The Jazz Crusade Audio Sampler Catalog
JCCD-3078: Tuba Fats' Chosen Few Jazzmen

Personnel: Anthony "Tuba Fats" Lacen [sousaphone], Kenneth "Little Milton" Terry [trumpet], Elliott "Stackman" Callier [tenor sax], Darryl "Lil' Jazz] Adams, Eddie Boh "Funky Chops" Paris [trombone], Gerald "The Giant" French [drums], Reide Kaiser [piano], Emil Mark [banjo]

Songs: Lead Me Saviour, Hindustan, Over In the Gloryland, Big Fat Woman, Joe Avery's Piece, Amazing Grace, Ice Cream, Lil' Liza Jane, Oh Lord! Let the Devil Have An Accident, You Are My Sunshine

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JCCD-3078: Tuba Fats' Chosen Few Jazzmen - Internet Publication

I've had the opportunity of reviewing almost thirty CDs from Big Bill Bissonnette's Jazz Crusade label over the past few years. About a year ago, I raved about the Gregg Stafford/Dr. Michael White release titled Praying & Swaying Volume One and my praises were entirely honest. Now I find myself in the same position once again. Bill feels that this new album by Tuba Fats' Chosen Few at least equals the quality of the Stafford / White disk. An hour after the CD arrived in my mailbox, I emailed Bill Bissonnette and told him he had a knockout recording. I hadn't yet read the liner notes and the disk had been thrown into my Macintosh for a preliminary audition. What I heard grabbed my attention for an hour. Perhaps New Orleans jazz is not everyone's "cup of tea" but there are diehard fans all over the world and I'm proud to be among them.
The manner in which this band was assembled proved to be a stroke of luck. Bill Bissonnette had heard a 1980s LP by Tuba Fats and wanted to buy the session tapes for re-issue. Fat's had only the items that were issued on vinyl and the other tapes had been lost. Not enough material for a CD. The answer was to assemble some of the original band and record a new session. Others were handpicked by the leader. Two members of Jazz Crusade's All Star Rhythm Section were invited in the form of pianist Reide Kaiser and banjoist, Emil Mark.
All the principal players have a vocal spot. Thankfully, they don't sing together but each gets a chance to strut his stuff on a single track. The gravely voices fit beautifully with each of the wind player's propensity to growl on their instruments. Never heard an alto sax growl? You¹ll witness it here via Darryl Adams in his first appearance with a "jazz band" He is normally involved with the larger brass bands including the Olympia. This may be the successor to Captain John Handy (1900-1971), a man you was not only a pioneer, but was also in the forefront of the New Orleans revival movement.
Elliot "Stackman" Callier is a veteran of Fats Domino's reign in the Crescent City. Callier is a very hot tenor man! Kenneth 'Little Milton' Terry is a fine trumpeter who is a product of the fine tutelage of Milton Baptiste. Eddie Paris was another original from the old Tuba Fats' Chosen Few and a veteran of the Olympia Brass Band headed by Harold Dejan. Gerald "The Giant" French is, at 31, the youngest player in the group. He is a regular at Preservation Hall and has a great command of the New Orleans style.
Anthony "Tuba Fats" Lacen is a New Orleans native and a highly respected member of the jazz community. ( I feel that he is one of the most appealing tuba players on the scene.) He has toured England, Germany and the Netherlands in recent years. All things considered, this is a great session by an outstanding band.
The octet has the ability to swing powerfully and incorporate a great sense of humor. Stackman throws in phrases from the world of bop including a bit from Sonny Rollin¹s St. Thomas with great success. The tunes were well chosen including spirituals, novelty songs such as "Ice Cream", old standards and traditional New Orleans fare. My favorites? I loved "Big Fat Woman", "Lil¹ Liza Jane" and "Joe Avery's Piece" aka "Tear the Roof Off the Sucker." "Oh Lord! Let the Devil Have An Accident" is another gem with a vocal by Stackman Callier. I look forward to more from this exciting congregation. Great stuff!
- Richard Bourcier

