Swing Fever The Keith Little Band
Studio 51 Club Sessions with Ken Colyer
Membran Music Ltd. Cat. No. 222422-444 Quadromania
Box set of 4 c.d.’s
Tracks C.D. 1. At The Jazz Band Ball, That’s A Plenty, Baby, Won’t you Please Come Home, Panama, Original Dixieland One Step, Muskrat Ramble, Riverboat Shuffle, Clarinet Marmalade, Squeeze Me (Two Takes), Royal Garden Blues, That Da Da Strain (Two Takes), Carolina In The Morning (Two Takes), Weary Blues. 54:28 mins. Recorded during November 1943
Tracks C.D.2. Weary Blues, I Don’t Stand A Ghost Of A Chance With You, A Monday Date, Jazz Me Blues, Little Girl, Squeeze Me, I’m Confessin’ That I Love You, Big Butter And Egg Man, I Wish I Could Shimmy Like My Sister Kate, Who’s Sorry Now, Someday Sweetheart, On The Alamo, Wrap Your Troubles In Dreams, Wabash Blues, I’m Coming Virginia, Wabash Blues. 53:28 mins. Recorded between 1943 and 1945
Tracks C.D. 3. Sensation, Hotter Than That, Tishomingo Blues, Big Butter And Egg Man, Eccentric, It’s Right Here For You, None Of My Jelly Roll, Avalon, Swinging Down The Lane, Clarinet Marmalade, As Long As I Live, St. Louis Blues, Shim E-Sha Wabble, Trombone Preachin’ Blues. Dardanella, Skeleton Jangle. 52:46 mins. Recorded between June and September 1947
Tracks C.D.4 Dippermouth Blues, Keepin’ Out Of Mischief Now, That Da Da Strain, Black And Blue, Do You Know What It Means To Miss New Orleans, I Want To Be Happy, Medley (a) I Got It Bad, (b) September Song, (c) When Your Lover Has Gone, Singin’ The Blues, Blue And Broken Hearted, Baby, Won’t You Please Come Home, The Blues: Ole Miss, Fidgety Feet, Memphis Blues, Mandy Make Up Your Mind, At The Jazz Band Ball. 59:15 mins. Recorded between December 1951 and April 1952
Personnel would take the whole issue to list track by track but include Wild Bill Davison (cornet), George Brunies, Lou McGarity, Vernon Brown, Jimmy Archey, Cutty Cutshall, George Lugg (trombone), Edmond Hall, Pee Wee Russell, Tony Parenti, Joe Marsala, Albert Nicholas (clarinet), Gene Schroeder, Hank Duncan, Dick Cary, Joe Sullivan, Ralph Sutton, James P Johnson (piano), Eddie Condon, Danny Barker, (guitar), Bob Casey, Pops Foster, Jack Lesberg, Bill Goodall (bass. George Wettling, Zutty Singleton, Danny Alvin, Baby Dodds, Buzzy Drootin, Cliff Leeman (drums)
Whilst surfing the Internet I came across an Aladdin’s cave for jazz lovers,
www.cdconnection.com. I was pleasantly surprised to find the above album in their catalogue and at a price of $7.68 (about £4). It covers the period from 1943 to 1952, when Wild Bill was in his prime and a member of Eddie Condon’s Band based in New York, where all the titles were recorded.
The first c.d. consists mainly of tracks drawn from the amazing Commodore sessions recorded under Bill’s, Albert Nicholas’s and George Brunies names. The music is as fresh as the day it was recorded.
It would require a volume to provide a track-by-track synopsis so I will try and highlight a few of them.
All sessions romp along at a steady pace though on Baby Won’t You Please Come Home, Wild Bill shows a sensitive touch as he wrings out the introduction and his favourite clarinet player, Edmond Hall, responds in kind. C.D. 1 features cameo performances from Hank Duncan in Carolina In The Morning, Pee Wee Russell in Squeeze Me, whilst George Brunies shows his hometown roots in Muskrat Ramble and Panama.
