![]() Johnny Parker, Pat Hawes, Tony Pyke and Big Bill John Handy, Punch Miller, Wilbur De Paris, Geoff Cole, Brian Carrick, Thomas, Kid Sheik, Milton Batiste, Sammy Rimington, Ken Colyer,Ĭapt. This CD, to see the difference between them. That the American bands have 'developed' the style, whilst the European ones The resultant acquisition of this CD only partly solves my dilemma due to theĮuropean content of so many of the bands. I have managed to get some West Coast CDs (reviewed elsewhere on Traditional jazz, as opposed to adding to my collection of classic jazz One of the reasons for me wanting this CD, is that IĪm an English born Kiwi, and my jazz collection shows this with British andĪustralian bands dominating (though my cyber mate Bengt Despite the lack of dating, I will put my head on the line (and Big Billīissonnette the label owner will be steaming up his train if I have it wrong)Īnd say that the later the track, the more likely the band is to be European orĪt least feature European bands-men. Only one of the tracks is dated, though case notes from some other JazzĬrusade CDs I have from which the albums tracks come, are dated from the lateĩ0s. Of the 18 bands playing, four are EuropeanĪnd a further six have British band members. Music from the Jazz Crusade confirms the importance of Europe Traditional jazz, right? In fact the centre of interest for traditional jazzĪnd Scandinavia in particular. So, at least it is safe to say that the good old US of A is the home of The locals neglect the jazz for Rhythm and Blues and Cajun Traditional jazz, right? Well, not anymore, according to a cyber friend of mine ![]() What Ory Say, I Know That You Know, Southern Blues, Piece, Tishomingo Blues, Down Home Rag, Ice Cream, Nearer My God To Thee, Do They All Asked For You, Red Wing, Smile Darn You Smile, My Gal Sal, Joe Avery's The Sheikh Of Araby, Bye & Bye, Sweet Mama, Probably why he made few studio recordings during this period.ThisĪlbum is an excellent pot puri, provided you use the One thing mars Ken's tracks, too much bass. On "Sweet Sue" which is made the more noticeable by the excellent use However you must listen to the banjo by Johnny Bastable The best of his tracks has to be "Mable'sĭream". Trumpet, or Johnny Mortimer's tailgate trombone, its It is not Just Acker's clear clarinet, Colin Smith's excellent The definitive version of " Perdido Streetīlues". "Creole Jazz", a very good "Papa Dip", and what I feel is Acker Bilk's three tracks include a typical 60's clarinet solo on Welsh's three tracks are competent, but not memorable. The third track is Monty playing with himself, on clarinets. Tuba on the bass, I saw Monty play many times from 1961-69 yet never once saw a Sunshine's band plays two good tracks, one of which is noticeable for having a Is very mainstream but is saved by Pat Halcox's spirited playing on muted trumpet. Track "Phil's Late" as it points the way Chris Barber was heading. Stomp" is excellent and the highlight of the track. Non-purist to say so Ian Wheeler's alto sax playing on "Stevedore Traditional Jazz album, in fact I haven't evenĬhris Barber's Jazz Band contributes the first four tracks. How Nat Gonella and his Jazz Band get to be on a One thing I have not managed to work out though is Having said that this is still good stuff, This marks the time that Traditional Jazz was sliding into Trad and the tracks were deliberately kept short to fit onĪ 45 should the desire be there. Musicians thought that you needed electricity make an George's Rag, Lazy River, Stevedore Stomp/ Tuxedo Rag, Creole Love Call,ġ919 Rag/ Oh Monah, Wild Man Blues/ Dardanella, Montmatre, Hindustan/Ĭreole Jazz, Perdido Street Blues, Papa Dip/ South,Ī selection of reissued tracks from before that time when all young THE BEST OF BRITISH TRADITIONAL JAZZ 1960-61
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