Boxell's Jazz Website

Jazz Crusade's Big Bill Bissonnette believes that this recording is one of the 50 most important jazz recordings ever, regardless of genre. Is this just hyper sales technique? Is it bluff? Well, being English as opposed to American, I come from a race well known for its tendency to understate rather than exaggerate, as our Stateside cousins are inclined to do. After listening to this CD I actually agree with BBB: this recording is significant, for to me it reclaims a lost history.
If you have read my other reviews of American bands, you will notice that I have mentioned that they have tended to, 'develop', within the idiom of traditional jazz, whereas the European bands have tended to be very conservative. For this reason I have, possibly because of my origins, preferred the European (especially the British and Scandinavian) interpretation, as it is 'truer' to the original material. This CD has caused me to ponder and reflect on the origins of traditional jazz, especially New Orleans and it's derivations. The jazz history books tell us that New Orleans jazz has its origins in the marching bands of that city. I have some CDs of marching bands, and although I can hear similarities, I have had a mental problem in linking the two together. This CD, using mostly musicians who have a close association with marching bands and linking them with a jazz drummer on a conventional kit, a pianist and a banjo player to bring them into a more 'jazz band' environment, provides the 'missing link'. Listen and you will also find that it provides another missing link: the link between acoustic blues, juke and traditional jazz.
When you read the list of musicians and see names like, Tuba Fats, Stackman, Little Milton, Funky Chops, Li'l Jazz and the Giant you quickly pick that they aren't your standard middle aged, middle class white jazz men. Nope, they's black jazz men and that is very much the key. White, and especially European, traditional jazz is based on the recordings put out in the 20s & 30s by black jazzmen, but black jazzmen under white sound engineers and white record directors and producers, usually for a white audience. Add to that a recording time of just over 2 min dictated by the recording medium and you end up with a rather polished, smooth and arranged performance. I know that people like Ken Colyer lived and played in New Orleans with black jazzmen. I know that many original artist were in the 50s and 60s invited to play to audiences both in their own country and around Europe, but look at how many white faces were in the bands they played with. And I don't count Louis Armstrong's All Stars as to me they were there to back Satchmo, not play themselves into stardom. This band plays with a total lack of inhibition and a full on commitment to wring out emotion that white bands just don't seem to have, no matter how good or 'pure' they are. If you want to hear these black cats play (albeit with a white pianist called Reide and a white banjo player called Emil - both Jazz Crusade stalwarts of the highest calibre) and play as they feel moved to play, then dig into your pockets and flash your cash.
The marching band influence is apparent straight away, especially as many of the tunes start off with drum intros that an ex-Boy's Brigade drummer such as I am familiar with. You can march to this music, you can walk to it (provided you are prepared to do so with a swing in your step), and you can dance to it. You can listen to it, you can analyse it, but most of all: you will enjoy it.
I don't think that I have raved on this much before about a CD, and certainly not about an American traditional jazz CD. One of the 50 most important jazz recordings ever, regardless of genre? I think that BBB is guilty of making an understatement: and that from an Englishman talking about an American! Not only does this CD teach you your jazz history, it provides you with huge entertainment and countless pleasure. The dust will never grow on my copy of this CD. Buy it, play it just the once, and you will say the same.
At the end of Hindustan Fat's claims: 'We rolled it, we rolled it!' Oh yes, you have rolled it alright. I just hope that now the ball is rolling others want to join in the game.
- Geoff Boxell

King's Jazz Review - England

Of the three music player volumes, high, medium and low, I chose the latter as it served as the ideal setting to assimilate the finest attributes of these Tuba Fats' Chosen Few Jazzmen recordings. Jam, those fellows sure do know how to do it. Jamming is what they are enjoying and one thing that can be said of them, is, that it's being done without impinging upon each other's space, doing it with such enthusiasm, and it is that, that keeps the listener's attention, encouraging him or her to "get with it" ever seeking more.
Each of the six vocalists sound as if coming from a unique clan within the Black family of America, that is to say, each of the six songs is matched perfectly, with the voices, mannerisms and applications, adapting themselves well, therefore, they are distinctively well chosen each by the six noted jazz artists. The two White piano and banjo gentlemen don't get to show, how well or not, their vocal chords can perform.
Too large and more commanding to be a helicon, the instrument that "Tuba Fats" is seen with on the CD photograph, I'd say, is a sousaphone, a tuba designed by conductor Sousa for military marching bands. When we hear the tone quality, and how the melody lines are handled on Lead Me Saviour by leader Anthony Lacen's tuba, it is really quite astonishing. The way he, "Tuba Fats" is controlling the music on these songs in the background, has to be recognised with distinction. He takes time-out for vocals on Over In The Gloryland, and solos again on Joe Avery's Piece. Such solos are to be treasured. The Piece, I recall that it set the UK all rocking around the clock, and screaming for an encore on Ice Cream all those years ago. The versatility of altoist Darryl "Lil' Jazz" Adams in broad articulation, but all in keeping within the realms of the music on his horn, is a phenomenon in itself. Gosh : This band is with it.
Trumpeter Kenneth "Little Milton" Terry takes the Lil'Liza Jane tune, a song duration of ten minutes, through its paces. There are jive, jitterbug, twist, rock & roll, steps and hymns musical elements all on this Chosen Few Jazzmen album. These are the tunes that I grew up with, the difference being, that on this CD they are being played by musicians in harmony with themselves and their roots, bringing legends up and into the year two thousand and two - it's nostalgia - it's great.
- Ian King