C.D. 2 follows on with masterful displays from Lou McGarity on Ghost Of A Chance and Edmond Hall playing hot and sweet on Monday Date. Wild Bill himself plays the tonal range of his cornet to full effect on I’m Confessin’ and Wrap Your Troubles In Dreams.
C.D. 3 starts with some of the legendary Town Hall sessions involving the New Orleans veterans of Albert Nicholas, Danny Barker, Pops Foster and Baby Dodds. Bill more than tilts his hat to Louis Armstrong on Hotter Than That, with a version that blisters and drives. Jimmy Archey provides a muted trombone masterpiece in Trombone Preachin’ Blues. The final track is an unusual tune which has a New Orleans feel to it and is titled Skeleton Jangle.
C.D. 4 features some delightful piano by Gene Schroeder on Keepin’ Out Of Mischief Now and Do You Know What It Means. The medley of I Got It Bad, September Song and When Your Lover Has Gone provides ample scope for mess’rs Cutty Cutshall, Edmond Hall and Wild Bill to showcase their talents against a superb rhythm section marshalled by Eddie Condon.
All in all a wonderful series of recordings issued under Wild Bill Davison’s name with some of the finest jazzmen of any era playing at the peak of their careers. Recommended for those who love their music to swing with both fiery and sweet moments interspersed all for £4.
Sixty-three tracks of good jazz lasting for almost 3 ½ hours. Intoxication for less than the cost of two pints of bitter at your local pub with no headache in the morning. It should be provided on prescription as a tonic.
The only minor criticism is the lack of sleeve notes but at least all personnel and most dates are accounted for.
504 Label News
Mike Dines’ 504 Records label has for many years provided New Orleans music enthusiasts with some super sessions. He is now collaborating with Lord Richard to issue on c.d. material that was previously only available in limited editions on vinyl. His Louis Nelson with Barry Martyn and his band has just been released with a tribute c.d. and DVD double of Dan Pawson in the pipeline. A Kid Thomas at Kohlman’s Tavern with additional tracks by George Lewis recorded with the full Kid Thomas Band are nearing completion.
If you require further information, catalogue etc. contact:
Mike Dine Tel: (0208) 303 9719
or write to Mike Dine, 20 Clifton Road, Welling, Kent. DA16 1QA
(Enclose a first class stamp for a complete catalogue)
Review :- Gwyn Lewis
CD Review New Orleans Revival 1940-1954
Fremeaux & Associes FA 5135 (2 Discs)
These two discs cover the latter day revival of New Orleans Jazz. Ardent collectors of this period may well have most of these recordings in their possession but, for the majority of fans or newcomers to this music of this era, I would encourage them to buy this collection. These two albums cover the period of rediscovery of talents ranging from Sidney Bechet, Kid Ory, Bunk Johnson, and George Lewis to lesser known but influential artists as George Baquet, Kid Rena, Alphonse Picou and De De Pierce. The period is covered in 43 tracks and would require a complete journal to list all personnel, track-by-track synopsis and historical details so here is a précis.
Track 1, Blues For Bechet, is by George Baquet with Sidney Bechet, recorded in Philadelphia 17th. June 1940. A blues composition, it offers a rare glimpse of latter day George Baquet, who had played with the legendary bands of Buddy Bolden, Manuel Perez and Freddie Keppard. He was certainly not overawed by Bechet’s presence.
Track 2, Get It Right, is from the first revivalist recordings of Kid Rena’s Band, featuring the clarinet duo of Alphonse Picou and “Big Eye” Louis Nelson De Lisle recorded in New Orleans 1940, with Kid Rena, trumpet, and the solid Jim Robinson on trombone.
Track 3, Panama, is from the historic Bunk Johnson session of 1942 recorded by William Russell. This session became one of the leading influences of the revival with the re-emergence of Bunk Johnson from obscurity and the first issued recordings of George Lewis on clarinet. Jim Robinson here again, proving you can’t keep a good man down.
Track 4, Careless Love, introduces the powerful trumpet style of Kid Howard with George Lewis leading what was basically Bunk Johnson’s 1943 band. Classic Chris Kelly inspired innovations by Kid Howard are a feature of this track.
