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Just Jazz. September 2008
Review by Bert Thompson
As several people have said at various times, the New Orleans jazz style with its collective improvisation resembles a musical conversation, the musicians “talking” to each other through their instruments, none shouting down the other or engaging in lengthy soliloquies. The performances in these two CD's, captured while the Danish/Swedish band New Orleans Delight was on a brief tour of Denmark in the autumn of 2007, illustrate very well that concept. For a long time now, the band, which seems to just get better and better, has been carrying on these tête-à-têtes, ably assisted by the guests they have chosen to join them.
Such is the case here as Brian Carrick and Derek Winters, who need no introduction to U.K. fans, perform with them. Derek Winters has been a frequent guest on trumpet and has made several CD's with the band over the years. This is only the second time Brian Carrick has played with the band, the first being a brief sit-in in Askersund, Sweden, but one would never know that as he fits in so well.
First off, as a glance at the tune lists shows, a few tunes are repeated on these two CD's, but since the renditions are quite different, there is no real redundancy. Also apparent is that there are many familiar tunes, some that are not so familiar, and one or two that are “hiding” behind aliases: Tap Room Special is actually one strain of Panama and You Are All I Want for Christmas is better known as Algiers Strut. (Kid Thomas apparently “rechristened” the former tune). And Sobre Las Olas is, of course, best known by its English title, Over the Waves, given here in parentheses.
It would require too much space to discuss each tune separately, so let me mention just a few. The tune list contains some that are old favorites, some that are new-to these ears, at least. Take These Chains starts one of the CD's off with a bang as the band and Carrick romp through the Hank Williams piece. Many country tunes lend themselves to a New Orleans treatment, Jambalaya, also by Williams, being another on this album. In a blindfold test one might also be forgiven for saying that Lover (not that by Rogers and Hart in the 1932 movie Love Me Tonight) is another country tune that has been adapted, but when the blindfold is removed one will see that it is by Narvin Kimball! It, too, is a vocal vehicle for Carrick. In fact, no fewer than 14 of these songs are sung by either Carrick or Winters on the two CD's, the great majority by Carrick. He “speaks” the vocal to Burgundy St. Blues à la Monette Moore, and he manages to provide the lyrics, which I have never heard before, for You're All I Want for Christmas. For a stomping gospel number, I would certainly recommend, by the “father” of gospel Rev. Thomas Dorsey, the seldom-heard If You See My Saviour. Lastly, I was pleased to see Ken Colyer's fine 12-bar blues Goin' Home included as the closer on one of the discs.
But to give a sense of what New Orleans Delight do with a tune to make it special, consider I'm Forever Blowing Bubbles. It opens with the trombone playing the melody over the rhythm section's soft and sedate 3/4 waltz-tempo backing, followed by the piano's taking over from the trombone, with a bowed bass behind. One can certainly envisage the dancers gliding formally to the music back in the early part of last century. Following the piano, the trombone repeats the melody, joined by clarinet playing counterpoint. The trombone then takes a two-bar break, and the pair continue in 4/4 time, but not at a frantic tempo. Then the full ensemble takes over. After that, the two clarinets explore the tune fully, succeeded by a muted trombone solo chorus. The tune is then taken out by the ensemble. Such a head arrangement itself lends so much variety and when that is coupled with the outstanding musical abilities of the musicians, the experience is very gratifying for the listener, as the audience's applause at the conclusion affirms. And this is the kind of careful treatment given each song.
As I just said, the musicians on these two CD's are of the highest caliber. The harmonies of the duets by Brandt on clarinet and Carrick on either clarinet or tenor sax are a joy to hear. Winters supplies his usual commanding lead on trumpet, and Hansson's trombone playing is just what is needed, whether he is using a mute or playing the horn open. As always the duo of Erling Lindhardt, banjo and tenor guitar, and Stefan Kärfve, string bass, provide a sold bottom and rock-steady tempos throughout. Hans Pedersen's piano playing is superb, whether he is providing a sensitive introduction to a song, laying down solid triplets for a blues number, or block chording behind the front line, it is always just right. Finally, Claus Lindhardt's drumming, as usual, is spot on-witness his tasteful solos on Tap Room Special and Sobre Las Olas, along with his backing on all of the other tunes.
In his liner notes, Marcel Joly gives his idea of a mini “history of New Orleans-style jazz,” which seems to me generally quite convincing. Perhaps, as he says, the musicians in Preservation Hall introduced the soloing that was the beginning of the end of polyphonic ensemble playing, but that would pertain only to New Orleans. As far back as the twenties New Orleans' own Louis Armstrong had begun that soloing process as we can hear in his Hot 5 and Hot 7 recordings, but admittedly these records were not made in New Orleans. However, I think Marcel is right on the money in showing that New Orleans Delight is firmly in the tradition. In fact, they and a few other non-U.S. bands are perhaps the only ones keeping that New Orleans-style traditional jazz alive today.