I don't know how many times it has been said that traditional New Orleans jazz is dead and gone in the city where it originated. Even I, who have always been rather optimistic about the future of this music, sometimes have my doubts. Of course there are some very fine young musicians perpetuating the original style (think about Michael White and Gregg Stafford whose recent recordings have been reviewed in this
magazine), but there are so few of them. And then, out of the blue, comes a CD like this one...
The name Chosen Few was not new to me. During my stays in New Orleans I had heard and enjoyed a BRASS BAND of that name - led by Tuba Fats - several times, both in open air concert and at jazz funerals. I even have an LP of that band in my collection. It was recorded in 1985 and issued by the band with the help of Milton Batiste and Allan Jaffe. Today it is as difficult to find as an original American Music 78. Bill
Bissonnette had heard this record in the mid-1990's and was impressed by the great music. He convinced his friend Tuba Fats to sell the recording to him to have it reissued on Jazz Crusade. Finally Tuba agreed but the original LP contained not enough music for CD release, so the idea was born to have a new session to record additional material. Tuba picked four of the original musicians and Bill preferred to add a piano and a banjo and to replace the snare and bass drummers by a drummer using a full kit. So the Chosen Few Brass band turned into the Chosen Few Jazz Band. The session went so well that Bill got enough material to fill a complete CD and still enough left to add to the reissue of the 1985 LP on a future date.
Let me first tell you something about the four original Chosen Few men. The leader and sousaphone player Anthony Lacen, better known as Tuba Fats, should be familiar to every New Orleans fan. After formal music instruction by qualified teachers like Alvin Tomas, Walter Payton and Clyde Kerr Jr., he gained experience in older brass bands like the Gibson and the Olympia and younger ones like the Hurricane, the Fairview and the Original Dirty Dozen. He also worked with several rhythm & blues bands. In recent years he performed and recorded as a guest with European New Orleans style bands and toured in 1997 in Europe with an international band led by Bill Bissonnette. The Chosen Few Brass band was formed in 1979. Their aim was to continue the traditional music and at the same time reflect the influence of more recent developments of the music in the City, like rhythm & blues and Mardi Gras music. This merging of several musical styles was not new. Even the venerable Eureka and Young Tuxedo Brass Bands included rhythm & blues tunes in their repertoire like "Feel So Good", "Whoopin' Blues" and "Joe Avery's Piece". Let's not forget that many of the musicians who used to play at Preservation Hall had worked before in rhythm & blues outfits. New Orleans has always been a musical melting pot. That's the way JAZZ was born!
Trombonist Eddie Boh Paris, born in New Orleans in 1962, went through the usual channels of Fairview to Olympia Brass Bands. I heard him several times with Michael White's Liberty Street Jazz Band and I can assure you that the front line with Gregg Stafford, Michael and Eddie was dynamite! Today he has toured all over the world. Darryl Adams, now 46, was the "understudy" of Harold Dejan in the Olympia. On the original Chosen Few LP his nickname was "Bebop". I don't understand why. His improvisations are clearly based on the melody
and not on the chords like it was customary with the bop musicians. In fact there is sometimes a close resemblance to the playing of the legendary Captain John Handy although Darryl never even heard about this giant.
The fourth original Chosen Fewer, Elliott Callier was not born in New Orleans, but in Oregon in 1943. He was schooled in New Orleans, his mother's home town. Besides brass band work he also played with Fats Domino and Lee Dorsey. I heard him many times with the Chosen Few but also in a small group led by Emile Martyn. His style is completely original and a model of ultimate relaxation. I can still see him leaning back on his chair blowing the most exciting music in the world. Let's have a look at the "new" guys from New Orleans. Trumpet player Kenneth Terry is a protégé of Milton Batiste. His entire background is in the marching bands from New Orleans. He was the original leader of the Junior Olympia Brass Band. He is considered to be one of the hottest players in the City today. This is his first JAZZ band recording.
Drummer Gerald French is a perfect illustration of the saying that New Orleans jazz is a family music. His father is the bass player and singer George French, his uncle is the drummer Bob French and his granddaddy was banjo player Albert "Papa" French. He toured with Harry Connick Jr.'s big band and is a regular at Preservation Hall. Brian Wood calls him his favourite drummer in New Orleans today. In addition we have two members of what is today known as the Jazz Crusade rhythm section: Canadian Reide Kaiser on piano and Emil Mark, from Connecticut, on banjo. Both have proved their qualities on several recent Jazz Crusade CDs.
I didn't tell you anything yet about the music on this CD. I could say it in one word: MAGNIFICENT! Is it traditional New Orleans jazz? Yes, without a shadow of a doubt! At the same time it sounds like these young New Orleans musicians are REINVENTING the music. Unlike you and me and most European New Orleans musicians they don't have big record collections to rely on. The fact that Darryl Adams never heard about John Handy tells enough! See about this subject the "Rambling Around" in this issue. I am more and more beginning to believe Michael White's theory about the music transmitted from generation to generation by bloodline. This CD is the proof that the evolution in the music of the City doesn't necessarily have to end in bebop phrases played over a New Orleans street beat like in so many contemporary marching bands. No bebop here!