Track 5, Muskrat Ramble, with Kid Ory’s Creole Jazz band from a live broadcast of 1944 features one of the last sessions of the fabulous Jimmie Noone on clarinet. It is also unusual to hear Kid Ory completely fluff the final trombone coda. Proving gods can be human especially on a live one off recording.
Track 6, San Jacinto Stomp, is the 1944 recording by George Lewis’s band (Ex-Bunk Johnson) with Kid Shots Maddison on trumpet. Kid Shots was an amazingly powerful trumpet player, who only made a handful of recordings in 1944.
Track 7, Dumaine Street Drag, is a blues track from the same George Lewis / Shots Maddison session as Track 6. George Lewis leans slightly towards his own Burgundy Street Blues theme.
Track 8, My Life Will Be Sweeter Someday, is the Bunk Johnson band of 1945 fronting Myrtle Jones vocal on this gospel tune. One of the better gospel numbers that Bunk recorded at this period and an inspired vocal from Myrtle Jones.
Track 9, Creole Song, by the Kid Ory band of 1944. Featuring Omer Simeon on the clarinet, replacing the late Jimmie Noone. One of the classic jazz reissues on this cd. Kid Ory had the good fortune to feature excellent clarinet players and these recordings helped propel Omer Simeon to his latter day fame with the De Paris bands of the fifties.
Track 10, Shake It And Break It, from the 1945 American Music issue of Wooden Joe Nicholas on trumpet and Albert Burbank on clarinet. I must admit bias to this one. Wooden Joe’s style has long been one I admired and Albert Burbank one of my favourite clarinettists. Raw, emotional playing from two master musicians, who knew their craft.
Track 11, Eh Las Bas, is a Creole tune featuring Albert Burbank playing and singing. Burbank, along with Danny Barker, De De Pierce and Kid Ory could sing equally in English or Creole patois.
Track 12,Milenburg Joys, comes from the brief recording life of Sidney Bechet’s band featuring Bunk Johnson.
These were from the sides recorded in New York in 1945. Apparently the bands short life was due to egotistical differences between Bechet and Bunk even though Bechet had been one of the leading lights in helping Bunk out of retirement. Their music shows nothing of this, fortunately.
Track 13,Gloryland, is one of the first recordings of New Orleans Parade style music played by Bunk Johnson’s Brass Band in 1945. This was not a true regular working band but a band comprised of older musicians who had been involved in street music since the turn of the century. With only George Lewis as a reed section it is a change to hear bass, alto and baritone horns instead of the latter day saxophones, clarinet combinations. Kid Shots is playing the more prominent trumpet lead.
Track 14,Over The Waves, by the George Lewis trio and recorded in his bedroom in 1945. It’s amazing what the neighbours thought of it. His first issued recording of the tune that was later to become a featured part of his repertoire. Probably the most poignant version George recorded of this Mexican waltz.
Track 15, Salutation March, again by a parade style band, The Original Zenith Brass Band and featuring brass horns instead of a saxophone section. It was essentially the same personnel as 13 but with the trumpet pairing of Kid Howard and Peter Bocage, both well versed in the parade tradition. Recorded in 1946.
Track 16, I’ll Take You Home Again Kathleen, is by the Bunk Johnson trio with a young Don Ewell on piano. It is typical of the popular tunes of the day that musicians were requested to play in the dance halls and bars especially if playing in the “Irish District” of New Orleans. This track is from a recording session in New York made in 1946.
Track 17, Maryland, My, Maryland, is listed as Louis Armstrong Dixieland Six. This appears to be the Kid Ory band with Louis and his then regular clarinet player, Barney Bigard, from his All Stars plus Red Callender on bass. A rare track and worth the price of the c.d. for this track alone. Louis plays a marvellous counter point march all the way through the melody. I wonder if this was Louis being a showman, or was it something he learnt in his youth, “second lining” to King Oliver, Freddy Keppard and other first generation jazz musicians? Maybe someone out there can provide the answer? Recorded in 1946 possibly for the film New Orleans.