These two CD's come highly recommended. They can be ordered directly from the band: go to http://www.new-orleans-delight.dk/cd/Buy%20CD's.html or e-mail neworle@nsdelight.dk or write to Kjeld Brandt, Peder Hvitfeldts Stræde 13, 1. th, 1173 Copenhagen K., Denmark. They should also be obtainable from mail order sources or specialist dealers, such as Jazz 'n' Blues Records, that carry Music Mecca label CD's in the U.K.
Geoff Boxell, New Zealand
Well these two CDs are from the same tour when NOD had two guests in their front line: Derek Winters, the trumpet player I feel most fits in with the band, and Brian Carrick, one of the few tenor sax players I trust to play in a New Orleans band. The recordings were made within a day of each other.
The first thing the potential buyer will spot is that some of the tunes from the first CD are duplicated on the later one. Fear not, brave listener, for being the true jazzmen that they are, the bands renditions are very distinct and full of unique improvisations that ensures that you won't star to think y oar suffering from de ja vue.
I am not sure what impressed me the most; the ensemble playing, the solo breaks, or the duets when both Carrick and NOD's leader Kjeld Brandt play clarinet duets. These two players have an almost instinctive feel for each other's playing and the feeling is of intertwining threads and certainly not the intrusive combativeness I have heard when others have attempted such duets. Although there are many examples on the CDs the best would be that classic clarinet piece 'Burgundy Street' (thought Carrick insists, in his speaking blues break on calling it “Bur gundy Street').
Talking of a 'fine example': as a traditional jazz aficionado, one often gets asked to put on an example track. I have several tracks I think appropriate. Now that I have these CDs I have another: 'Old New Orleans'. This track has well worked ensemble work, excellent solos and a gravely blues vocal. It really does works so very well.
Another track I thought was very nice is 'I'm Forever Blowing Bubbles' as it clearly illustrates the short stabbing style of trombonist Bengt Hansson. Bengt is an interesting guy to watch when he plays as every note can be seen formulating in his mind before he plays it. Sounds silly, but that was how it looked to me.
The vocals are shared between Brian Carrick & Derek Winters. I notice that Derek semi-talks his numbers, which is not his usual style; maybe he had a sore throat or something at the time.
All the tracks are good, well, very good in fact & many excellent (my English understatement gets in the way at times, if I was an American I would be raving - well some of them are of course, but that is another story). There is also an evocative element. When I hear either version of 'Lover' if I close my eyes I see my dad & my late mum in their younger days dancing a waltz to it; both jazz lovers and ball room dancers it was the sort of music they loved.
So, I recommend these CDs either or both, the choice is yours, but I am glad that have them both. Normally I review a CD within a week of getting it. This time, because of so much happening in my mediaeval activities, I have had all the tracks on my MP3 player for over fours weeks and, until I get another jazz CD, I am happy to leave them there to pleasure my ears as I travel to work each day.
King's Jazz Review, Scotland
Having been invited to review these two New Orleans Delight CDs "Take These Chains" and "When You And I Were Young - Maggie"
I was a little sceptical of what might be in store.
A New Orleans style combo with Swedish connections based in Denmark combined with two English gentlemen Brian Carrick on tenor saxophone and Derek Winters on trumpet, both of whom are ardent and impassioned with the preservation of the music of the Crescent City, it was all very intriguing. As you will discover my concerns were groundless, good musicians despite colour, creed or race are adept in communicating with each other in a sympathetic and supportive manner especially in the field of jazz music.
I recall attending a concert in Acapulco when the unexpected also turned out to be a memorable surprise. A group of small stature Mexican gentlemen had abandoned their sombreros, ponchos and Tijuana training and were belting out illustrious Dixieland music with great gusto.
For starters I would suggest you read the liner notes which have been expertly compiled by Marcel Joly. He reviews the history surrounding the origin and later revival of interest in the New Orleans style of jazz music and also provides a glimpse into the profiles of the guest musicians and their devotion to the cause.
As the CDs were recorded live over two days with the same personnel I will combine my review to embrace both sessions. Despite the duplication of certain tracks on the two discs, the selection of material is well balanced and varied, ranging from the traditional Just a Closer Walk to the
If You See My Saviour by the eminent writer of Gospel music, Thomas A. Dorsey, and Burgundy Street Blues by the master himself, George Lewis.
Hank Williams of Country and Western fame penned Take These Chains and Jambalaya and a number entitled Goin’ Home is by
the ‘gov’ner’, Ken Colyer - Britain’s own ambassador to the cause. All the recorded tracks make for interesting and absorbing listening.
New Orleans Delight provides a competent and talented back canvas, which allows the featured guest artists to interweave their tenor sax, trumpet phrasing and solo playing readily into the scene. Their combined musical talents bind faultlessly together, each in their own way conveying and revealing a united professionalism capturing the essence and flavour of New Orleans style music.
