Hot & Sweet Sounds Of New Orleans

Hot & Sweet Sounds Of New Orleans
  1. Bouncin' Around 0:00

  2. Smoke House Blues 0:00

  3. Brush Stomp 0:00

  4. Krooked Blues 0:00

  5. Tampeekoe 0:00

  6. Original Dixieland One Step 0:00

  7. Sweet Lorraine 0:00

  8. I Aint Gonna Tell Nobody 0:00

  9. Mobile Stomp 0:00

  10. Black Bottom Stomp 0:00

  11. Mable's Dream 0:00

  12. Stock Yards Strut 0:00

  13. After The Ball 0:00

  14. Froggie Moore 0:00

  15. Old Fashioned Love 0:00

  16. Weatherbird Rag 0:00

  17. Farewell Blues 0:00

 

NOTES: Check the apples at your local grocer. Nowadays you'll find only one or two varieties - those that polish up the best and travel well. In the old days things were different: instead of two, there might have been ten or even twenty varieties - some sweet, others sour, and they would be in a rainbow's spectrum of color.

The situation in New Orleans jazz today parallels that of your grocer and his apples. There is an unwavering lineup of six or seven instruments, and heaven forbid that it include a saxophone, let alone a violin! There is, as well, the homogenized style of "trad" or "Dixieland" polished smooth but often monotonous.

How much more diverse were the great New Orleans bands of old! They had as few as five or as many as ten pieces. Often they included a saxophone, sometimes even the now extinct C melody sax. Many early groups also used a violin. Some dropped the piano, others dropped the bass or even drums. Each group had its own voice; a distinctive sound. Nor were there set "jazz" tunes. Anything would do, including show tunes, ballads, rags, fox trots, circus and novelty numbers, and blues.

This recording by LRJE attempts to broaden the range of authentic New Orleans jazz being played today. Eleven musicians come together in ten different combinations employing original instruments made between 1895 and 1922. The tunes are equally diverse and span the decades of New Orleans' musical flowering in the late nineteenth and early twentieth centuries.

Each arrangement is rooted in a classic recorded performance, wherever possible the "benchmark" version that was most widely appreciated and even copied by musicians at the time. No attempt has been made to update or "improve" these early masterpieces. They speak for themselves.

PERSONNEL: John Chaffe, tenor, plectrum and six-string banjo, guitar; Henry Duckham,alto sax and clarinet; Tom Ebbert, trombone; Charlie Fardella, cornet; Jacques Gauthé,soprano and alto saxes, clarinet; Vince Giordano, bass sax; John Joyce, drums, washboard; Marilyn McDonald, violin; Walter Payton, bass, Eb helicon; John Royen,piano; Fred Starr, Bb and C clarinets, C melody, tenor and baritone saxes; Roy Tate,trumpet, cornet. CREDITS: Recording date - June 1986. Location - Oberlin College, Oberlin OH. Producer - S. Frederick Starr. Executive Producer - Bob Erdos