Track 18, Snag It, recorded in Hollywood 1947 by Kid Ory’s band with Andrew Blakeney on trumpet and another fine clarinet player, Joe Darensbourg. A good recording featuring a trumpet player who managed to outlive many of his New Orleans based contemporaries and enjoy fame in his autumn years with one of Barry Martyn’s Los Angeles based bands in the 1970’s.
Tracks 19,Shimme Sha Wabble and Track 20,Chrysanthemum Rag, feature Ory’s ex lead trumpet, Papa Mutt Carey with his band in New York during 1947. Mutt Carey enlisted old friends from his New Orleans days, Edmond Hall, Albert Nicholas, Danny Barker and Baby Dodds and made several recordings. The recording balance was far superior to those recorded in New Orleans at this period, mainly due to the colour bar preventing black musicians or mixed race bands using studios in their hometown. Papa Mutt heavily influenced the early styles of Humphrey Lyttleton and Ken Colyer and these sessions tended to be a smoother, rehearsed style of New Orleans jazz but featuring a broad repertoire of ragtime, popular songs and jazz standards.
Track 21, Les Ognons, is a number normally associated with Sidney Bechet but is featured here with Albert Nicholas in the company of James P Johnson, Danny Barker and Pops Foster. It was recorded in New York during 1947 and there is a rare vocal by Albert himself. Slightly more relaxed in style than the later recordings of this tune recorded in France by Bechet. I always admired Albert Nicholas’s style and it is a pleasing contrast to other New Orleans masters of this period.
Track 22, I Just Can’t Help Myself, is an unusual tune that I have only heard played on this recording and live, by I believe Cuff Billett, many years ago. Kid Punch Miller is the featured artist here with a similar line up to the above Mutt Carey bands and recorded around the same period in New York. These were amongst the first recordings made by Punch Miller since the late 1920’s early 1930’s and he still had a strong unique fast fingering attack on the trumpet.
Track 1, The Entertainer, from the last recording sessions by Bunk Johnson in New York 1947.He selected this band of New York based musicians. Made in 1947 they show Bunk with what he regarded as technically superior musicians to those he had recorded with in New Orleans. They featured a number of ragtime compositions and popular songs of the day. This tune came to fame as the theme for the film “The Sting” far too late for Bunk, or its composer, Scott Joplin, to have financial benefit.
Track 2, Sheik Of Araby, welcomes a return to New Orleans of Herb Morand, the trumpet player associated with that marvellous small band of the1930’s “The Harlem Hamfats”. With him on this 1949 recording are Albert Burbank and Louis Nelson (the trombone player not to be confused with Big Eye the clarinettist).
Track 3, Jerusalem Blues, a 1950 track by George Lewis based partly on “Burgundy Street Blues” and the hymn “Jerusalem”. For me any recording featuring Elmer Coo Coo Talbert on trumpet is special.
Track 4, Streets Of The City, recorded by Paul Barbarin and his New Orleans Band 1950. A lively recording, with Earnest Cagnolatti on trumpet, and featuring Albert Burbank on clarinet. A regular working band of this period and it shows in their cohesive style.
Track 5, Hindustan, gives us a flavour of the dance hall style bands of the early 1950’s. Emile Barnes is on clarinet with the strident Lawrence Tocca on trumpet. Many musicians think this style is primitive. Try playing it!
Track 6, West Lawn Dirge, is probably one of the earliest recordings of a true regularly working brass band, The Eureka. This was recorded in 1951 and added George Lewis to the reed section as a commercial offering. Emmanuel Paul on tenor sax and Ruben Roddy on alto sax make his inclusion totally unnecessary.
Track 7, Ciribiribin, has the husband and wife team of Billie and De De Pierce, piano and cornet with Emile Barnes and Harrison Brazlee on trombone. The musical inspiration for many younger Europeans such as Dan Pawson. Again recorded in 1951.