The opener "Lead Me Saviour" should tell you enough. This beautiful hymn, introduced by Tuba's sonorous horn, sounds just as traditional as on the 1958 LP of the Young Tuxedo Brass Band. Darryl plays the bird-like lines John Casimir played on clarinet on that session. Listen to the beautiful interplay of the two saxes! Enjoy the simple intense beauty of Tuba's solo...This number is already worth the price of the CD. Up-tempo - but not too "up" - with the old classic "Hindustan". Elliott starts his solo with a big honk - like if he was saying : "Listen, I'm HERE!" - followed by those beautifully relaxed variations on the melody with another honk or two - "are you still listening?" - thrown in for good measure. Kenneth shows in his solo WHY he is known as one of the hottest players in the City today. Then comes Ed Paris. You've never
heard a trombone player do the things he does! Still it's all in the great New Orleans tradition. Hearing this I can still see him, sitting in with Greg and Michael at the Mediterranean Café in New Orleans, a lean, athletic young men in tight jeans and a shining white undershirt, waving his horn around , up and down and from left to right. This guy needs room when he plays! I also can still hear that young Norwegian
girl sigh: "Gee, I didn't know a man could be so sexy." Darryl enters his solo with an incredible swinging phrase. Then you will hear the only couple of bebop notes on this session, Reide's quote from "Salt Peanuts" at the start of his swinging solo. The final ensemble brings the number to an exciting climax with collective improvisation in perfect harmony.
Every New Orleans member of the band insisted to do a vocal. On "Over In the Gloryland" it's Tuba Fats himself who sings with a lot of gusto. Darryl solos with short comments by Elliott. Then it is the latter's turn and you will ask yourself "How laid back can you get?" Reide takes the final solo before Tuba sings again, followed by the full ensemble. "Big Fat Woman" is a fast blues. Ed Paris sings in the tradition of the blues shouters of the forties, people like Big Joe Turner, over a background of riffs by the horns. After a short trombone solo the saxes play a chase chorus that ends in a duet. Kenneth's trumpet keeps the excitement going and Reid doesn't let it go down either. Sousaphone and drums bring in "Joe Avery's Piece", a brass band favourite, played by every marching band in New Orleans, perpetuating the name of one of the great early trombone players.. After exciting solos by the horns, Reide reminds us this is NOT a marching band. Pianos don't march! Sousaphones do! On his short solo Gerald sounds like two men, one on the snare and another one on the bass drum.
It's time now to relax with a beautiful version, in 3/4 time, of that lovely hymn, "Amazing Grace". Ed plays a delicate solo, Darryl adds his alto to it and then solos himself, followed by Tuba, who proves again that you don't need many notes to make a sensitive statement. Elliott plays a couple of fine subdued choruses and the final ensemble gives you goose pimples. Next comes an up-tempo version of the favourite number with European audiences, "Ice Cream". It's Kenneth's turn to sing. He reminds me somewhat of Kid Howard, although he might never have heard of him. Ed's solo has nothing to do with Big Jim, as is usually the case, but swings just as hard. The temperature is still rising with the solos by the two saxes and Kenneth leads the final ensemble in great fashion, with a short intermission by Gerald. "Lil' Liza Jane" was usually associated with Willie Humphrey, who used to sing (and dance!) it. It's very well possible that in the future it will be associated with Darryl too. Both his vocal and instrumental solo are steaming hot. The same can be said about Elliott's tenor. Oh, there's another couple of bop notes here, Elliott's quote from Sonny Rollins' St.Thomas. Both Ed and Kenneth keep the fire burning. It's a hard act to follow, but Reide succeeds with flying colours. Listen to Emil's banjo. This unselfish man doesn't care much about solos but the rhythm section wouldn't be the same without him.
The following number is one of those unexpected things that happen at a recording session with great atmosphere. Elliott shouted "Oh Lord! Let the devil have an accident!" with no reason at all. Bill asked him to repeat it because he wanted to have it at the end of the record. Then, unexpectedly, Tuba started to play a blues riff, Elliott started to sing and what followed was a real lowdown slow blues, one of the many highlights of this tremendous CD. The devil is a strange fellow and this is reflected in the strange noises the horns make. If you have objections against this, may I remind you that King Oliver was famous for imitating a complete barnyard on his trumpet. And what about Kid Thomas giving kisses through his horn? This IS the BLUES, one of the basic elements of hot jazz.
Gerald sings the final number, "You Are My Sunshine", Louisiana's state song. It makes for a joyful ending of this unusual CD. Unusual, but also full of hope for the future of the traditional music in the City. These guys might very well be the living legends of the future. 73 minutes of well recorded exciting jazz right from the cradle! I'm hopeful again.
- Marcel Joly

