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The New Orleans Klezmer???s third CD is a bit of a departure from their funky/ jazz New Orleans style. I think somebody challenged them to play “traditional Jewish music” and they took it on. The result is a return to the roots of the style but still much more than Trad Klez. When the band focuses on the old style we loose some of the free-form sax duets of previous performances and the beat is not quite the same, but this is by no means a boring record. Just more traditional ;-)
This is a fun thing that actually works: take a small jazz dance combo, add flavors of Ska, Reggae and 50???s lounge (cha-cha, rhumba, etc.) in a big cocktail blender – mix well and serve to all those Gen-XYZ types that think Ska is the Next Big Thing.
Yes it is a concept who???s time has come: Ska-Lounge-Kore! In spite of the calculated marketing effort this is actually a good record. The jazz has value (if a bit light,) the ska beat is understated (no hiccupping t-bones here,) there is some very good Hammond B-3 playing. I think people could really dance to the music. The last track reminds me somehow of that 60???s song “Spooky”–Dave Richoux
The following statement is not true, but what I heard when I first listen to this recording: The Art Ensemble of Chicago was on a world tour, stopped in deepest Africa. Somehow they lost a trombone & sax after the concert and the locals got hold of them – creating a new tradition – honk & squirt horns with roots talking drum and percussion.
Actually, the EHE has been around Chicago for a long time blending African music with jazz. In this current form the personnel has almost totally changed, but the spirit is still strong. There is a authentic, tropical, hot feel to this recording – very much in keeping with the tradition.
Trombonist Bowie (no relation to Lester, I think) is also leader of Defunkt, worth a listen.
What an interesting project – get together some of the best jazz, R&B, brass band, and rock musicians working in New Orleans today (both native and “imported”) and come up with a set of great arrangements of that special Big Sleazy sound – this has done it to a T. Mostly instrumental and in a great deep groove throughout.
This is not a revival project – everything sounds quite fresh, but you will not mistake that New Orleans beat.
Try any track – you won???t be dissapointed.
(Dew Drop Out refers to the now closed nightclub the Dew Drop In – the place just about every black musician on tour since the late 30???s played when in New Orleans – from Ellington to Brown (Chas & James) to Little Richard, as well as locals like Professor Longhair and vocalist Bobby Marchan.)
Here is something a bit different in 90???s jazz – driving, inventive creation, semi-improv, with a lot of guts and fury, but no saxophones! Actually the feel of this group can shift dramatically from a low pulse to a brass explosion, but there is not any “Squonky” stuff here. Much better than dinner jazz – and a lot of fun with some goofy instruments and a mix of percussion.
Mazurek has recorded 3 albums in a more “bop” style, but here he is trying out a lot of new directions and flavors from all over the world.
I like this one a lot.
Indigo Swing is a local (SF) band that has been at the forefront of the “Swing
This is a reissue of the Rebirth???s first LP. Back when it first came out in 1984, I tried to add it to KFJC, but the MD at the time would not take it. How times have changed! Although the musicians on this record were barely out of high school, they played with a bright, full, driving quality that has lead to a true “Rebirth” of the New Orleans Brass Band tradition (even more than their friends “The Dirty Dozen” who were always a more arranged group.)
All the tracks are hot, so just pick one!
Do not confuse the Crown Royals with the Royal Crown Review. This Quartet is a
Back when John Lurie started the Lounge Lizards, the term we used for that
Another hot recording from the New Orleans Klezmer All-Stars, those Klezmers
Update: Most of these band members have gone on to form other groups – most notably Ben Ellman and Stanton Moore now mostly play as “Galactic.”
I first saw this group playing in a coffee house in New Orleans and they just
The band started as kids on the streets of New Orleans but they soon moved to
A Big Guitar kinda blues, but with a heavy Jazz/ 40′s-50′s R&B influence from
Oh ! It’s that multi-talented guy: Steve Allen, again. He’s not just a
Barbara Lamb is a country fiddling /bluegrass /western swing / jazz/ cowgirl
Right from the Quad-Cities (Davenport,Iowa; Rock Island and Moline Il) comes
Even an ode to Madge, The Dishwashing Lady!
I am always glad when a new tuba driven recording is released. Bob Stewart has been playing his horn in a variety of jazz, rock, blues, and studio groups for years. One of them, Gravity, was a 4 tuba ensemble that recorded with Taj Mahal back in the early 70′s. On this new CD Taj comes back to redo two blues songs from that session – Big Kneed Gal and Fishin Blues (JOE ED — TAKE NOTE). The impact of 4 bass horns is missing, but rest of the musicians fill in fine. The other compositions show the many qualities of the tuba – rhythmic riffage, slow ballads, bop, even a fast ragtime.
In 1954 San Francisco was still a major city for traditional/dixie Jazz (after the revival in the mid 40′s) and Jack Teagarden was a All-Star, late of Louis Armstreong’s band, on his own out on the West Coast. His band became a regular at the Club Hangover and his sister, the late Norma Teagarden joined him on piano. The shows on this recording were broadcast on CBS with the added treat of solo piano work from Lil Hardin Armstrong – one of the members of the Hot Five and Seven, Louis Armstrong’s first jazz band – and a major composer of jazz tunes in her own right.
Most of the tracks are announced on play through, but if you cue up to a
This is a New Orleans Street-funk/Jazz band in the basic style of the Dirty Dozen and Rebirth with a bit of a difference: They are not little black kids from the wards. They are skilled and inventive studio quality musicians who really know their way around their horns. Kevin Clark and Barney Floyd are both powerful high note trumpeters and Matt Perrine is both fast and solid on the Sousaphone. The rest of the band in equally good.
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