Track 8, St. Louis Blues, is one of the first recordings made by Kid Thomas and his Algiers Stompers. With Emile Barnes and Louis Nelson alongside the rhythmic trumpet style of Kid Thomas. Forerunner of the Preservation Hall sessions of the 1960’s, and a band that played for nearly 40 years.
Track 9, When The Saints, probably the most recorded and hackneyed of tunes associated with revivalist jazz.
Here it sounds fresh as played by Papa Oscar Celestin and his Tuxedo Band. Celestin tends to be overlooked when musicians talk of the revival. He always had a “class” band and his muted trumpet technique stood out. His band on this track includes Polo Barnes on clarinet and Eddie Pierson on Trombone.
Track 10, See See Rider, is a 1952 recording by Jimmy Kid Claytons Happy Pals. Jimmy was a fine trumpet man and vocalist and one of the early artists on the Icon label, which was inspirational to the “Icon Jazzmen”. Here he has Albert Burbank (he was a busy little bee at the time, everyone wanted him) and Joe Avery on trombone.
Track 11, Blues In G, provides a mix of the older, Charles Love on cornet, and younger, Billy Huntingdon on banjo, musicians both black and white of the period. (1952) Emile Barnes is on clarinet and these are basically the same musicians Ken Colyer recorded with during his brief visit and goal term. The great Albert Giles is featured on drums.
Track 12, Down In Honky Tonk Town, is a driving track. The twin trumpets of Percy Humphrey and Albert Walters (The Eureka powerhouse) show years of experience together. Their interplay is a perfect foil for George Lewis on the clarinet, assisted by what was acclaimed as the finest rhythm section of this period.
Track 13, Milenberg Joys, shows a different approach to the tune by Freddie Kohlman’s Band of 1952 to that of Bechet’s in 1945. Freddie’s version has a subtler swing, mainly due to the fact he was using ex big band men. Thomas Jefferson, a Chicagoan on trumpet and local New Orleanian, Willie Humphrey on clarinet. Freddie went on to enjoy success for many years playing at Preservation and Dixieland Hall.
Track 14, Ice Cream, one of the perennial favourites from the Los Angeles 1953 recordings made by George Lewis. This track has been issued on so many labels and I would have preferred it if they had issued the original, non-trumpet, version recorded in 1944. But it was influential, ask Chris Barber about it.
Track 15, Basin Street Blues, features one of the few white, except for Lee Collins on trumpet, New Orleans bands recorded at this period in 1953. Jack Delaney and His New Orleans Jazz Babies. There must have been just as many struggling white musicians of this period trying to keep the music alive? Unfortunately they have mostly been overlooked by history. At least Southland records of this period helped to preserve for us examples of their music and George Buck has added them to his extensive catalogue.
Track 16, Darktown Strutters Ball, is from a live, Club Hangover, broadcast of 1953. It is George Lewis’s band with female vocalist extraordinaire, Lizzie Miles. A lively recording and I reckon Lizzie must have been great to see in a club format. A close friend of Ken Colyer and correspondent to David Griffiths, she had a vibrant personality, which showed in her letters and recordings.
Track 17, Lord, Lord, Lord, You Sure Been Good To Me, is from the famous “Jazz At Vespers” album by George Lewis in 1953. This featured some of the finest New Orleans gospel music recorded by George Lewis. Many may have this either on vinyl or on Barry Martyn’s American Music c.d. You can’t have too much of a good thing!
Track 18, Darktown Strutters Ball, featuring Kid Ory’s band of 1954 at San Francisco’s Club Hangover. By this time the busy Albert Burbank had been enticed to leave New Orleans and tour with Kid Ory. (Several band recordings were made during this period and Burbank’s playing was literally on fire, apparently much to the disgust of his boss who had an ego to maintain) Alvin Alcorn plays the trumpet on this session and shows a much later musical style to that of Papa Mutt Carey.
Track 19, Somebody Else Is Taking My Place, is a pop song of the day, played by a George Lewis band devoid of the Bunk Johnson alumni. With Percy Humphrey on trumpet, Johnny St. Cyr on guitar and Jeanette Kimball on piano it is a totally different sound. Refreshing from the driving sound normally associated with George Lewis in 1954.