AMG **** REVIEW - U. S. Jazz Guide

Early in 2002, Jazz Crusade label impresario Bill Bissonnette went to New Orleans to cut some CDs which featured contemporary Crescent City jazz musicians. One of the products was this album of a New Orleans brass band headed by classic jazz master Anthony "Tuba Fats" Lacen. The brass band is one of the oldest musical formats in New Orleans, coming into vogue shortly after the Civil War, and has been a revered institution ever since. One of its main purposes is as a marching band, usually solemnly accompanying the recently departed to their final resting place and then joyously celebrating life on the trip back. One gets a feel for the trip to the cemetery with a dirge like "Lead Me Saviour," with a surprisingly tender and delicate solo by Lacen on the big instrument. The happy trip back gets a working out on "Hindustan." In addition to playing their respective horns, all of the front-line men, plus Gerald "The Giant" French, get a chance to do a vocal. One of the vocal gems is "Ice Cream," a favorite of Willie Humphrey with the New Orleans Preservation Hall Jazz Society. Here it's done in the gruff style of trumpet player Kenneth "Little Milton" Terry. There's some excellent alto sax work on this cut by Darryl "Lil' Jazz" Adams. The brass of the brass band is joined by two regulars from the Jazz Crusade stable, Reide Kaiser on piano and Emil Mark on banjo. While their presence is apparent, it's the brass men, plus the drummer, who make this CD the joy that it is. Recommended.
- Dave Nathan

Cadence Magazine - U. S. A.

Raw and raucous, the Tuba Fats Chosen Few swings its collective butt off (check put the rocking shout choruses on the "Mardi Gras Iko/Food Stamps" medley). A particular pleasure is listening to the sax section: Adams and Callier keep the R&B quotient high, and the presence of trumpeter Ruffins on the 1985 material is an added plus. "Funky Chops" Harris is a fun trombonist, expelling lusty blats on the funereal "In The Sweet Bye & Bye," and excavating some real dirt on the later, uptempo reading of the same tune. By the 2000 session that comprises the disc's last half hour, the lineup has acquired piano, banjo, and a full drumset. The recording benefits from the Audiophile Studio's polish, creating a nice soundstage, with a delicious punch to drummer French's every kick. Fats' dextrous, subtle tuba is heard clearly in the mix, while pianist Kaiser is perfect, playing a modicum of notes with a maximum of finesse.
- Larry Nei - U. S. Internet Magazine

