#1 - Bill Coleman (William… Read Full Bio ↴There are two artists named Bill Coleman:
#1 - Bill Coleman (William Johnson Coleman, Paris, Kentucky, August 4, 1904 – August 24, 1981, Toulouse, France) was a jazz trumpeter.
In 1909 his family moved from Kentucky to Cincinnati. His first musical explorations were on clarinet and C melody saxophone, but he eventually settled on trumpet. As a young man he worked as a messenger for the Western Union telegraph company. He studied with Cincinnati trumpeter Theodore Carpenter, and played in an amateur band led by trombonist J.C. Higgenbotham. He began professional work in Cincinnati with bands led by Clarence Paige and Wesley Helvey (both bands his teacher Carpenter worked in) then with Lloyd and Cecil Scott. In December 1927 he traveled with the Scott brothers to New York City, and continued to work with them until the late summer of 1929, when he joined the orchestra of pianist Luis Russell. His first recording session was with Russell on September 6, 1929, and he solos on the tune "Feelin' the Spirit." By December 1929 he had left Russell (partly due to the majority of the solo work going to section mate Henry "Red" Allen), but would rejoin the band on two more occasions during 1931-32.
He rejoined the Scott brothers (then known as Cecil Scott's Bright Boys) in late 1929, participating in a Victor recording session, and continued to work with them through the early part of 1930. He worked with various New York based bands until rejoining Luis Russell in 1931.
His first trip to Europe was with the band of Lucky Millinder from June until October 1933, after which he returned to New York to work with bandleaders Benny Carter and [(Teddy Hill)], whom he recorded with in early 1935. While with the Hill band he participated in a freelance recording session with pianist Fats Waller, waxing a number of memorable sides.
Coleman returned to Cincinnati briefly in the summer of 1935, then headed to Europe, playing a residency in Paris with entertainer/vocalist Freddy Taylor (whom he had worked with in the Lucky Millinder band). While in Paris he recorded with guitarist Django Reinhardt and made several freelance sessions under his own name. In late 1936 he traveled to Bombay, India, playing with Leon Abbey's Orchestra, then back to Paris in April 1937, joining the band led by American-born saxophonist William T. Lewis (the band known as Willie Lewis and his Entertainers).
After a sojourn to Cairo, Egypt, Coleman returned to the U.S. in March 1940, and worked throughout the 1940s with a variety of top groups including bands led by Benny Carter (1940), Teddy Wilson (1940-41), Andy Kirk (1941-42), Ellis Larkins (1943), Mary Lou Williams (1944), John Kirby (1945), Sy Oliver (1946-47), and Billy Kyle (1947-48). During this same time, Coleman participated in many recording sessions with top jazz stars such as Lester Young, Billie Holiday and Coleman Hawkins.
He returned to France in 1948 and spent the rest of his life there in part due to racial segregation. Like many American musicians, he felt he received the recognition he deserved from European audiences, and during the decades he lived in France he traveled and performed in clubs and concert venues all over Europe. In 1978, he performed at the first Jazz in Marciac festival (along with tenor saxophonist Guy Lafitte), later becoming an honorary president of the festival organization.
In 1974 he received the Ordre National du Mérite.
From his first solo on record with the Luis Russell Orchestra, Coleman's playing exhibited a lighter sound more akin to Jabbo Smith than Louis Armstrong, yet his phrasing is more in the Armstrong vein than that of Smith. In many respects his playing was stylistically related to the playing by other swing era trumpeters such as Roy Eldridge and Buck Clayton.
#2 - Bill Coleman is a musician from Cork, Ireland, who released his debut album, "I'll Tear My Own Walls Down", in February of 2007. His music has been compared, rightly or wrongly, to Elvis Costello and the Cure, but what definitely distinguishes him from the hordes of talented young men with guitars are his glorious sense of melody and heartfelt, but never saccharine, vocals.
http://www.bcoleman.com/
Between the Devil and the Deep Blue Sea
Bill Coleman Lyrics
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You've got me in between the devil and the deep blue sea
I forgive you, 'cause I can't forget you
You've got me in between the devil and the deep blue sea
[Repeat: x2]
I ought to cross you off my list
But when you come a-knocking at my door
And I come running back for more
I should hate you, but I guess I love you
You've got me in between the devil and the deep blue sea
You've got me in between the devil and the deep blue sea
The devil and the deep blue sea
The song Between the Devil and the Deep Blue Sea performed by Bill Coleman is a song about a man who is caught in between his desire to get over someone he does not want to be with anymore and his inability to let go of this same person. In the first verse, he mentions that he doesn't want this person, but he would hate to lose them. This line suggests that there may be some benefits to the relationship that he would miss out on if he ended it, even though he doesn't necessarily want to be with this person. The title of the song alludes to the saying "between a rock and a hard place," which reflects the man's difficult situation of being caught between undesirable options.
The second verse voices the man's frustration with his own weakness for this person. Despite knowing that he should move on and forget this person, the temptation to reconnect is too strong. He mentions that this person continues to come knocking at his door, and even though he should cross them off his list, he finds himself running back for more. This verse suggests that the man is aware of his own flawed thinking, but he cannot help himself from giving in to this person's pull on him.
The chorus repeats the title phrase, adding emphasis to the man's difficult position of being caught between two undesirable options. He recognizes that he should hate this person, but he cannot bring himself to do so, suggesting that there are some unresolved feelings or attachments that he has yet to confront. Overall, the song provides a nuanced portrayal of the emotional complexities of relationships and the difficulty of fully letting go of someone who has become a part of our lives.
Line by Line Meaning
I don't want you, but I'd hate to lose you
I have no interest in you, but I also do not want to miss out on any benefits of having you in my life.
You've got me in between the devil and the deep blue sea
You have put me in a difficult and risky situation with limited options.
I forgive you, 'cause I can't forget you
I have decided to let go of my anger towards you, but I still cannot erase you from my memory.
I ought to cross you off my list
I should remove you from my life and move on.
But when you come a-knocking at my door
However, when you approach me and show interest, I become weak and cannot resist.
Fate seems to give my heart a twist
My emotions become intense and uncertain when I encounter you again.
And I come running back for more
I cannot resist the temptation and keep coming back to you.
I should hate you, but I guess I love you
Despite all your flaws and mistakes, I still have feelings for you.
You've got me in between the devil and the deep blue sea
You have put me in a difficult and risky situation with limited options.
The devil and the deep blue sea
An idiomatic expression used to describe a situation involving two equally unfavourable options, often forcing a difficult decision.
Lyrics © S.A. MUSIC, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Harold Arlen, Ted Koehler
Lyrics Licensed & Provided by LyricFind