Track 20, Just A Closer Walk With Thee, features the above band with Sister Elizabeth Eustis, a gospel singer, added. It is a contrast to the versions George recorded in 1953 in Los Angeles.
Track 21, High Society, is a number that has long been associated as a test piece for clarinettists. Here is the version from Oscar Papa Celestin featuring Alphonse Picou on clarinet, the musician credited with creating the clarinet solo. Picou does it justice. (There is a video recording available of Picou playing this on a television broadcast). Pure Magic!! What a lovely way to close a historic set of recordings!
Here we have two discs of classic 1940/50’s New Orleans jazz. Covering the full range of music from spirituals, marches, blues, ragtime and popular songs of the day. Most of the tracks originate from William Russell’s American Music label with additional material from George Buck Junior’s Jazzology label.
These albums are budget priced with an informative booklet, mainly in French. At least the discography needs no translation. They include a selection of musicians from New Orleans recorded in their home city, San Francisco and New York often with contemporaries you would not associate with the idiom. These were the recordings and musicians that inspired the likes of Ken Colyer, Acker Bilk and Chris Barber to pursue their long musical careers.
It is a pleasure to have albums where you can compare the trumpet leads of Louis Armstrong, Kid Clayton and Punch Miller, the reeds of Albert Nicholas, Sidney Bechet and Emile Barnes, trombones of Jim Robinson, Kid Ory and Eddie Pierson and drummers of the calibre of Baby Dodds, Albert Giles, Louis Barbarin and his brother Paul. These albums produce a sampler of the wealth of material that is now available on c.d. as well as a glimpse of a New Orleans that disappeared long before Katrina.
They also provide a chance to hear how New Orleans jazz evolved when played in locations away from the Crescent City. Highly enjoyable music and guaranteed to keep those feet tapping.
For those with Internet access try cdconnection.com for competitive prices but it is available in the UK from specialist dealers.
Review:- Gwyn Lewis
“Swing Fever” – The Keith Little Band
American Music (AMCD-125/AMCD-126)
Musicians: - AMCD-125 Tracks 1 to 24 Bill Kleppinger (mandolin),
Bernie Shields (Hawaiian steel guitar), Edmond Souchon (guitar and vocals 19 & 21), Frank “Red” Mackie (bass)
Tracks 25 to 29 Frank Amacker (guitar)
Titles 1. Tiger Rag, 2. Clarinet Marmalade, 3. High Society/ Maryland my Maryland, 4. Tico Tico, 5. That Old Gang Of Min (all recorded Mar.20 1949), 6. Winter Night/Stumbling, 7. Who’s Sorry Now, 8. Clarinet Marmalade, 9. Dixieland One Step, 10. Jealous, 11. Muskrat Ramble, 12. Tico Tico, 13. Floating Down That Old Green River, 14. Bei Mir Bist Du Schön, 15. Sunrise Serenade, 16. Medley In D, 17. My Josephine, 18. High Society/Maryland My Maryland, 19. Lazy River/ Changes Made, 20. Donna Clara, 21. Floating Down That Old Green River, 22. Raggin’ The Scale (2 incomplete takes), 23. At Sundown, 24. When The Saints (Recorded August 1954), 25. A Handful Of Cards, 26. Gettysburg March, 27. Lover Come Back To Me, 28.“A” Rag, 29. Liebenstraum. (Recorded February 1958)
Musicians: - AMCD-126 Tracks 1 to 9 Bill KKleppinger (mandolin),
Bernie Shields (steel guitar), Bill Kleppinger (mandolin), Edmond Souchon (guitar & voc. 7), Frank “Red” Mackie (bass)
Tracks 10 to 25 Charles Hardy Jnr. (ukulele and voc.13), Edmond Souchon (guitar and voc.17 & 22). Possibly Frank “Red” Mackie bass on 24.
Tracks 26 & 27 “The New Orleans Owls” featuring Rene Gelpi (banjo) and Lester Monk Smith (ukulele).
