The Jazz Crusade Audio Sampler Catalog
JCCD-3023: Traditional Jazz Around the World -
Vol. 1[Australia/Scotland/Sweden]

Personnel: Rob Reid, Ola Palsson [tp], Nick Polites, Jake McMahon, Bengt "Bomult" Behmer [cl], Charlie Powell, Jack Weddell, Jens "Jesse" Lindgren [tb], Violet Milne, Lars Tidholm [pn], Ashley Keating, Goran Stachewsky [bn], Sebastian Girardot, Robin Galloway, Tomas Ekstrom [sbs], Kevin Bolton, Kenny Milne, Ulf Gripenholm [dm]

Songs:
  Don't Go 'Way Nobody, Deep Bayou Blues, Long Long Ago, Ramblin' Rose, Johnny Casimir's Whooping Blues, All I Do Is Dream of You, See See Rider, Babyface, True, Underneath Hawaiian Skies, Climax Rag, Hesitation Blues, Breeze, You Tell Me Your Dream, Chimes Blues.

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Reviews for:
JCCD-3023: Traditional Jazz Around the World -
Vol. 1[Australia/Scotland/Sweden]

IAJRC Journal - U. S. A.

Australia/Scotland/Sweden - At least one American jazz critic did not like this compact disc because, it seems, three foreign bands performed traditional jazz, an American idiom. No wonder we are sometimes called "Ugly Americans!" Each of these bands performs quite well in the traditional jazz styles, displaying some authentic New Orleans elements that many American bands have long neglected. There are splendid solos in each band and each band performs particularly well in New Orleans style ensemble with superb counterpoint from the front line and piano.
The musicians in each of the foreign bands do a very fine job with interesting seldom heard tunes, and we in the United States should be proud of the fact that jazz, an uniquely American musical art form, is appreciated by musicians and listeners throughout the world. Traditional jazz belongs to the world.
- George Borgman


American Rag - U. S. A.

Volume One of Traditional Jazz Around_The World starts a series which will present, according to Jazz Crusade's publicity, "topnotch bands from countries we have not yet covered." Not surprisingly, the three combos featured on this 67-minute collection of 1996 sessions all deliver llie Dixieland style that is the favorite of Jazz Crusade's owner. Bill Bissonnette - the uptown New Orleans style that became world-famous through the recordings of Bunk Johnson and the early Preservation Hall musicians.
Many uptown buffs believe with religious fervor that it is the only original and authentic way of playing Dixieland, all other styles being watered down, commercialized or otherwise holding some less legitimate and worthwhile status. As a result, there are uptown circles which will quickly exorcize any artist who executes a lick or variation thereof which can't be round in the recorded legacy of the idiom's icons - Johnson, Kid Thomas, Lewis, Albert Burbank, Jim Robinson, Louis Nelson, Alton Purnell etc. You will look long and hard, for example, if you want to hear an uptown trombonist toss off a lip-trilled triplet, something that has been a common sliphom device everywhere else since Teagarden hit the big time. This pernicious mindset causes too many of today's uptowners to behave as if they have a sacred duty to avoid making recordings which add anything of significance TO previous ones in the idiom. You can imagine how attractive their products are to a broad-based listener/ collector who already owns many of those previous releases. As noted above, the Chris Blount CD suffers noticeably from this problem. Judged against this background, Traditional Jazz Around The World is a comparative breath of fresh air. Each band performs with spirit and drive, displaying a distinctive musical persona within the idiom.
Jcsse's New Orleans Jazz Band, from Sweden, is a septet using the same instrumentation as Chris Blount's band. From Ihe viewpoint of instrumental technique, it's the roughest-sounding of the three, but comes up with two fine late-hours blues ("Hesitation Blues" and "Chimes Blues") as well as a rocking, well-developed "You Tell Me Your Dream, I'll Tell You Mine." Subtract the piano and you get The Louisiana Shakers, from Australia, the most polished team, sporting an upbeat mood, tough-minded attack, plenty of rhythm and a few tunes not commonly waxed. Jake's Melody Boys, from Scotland, is a quintet (no trumpet or banjo) that, along with its non-standard instrumentation, exudes an engaging, energetic rowdy back-roomy brand of jazz that gets things goin'. Despite a weak spot here and there, this one kept me with it all the way. Four stars to this promising series inaugural.
- Tex Wyndham


Jazz Rag - British Magazine

In a nutshell - three Keepers of the Flame! This is the initial issue of a series of well-recorded CDs which will give much deserved and needed exposure to many of the dedicated little jazz groups which toil with persistence and conviction year-after-year in the business of playing jazz in the troditioral style, So It is here and the music offered by this trio of groups is both proudly demonstrated and competently performed, Granted the music is out of a somewhat predictable mould. The very word 'traditional' says it all but the prevailing atmosphere is one of happy and controlled competence. Specifics: The Louisiana Shakers (Australia): this combo has a robust directness and forthright swing of a healthy positivity, blessed with a trumpet man who contributes an incisive lead with good solo ability.
Jake's Melody Boys (Scotland): the leader, clarinettist Jake McMahon wields a fluent, questing horn well-supported by trombone (this group is a quintet • clarinet, trombone, piano, bass, drums) and parades a light, almost polite method which well complements the liquid clarinet. Jesse's New Orleans Jazz Band (Sweden): this combination has, I feel, the edge on this disc on account of its truly transatlantic verve - a close-knit New-Orleans-to-Chicagoan style ensemble, featuring some very forceful, adventurous solo passages. But overall, this disc gives ample notice that traditional jazz, on an international survey, is alive and well and boisterously kicking. More power to this proposed series as it develops.
- Ken Rattenbury

 


Victory Review - U. S. A.

This is a collection of traditional jazz groups from Australia, Scotland, and Sweden, all working very much within the classic early New Orleans style. First up are the Louisiana Shakers from Melbourne Australia. This is a very good basic trad jazz combo and has the most distinctive soloist on the CD in trumpet player Rob Reid, who has a full, bright sound and a real feel for phrasing. His interplay with clarinetist Nick Politites, also a very strong player, carries the weight on an infectious, jumping version of "Long, Long Ago" and a straight-forward "Ramblin" Rose." The only weakness here is that the bass is not well-recorded and the bass playing is a little stiff. Next up are Jake's Melody Boys, from Scotland. On their five cuts the drums and bass sound like they were recorded underwater and the piano is sometimes indistinct, but their very slow version of "See See Rider" showcases some smooth clarinet, and the clarinet and trumpet interaction is quite good on "Babyface." Jesse's New Orleans Jazz Band is also solid trad jazz, with the best bass playing and a trombone player with a real ear for the style.
- Karen Lebens


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