by Scott YanowSweet Emma Barrett, who was at her most powerful in the early 60s, became a symbolic figure with the Preservation Hall Jazz Band, playing in a joyous but obviously weakened and past-her-prime style on world tours. Barrett spent most of her career living and playing in New Orleans, including gigs with Oscar Papa Celestin in the 1920s and later with Armand Piron. Sweet Emma, who gained the nickname of the bell gal because she wore red garters with bells that made sounds while she played, was purely a local figure until 1961 when she made her finest recording, a Riverside set with the future members of the Preservation Hall Jazz Band. Ironically, as Barrett (through the groups well-received tours) became better known, her playing and singing swiftly declined due to her age, and after a 1967 stroke, she continued to perform despite having a largely paralyzed left hand. In addition to the recommended Riverside set (reissued on CD), Barrett led less significant sessions for GHB (1963-1964), Preservation Hall, Nobility, and a 1978 album for Smoky Mary.