Titles 1. That Old Gang Of Mine, 2.Floating Down That Old Green River, 3. High Society, 4. Who’s Sorry Now, 5.Tiger Rag, 6. Tico Tico, 7. Up A Lazy River, 8. Donna Clara, 9. When The Saints. (Radio Broadcast March 1950) 10. Ukulele Marmalade, 11.Dixieland One Step, 12.Tea For Two, 13. At The Storyville Ball, 14.Opus 4 (Ragtime Gal), 15. Little Coquette, 16. I’m Nobody’s Baby, 17. Bill Bailey, 18. High Society, 19. I Had A Dream Dear, 20. Ida, 21. Who’s Sorry Now, 22. Walkin’ The Dog, 23. That Old Gang Of Mine, 24. Little Coquette (trio only), 25. Little Rock Getaway (Recorded December 1950) 26. West End Romp (Recorded 14th. April 1926) 27. That’s A Plenty (Recorded 14th. April 1927)
George Buck has finally released these long awaited albums of legendry New Orleans musicians. These albums feature not only the famous Folkways sessions of the late 1950’s but also private sessions and live broadcasts. This is probably one of the finest gems to come from the American Music label and is highly recommended.
For readers unfamiliar with this band, they were the oldest continuing jazz ensemble in New Orleans at that time (1950’s), having been founded and playing since 1911. Its members were drawn from varying professions and had formed originally from a group of students. They played for society parties and local gigs and were only known to a few until their private recordings became available as collectors items in the late 1950’s. Samuel Charters recorded some of these tracks, which were featured on the Folkways catalogue, thus reaching international acclaim. (See article re. Smithsonian Institute recordings)
The music on these albums reflects an era of New Orleans music ranging from ragtime to an early form of R&B. The bands repertoire is from pop songs of the day
Lazy River, At Sundown, to jazz standards, High Society, Clarinet Marmalade, Muskrat Ramble and When the Saints.
Tico, Tico has a definite Latin American feel to it. (I always remember Clarence Nugent whistling it during our Icon days), whilst, Donna Clara has that Spanish tinge that Jelly Roll Morton liked. Walkin’ The Dog was a taster of the later R&B juke box numbers that came out of post-war New Orleans.
There are too many tracks each with delightful moments to review individually (56 on both c.d.’s) though one of my favourites must be the Picou clarinet solo on High Society being played expertly by Bill Kleppinger on mandolin. The band play with a light swing and certainly can play “hot” on numbers like Tiger Rag and Dixieland One Step (which also shows their ragtime influence).
Their forte is a tight ensemble sound with a subtle blend of instrumentation and collective improvisation. Ballads like Jealous and Tea for Two are played sweetly and with lilt.
To add to the enjoyment of this album additional material from ragtime guitarist Frank Amacker and The New Orleans Owls are included.
Frank Amacker plays a second theme on Gettysburg March, I never knew existed. His was a talent rarely recorded and it is good that he at last gets some exposure.
The inclusion of 2 tracks from the New Orleans Owls gives the listener a chance to hear the unique combination of mandolin and banjo in a traditional jazz band format of the late 1920’s. (A tradition still continued locally by the excellent “Phil Wall’s Jazz Cardinals”). The musicians involved, Rene Gelpi and Lester Monk Smith , belonged to The Invincibles String Band, contemporaries and colleagues of The Six and 7/8 String Band.
Included in this double set of c.d.’s is an informative booklet with rare photos from Dr.Edmond Souchon’s archives. This album was a long time in the pipeline from George Buck and Barry Martyn but was well worth the wait. Put your money down and hear some of the sweetest music to come out of New Orleans. Pure joy to listen to!!.
