Robert “Bootsie” Barnes

Robert “Bootsie” Barnes is an ideal exemplory case of a jazzman who loves local hero position in his city but is small known elsewhere. Because the ’50s, the big-toned, hard-blowing tenor saxman (a cousin from the past due Duke Ellington clarinetist Jimmy Hamilton) continues to be well-known in Philadelphia jazz circles, but he isn’t popular beyond Philly. Barnes was raised in Western world Philly, and in the ’50s, he became quite noticeable for the Philly jazz picture, where he performed alongside Lee Morgan, Philly Joe Jones, Al “Tootie” Heath, Lex Humphries, Spanky DeBreast and many more. Another Philadelphian he frequently used was his friend Costs Cosby, who began being a jazz drummer before making a decision that acting, not really jazz, was his contacting. Barnes was utilized by a number of organists in the ’50s and ’60s, including Jimmy Smith, Jack port McDuff, Jimmy McGriff, Shirley Scott and Don Patterson. In the ’70s, he toured briefly with Sonny Stitt, as well as the ’80s and ’90s discovered him continuing to try out frequently around Philly, where he used such local people as Scott, Mickey Roker, organist “Papa John” DeFrancesco (Joey DeFrancesco’s dad), trumpeter John Swana and vocalist Lou Lanza. Barnes finally loved some national publicity when he was prominently presented on DeFrancesco’s 1994 Muse day, Comin’ House, and he got an extended overdue opportunity to record like a innovator when the tiny, Philly centered French Riviera label documented 1995’s You Keep Me Breathless (Barnes’ first recording as a innovator) and 1998’s Hello! French Riviera thought we would emphasize Barnes’ even more lyrical part, and neither of these ballad focused albums included many types of the sort of fast, intense playing that were a big a part of his live shows.