Tuba Fats is New Orleans' most famous tuba player with a career that spans more than 40 years. He has played with the Gibson, Doc Paulin, Tuxedo, and Olympia Brass Bands and was a founding member of the Dirty Dozen Brass Band. He and his band, the Chosen Few Jazzmen, play most days in Jackson Square and gig around various New Orleans clubs at night.
This recording came about when Bill Bissonnette attempted to purchase a session that Fats had recorded and released in the 1980s for his Jazz Crusade label. The original tapes had been lost, so all Fats could offer was what was on the original LP-not enough for a CD release. Bissonnette suggested getting the musicians together and recording new material to release with the older material. Tuba ended up putting together a group comprised of mostly new players, with a couple from the original sessions. These included "Stackman" Callier, who played and recorded with New Orleans legends such as Fats Domino and Lee Dorsey, newcomer Kenneth Terry, Darryl Adams, Gerald "The Giant" French, Darryl "Lil' Jazz" Adams, and Eddie Boh Paris. Bissonnette and Fats also decided to record the band as a jazz band rather than a brass band, and so Jazz Crusade house pianist and banjo player Reide Kaiser and Emil Mark were called in as well.
The result is one of the best traditional New Orleans jazz albums you are going to hear. Beginning with the spiritual "Lead Me Saviour" and continuing through such stalwart tunes as "Hindustan," "Amazing Grace," and "Ice Cream" Tuba Fats provides the basis for a band that is swinging at literally every turn. Unlike many traditional groups who play a literal imitation of the music played by black musicians in New Orleans in the 1920s and 1930s, these guys sound like the real deal-which indeed they are. In other words, if a real New Orleans marching jazz band from the 1920s could have continued to play, with the same personnel, right up until today, this is what their sound might have developed into. Listen to the rendition of "Amazing Grace," done in waltz time, and marvel at the fusion of gospel and blues heard in Darryl Adams' alto sax solo, or the very pretty ensemble section at the end of the piece.
Each of the six black New Orleans musicians performs a vocal on one track, and all acquit themselves well, unleashing their energy, spirit, and good humor. By the time the CD is done you will feel as though you really understand just how jazz developed in the Crescent City at the turn of the last century. You'll have a feel for the interlocking pieces of jazz, blues, and gospel. And most of all, you'll have had a hell of a lot of fun.
- Marshall Brown

Jazz Journal International - British Jazz Magazine

This band takes a group of the younger New Orleans musicians who still adhere to the traditional style and backs them up with a couple of European acolytes of proven ability. Tuba Fats' is well known to local enthusiasts, having toured with Big Bill Bissonette's International Jazz Band a few years ago and won much admiration for his contribution. Since Fats has been active in organizing his own band in the Crescent City, it was natural that Bissonnette should ask him to put together a group featuring several of his regular associates for this session. The results show the impact of the local rhythm-and-blues movement, as well as of modern jazz, with a rough edge more to the fore than sheer beauty of tone and with brusque presentation of phrase and rhythm more evident than any extended development. Nevertheless this is much closer to traditional New Orleans music than, say, the brass band extremes of such as the Dirty Dozen. Both saxophonists show some continuity with the local manner, as exemplified in earlier times by such as Cap'n John Handy and Andrew Morgan, thwarted partly by an excessive use of extrovert rhythmical expression and honking effects.
Terry tips his hat to his late mentor, Milton Batiste, without quite emulating his relaxation or authority, and Paris rasps away without constructing anything linear to fill the gaps in the sound. Nevertheless, this is authentic New Orleans music, albeit of a new age; the hymns generate genuine emotion, somewhat compromised by the course ensemble sounds, and the brass band specialities provide excitement although not as much momentum as they might. It is pointless to carp that this does not sound like George Lewis and Bunk Johnson, for this is a much later generation of musicians, and we must be glad that their music is still recognisable as a valid continuation. I do wish, however, that they would give more attention to a homogeneous sound in which the music could move forward in a less jerky and more integrated way. But, then, I am a nostalgic old fogey and am in danger of wanting what is not only impossible, but inappropriate -these people are not copying, but making their own version of the New Orleans style.
- Christopher Hillman

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