Gwyn Lewis
Personnel: Ken Colyer (trumpet and *vocals), Sammy Rimington (clarinet and alto sax on track 12), Pete Dyer (trombone tracks 1 to 11), Barry Palser (trombone track 12), Peter Morcombe (banjo tracks 1 to 7), Alan “Jinx” Jones (bass tracks 3 to 12), Ray Smith (piano tracks 8 to 12), Colin Bowden (drums)
Recorded: 1st. January 1972 (tracks 1 to 7) 12th. February 1972 (tracks 8 to 12)
Tracks: (1) Blue Skies, (2) Sweet Fields, (3) *Ain’t Misbehavin’, (4) Deep Bayou Blues, (5) *My Blue Heaven, (6) Wolverine Blues, (7) Don’t Go Way Nobody, (8) Everywhere You Go, (9) Maria Elena, (10) Sugar Blues, (11) Should I Reveal? (12) Bogalusa Strut. Total Playing time 71.49minutes.
John Long recorded these sessions, the last to be recorded at Studio 51 Club in Great Newport Street. Ken Colyer had retired from full time band leading due to ill health, (Johnny Bastable taking over the band and hiring John Shillitoe in Ken’s place) and used a selected group of likeminded musicians to play occasional gigs in his old club. Unfortunately the club closed its doors for good in May 1972 just after these were recorded. (These recordings have literally come hot off the press. Released September 2007).
These recordings show Ken in good spirits and he is playing with authority and power. The first two tracks sound balance seem slightly strange due to the lack of a bass but are taken at a brisk pace. Colin Bowden and Pete Dyer help to overcome the missing bass player. Sammy Rimington turns the clock back 12 years and plays a supportive role similar in style to his early days with Colyer’s Jazzmen. His inventive phrasing weaving intricate patterns around Ken’s clear lead. Blue Skies is bright with Ken firing on all cylinders and Sweet Fields has good solos from all front line members and a typical Colyer up-tempo ride out. (Just like Ken’s old days)
Ain’t Misbehavin’ features a vocal from Ken complete with mistakes, which he tries to cover up.
For me Deep Bayou Blues is the best track. Pete Dyer plays an almost Jim Robinson like solo with interplay from Sammy and Ken. Ken could really play a blues, tearing every note from his horn. Sammy pays tribute to his mentor George Lewis, with some poignant clarinet work. There is also some tasty banjo playing from Pete Morecombe. Lovely rendition of the classic George Lewis number.
My Blue Heaven is another vocal feature for Ken Colyer whilst Wolverine Blues reminds me of another recording Sammy had made several years prior on the “77 Label” with Ken. Both tracks bounce along with some tight ensemble passages that have become synonymous with Colyer’s approach.
Don’t Go Way Nobody romps along with a nod in the direction of the famed George Lewis version.
Ray Smith joins the band for the last 5 tracks and adds some depth to the rhythm section with his ragtime style of piano playing. A worthy successor to Ray Foxley from Ken Colyer’s classic mid 1950’s line up. His solos remind me of Don Ewell’s work with Bunk Johnson’s Band, especially on Everywhere You Go.
Maria Elena is played at a relaxed pace whilst another fine example of blues playing by Ken follows on with Sugar Blues. Should I Reveal storms along with Sammy at his lyrical best. Bogalusa Strut features Barry Palser on trombone and Sammy Rimington on alto sax paying homage to the great Sam Morgan recordings.
All in all, this is one of the better latter day Ken Colyer recordings. It was good to hear two of my favourite British musicians, Sammy Rimington and Pete Dyer, playing together with Ken. Ken Colyer leads the band as only he could with drive and passion. His use of dynamics and mute techniques were unique and there are numerous examples on this album. The rhythm section, marshalled by Colin Bowden, is as tight as any heard on earlier works of The Jazzmen. This album is a delight to listen to and a tribute to not only Ken Colyer, but to the overlooked jazzmen, Peter Morcombe, Alan Jones and Pete Dyer.
Both Colin Bowden and Ray Smith are active today and playing well whilst Sammy Rimington is one of our busiest international stars. Pete Dyer has not been too well of late and plays infrequently.
Highly recommended and on a British label available at any good local dealer, the price should be in the region of £11/£12. Over 70 minutes of good happy jazz played by some of our finest musicians from the old New Orleans school.
Gwyn Lewis Sept 2007