey was on sessions with Sidney Bechet and then throughout the 1950s played on and off with Red Allen’s always exuberant band.
While he may have been overqualified to play the New Orleans favorites and Dixieland standards (one could certainly imagine Bailey taking a different course and performing classical music or West Coast cool jazz), he was able to work steadily, often at New York’s legendary Metropole. Bailey participated in reunions of the surviving members of the John Kirby Sextet and the Fletcher Henderson Orchestra in 1957, led some records of his own, recorded with Alberta Hunter and Victoria Spivey in 1961, worked with Wild Bill Davison during 1961-63, and was a member of the swing-oriented Saints And Sinners during 1963-64.
The last part of Buster Bailey’s life was back with his old friend Louis Armstrong. 41 years after they both joined Henderson, Bailey became a member of the Louis Armstrong All-Stars in 1965, becoming a globetrotter with the trumpeter until the clarinetist passed away on Apr. 12, 1967 at the age of 64.
Barney Bigard would also have one last period with Armstrong. After leaving the All-Stars in 1955, he had a low profile for a few years other than working with Cozy Cole’s big band during 1958-59. In 1960 Bigard was back with the trumpeter for a final year. A highlight was being on the lone record that Armstrong and Duke Ellington, Bigard’s most important employers, made together. Also during this period he teamed up with fellow clarinetist Claude Luter for a very good album in Paris that featured Bigard in top form, sounding inspired by the fresh setting.
After leaving Louis Armstrong for the last time, Bigard was semi-retired for much of the 1960s. He occasionally worked at Disneyland in a group led by guitarist Johnny St. Cyr called The Young Men From New Orleans but his only recording during 1962-67 was a fine album with Benny Carter and Ben Webster. Bigard came back to record an excellent album with pianist Art Hodes in 1968, he participated in a Louis Armstrong 70th birthday tribute concert in 1970, and he played as often as he wanted in the 1970s. Still well known in the jazz world, Bigard was part of several all-star concerts and led four final albums of his own. He still sounded very much in his prime and had a successful tour of Europe in 1978. His final recording was cut in April 1979, a septet date led by trombonist Trummy Young that included Dick Hyman and Milt Hinton.
Barney Bigard, who wrote his autobiography With Louis and The Duke, passed away on June 27, 1980 at the age of 74. While Bigard and Buster Bailey spent much of their careers uplifting the music of others (one cannot imagine the music of Fletcher Henderson, Duke Ellington, John Kirby and Louis Armstrong without them), they both rank among the top jazz clarinetists of any era.
