Jazz Crusade Newsletter:
ALL THE GOOD IN THE WORLD
Following a prolonged attack of shingles, coupled with the realisation for a number of reasons that I was unlikely ever to visit New Orleans again, I was brought so low in my mind that I felt incapable of doing justice to a request from Big Bill Bissonnete to review a double album on his Jazz Crusade label of the French Preservation New Orleans Jazz Band with special guests John Royen and Kjeld Brandt. I got so low that I scarcely bothered to listen to music anymore.
Then one day half-heartedly out of curiosity I played the CDs for the first time and my first thought was to be reminded of one of the Bunk Johnson talking recordings where he describes a New Orleans street parade with the police mounted escorts prancing to the sound of the band, with no trouble or anything of that kind, and the music doing all the good in the world. This music from France so ably assisted by guests from the United States and Denmark did me all the good in the world, otherwise I would not be able to provide these few comments.
It would be foolish of me to enthuse of this as the greatest band in the world or some such other extravagant hyperbole, but it is a good-time outfit eminently capable of playing the greatest music in the world with up tempo gusto, and also with the necessary inward reflection appropriate to slower numbers, and especially the hymns.
Many years ago when I played bass I once moaned to our trumpet player that he got to lay on all the gravy whilst I just plodded away on those pedal notes. Fortunately he reminded me that without the rhythm section the front line couldn&Mac226;t perform. Thus, if I fail to mention the individual members of this outfit it does not mean I have failed to appreciate their contribution. For me the outstanding revelation was that of Alain Martien, a trumpet player previously unknown to me. Make no mistake about it, this kiddie can really blow, and whilst his pyrotechnics may shift a few cobwebs from mouldy ears, for me he is the man. Nice tone, too!
Hearing John Royen at the top of his game, having often seen and heard him in New Orleans, should have cast me down with melancholy thoughts of the „no more‰ variety, but who could resist his eloquent stride piano. There is word that John had lessons from Don Ewell - another blessed name to conjure with - but his style is his own, and he provides the perfect foil for the clarinet of Kjeld Brandt. Maestro Brandt has become a force to reckon with in European traditional jazz circles for he has managed to be innovatory within the stylistic traditions of the musical style.
Finally, mention has to be made of the exuberant Jean-Pierre Alessi. Humphrey Lyttelton once remarked about Sidney Bechet it seemed as though if the soprano sax was knocked from Sidney&Mac226;s hands it would continue playing. Well, I get the feeling that Jean-Pierre&Mac226;s gutsy sax in similar circumstances would get up and bite back!
So, if you&Mac226;re down in the dumps here is Doctor Wood&Mac226;s prescription. „Take the French Preservation New Orleans Jazz Band at a very minimum of three times a day before, during and after meals. Swallow down with a draught of the golden neck oil of your choice, and lie back and think of New Orleans!
ALL THE GOOD IN THE WORLD
Following a prolonged attack of shingles, coupled with the realisation for a number of reasons that I was unlikely ever to visit New Orleans again, I was brought so low in my mind that I felt incapable of doing justice to a request from Big Bill Bissonnete to review a double album on his Jazz Crusade label of the French Preservation New Orleans Jazz Band with special guests John Royen and Kjeld Brandt. I got so low that I scarcely bothered to listen to music anymore.
Then one day half-heartedly out of curiosity I played the CDs for the first time and my first thought was to be reminded of one of the Bunk Johnson talking recordings where he describes a New Orleans street parade with the police mounted escorts prancing to the sound of the band, with no trouble or anything of that kind, and the music doing all the good in the world. This music from France so ably assisted by guests from the United States and Denmark did me all the good in the world, otherwise I would not be able to provide these few comments.
It would be foolish of me to enthuse of this as the greatest band in the world or some such other extravagant hyperbole, but it is a good-time outfit eminently capable of playing the greatest music in the world with up tempo gusto, and also with the necessary inward reflection appropriate to slower numbers, and especially the hymns.
Many years ago when I played bass I once moaned to our trumpet player that he got to lay on all the gravy whilst I just plodded away on those pedal notes. Fortunately he reminded me that without the rhythm section the front line couldn&Mac226;t perform. Thus, if I fail to mention the individual members of this outfit it does not mean I have failed to appreciate their contribution. For me the outstanding revelation was that of Alain Martien, a trumpet player previously unknown to me. Make no mistake about it, this kiddie can really blow, and whilst his pyrotechnics may shift a few cobwebs from mouldy ears, for me he is the man. Nice tone, too!
Hearing John Royen at the top of his game, having often seen and heard him in New Orleans, should have cast me down with melancholy thoughts of the „no more‰ variety, but who could resist his eloquent stride piano. There is word that John had lessons from Don Ewell - another blessed name to conjure with - but his style is his own, and he provides the perfect foil for the clarinet of Kjeld Brandt. Maestro Brandt has become a force to reckon with in European traditional jazz circles for he has managed to be innovatory within the stylistic traditions of the musical style.
Finally, mention has to be made of the exuberant Jean-Pierre Alessi. Humphrey Lyttelton once remarked about Sidney Bechet it seemed as though if the soprano sax was knocked from Sidney&Mac226;s hands it would continue playing. Well, I get the feeling that Jean-Pierre&Mac226;s gutsy sax in similar circumstances would get up and bite back!
So, if you&Mac226;re down in the dumps here is Doctor Wood&Mac226;s prescription. „Take the French Preservation New Orleans Jazz Band at a very minimum of three times a day before, during and after meals. Swallow down with a draught of the golden neck oil of your choice, and lie back and think of New Orleans!
- Brian Wood
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