I hesitate to suggest which disc is best; both enjoy their equal share of quality performance.
The unexpected is often the most appealing and interesting. The following will no doubt whet your appetite for what else these two CDs have to offer.
I’m Forever Blowing Bubbles is no exception, here is a jazz waltz which starts with a pleasant trombone feature and a little choice piano, leading later to a change of tempo which then gives the band their chance to shine.
When You And I Were Young - Maggie introduces a vocal contribution by saxophonist Brian Carrick as well as the choice trumpet interjections by his cohort Derek Winters. Surprisingly this tune turns out to suit the New Orleans style treatment admirably.
Tap Room Special is a number I had not come across before and it may or may not have been named after the rather spicy rum and amaretto based cocktail. The musical mix played here features well deserved solo contributions from the piano, bass and drums, and in its own way is certainly fiery and spicy and well worth a second shot.
Burgundy Street Blues, the George Lewis classic, has Brian Carrick giving a verbal tour of the French Quarter of New Orleans and
he certainly seems to know his way around. A nice clarinet feature.
Lover, the version on disc here is a million miles distant from the Peggy Lee hit number written by Rogers and Hart. It is from the pen of Preservation Hall stalwart Narvin Kimball who passed away in 2006 aged 97. It is certainly a tribute to one of the truly greats of jazz who’s banjo playing career can be traced back to his days with Fate Marable and Papa Celestin in the 1920’s.
Authentic jazz is reproduced here by a group of ardent followers of the faith.
I will leave it to you to discover what other goodies are to be found within these New Orleans Delight recordings - ENJOY.
JazzPodium, Deutschland
Nach CD-Aufnahmen mit der Sängerin Marilyn Keller, bei denen Spirituals, Hymnen und Gospels im Mittelpunkt standen, wendet sich die dänisch-schwedische Band New Orleans Delight mit zwei neuen Silberscheiben wieder vornehmlich den weltlichen Melodien des traditionellen Jazz zu. Wie gewohnt haben die Skandinavier Gäste zu den am 26. und 27. Oktober 2007 aufgenommenen Konzerten im dänischen Holsterbro eingeladen, den Trompeter Derek Winters, der schon häufig mit von der Partie war, und seinen englischen Landsmann, den Klarinettisten Brian Carrick.
Das Repertoire dieser beiden CDs ist eine „Hitliste“ aus den Dance-Halls des alten New Orleans. Einer der Titelsongs „Take these chains“ ist zum Beispiel ein alter Country- und Westersong, der ebenso aus der Feder von Hank Williams stammt wie der durch Fats Domino bekannt gewordene Cajun-Evergreen „Jambalaya“. Im Walzertakt kommt „I´m forever blowing bubbles“ daher. Ebenso wie „Sobre las olas“, das als „Over the waves“ bekannter sein dürfte. Und gelegentlich spielten die Musiker in den Dance-Halls auch religiöse Songs wie „If you see my saviour“ oder das unvermeidliche „Oh when the saints“.
Die New Orleans Delight Jazzband und ihre Gäste interpretieren die alten Jazzschlachtrösser fern jeder Dixie-Seligkeit unmaniriert und mit mitreißender Lebendigkeit, wie heute nur selten zu hören. Besonders interessant sind die spannenden Zwiegespräche auf der Klarinette zwischen Bandleader Kjeld Brandt und Brian Carrick. Derek Winters, der wie Carrick auch als Sänger hervortritt, beeindruckt einmal mehr mit seinem schnörkellos kraftvollen Trompetenspiel. Einen reizvollen Kontrast dazu bietet die weiche, glissandireiche Posaunenstimme von Bengt Hansson.
Hinter der Frontline steht mit dem Pianisten Hans Pedersen, dem Banjospieler Erling Lienhardt, seinem Sohn Claus am Schlagzeug sowie dem Bassisten Stefan Kärfve eine eingespielte Rhythmusgruppe, die für einen entspannten, hüpfend swingenden Beat sorgt, der sofort in Bauch und Beine geht und zum Tanzen animiert.
www.radiojazz.co.uk
Here's another band from mainland Europe (with two British guests) who have almost completely captured the sound and feel of New Orleans. Led by the brilliantly emotive clarinet of Kjeld Brandt, they have over the last five years or so moved closer and closer to a complete absorption of the idiom. Now - most of the time - you wouldn't know this was a European band. That's not to say that they copy - far from it. They have their own sound and individual styles, which makes listening to the ten tracks here a really interesting and enjoyable journey of exploration. For my own part I could have done with a few less vocals - but that's me - I prefer these guys when they stick to instrumentals. But - arguing against myself - it would be hard to find a more sincere jazz vocalist than Brian Carrick. Judge for yourself on the track we're airing - If You See My Saviour - it's brilliant.
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