New Orleans Delight
Chris Tyle
on Cornet and Clarinet

1. When My Dreamboat Comes Home (D. Franklin) 5:58
2. Sugar Blues • (Fletcher / Williams) 4:19
3. Mama Inez (E. Grenet / l. Gilbert) 4:33
4. Old Rugged Cross * (George Bennard) 5:16
5. When I Leave The World Behind • (I. Berlin) 5:53
6. Breeze • * ** (Hanley / McDonald / Goodwin) 6:20
7. On Treasure Island • ( Burke / Leslie) 5:12
8. Mama’s Gone, Goodbye • (Bocage / Piron) 5:39
9. Begonia * (Mavounzy) 5:00
10. One Sweet Letter From You (H. Warren) 5:55
11. True (You Don’t Love Me) • * ** (Cottrell) 7:30
12. American Soldier (Francis A. Myers) 4:01

Chris Tyle (co & metal cl* voc•)
Kjeld Brandt (
metal cl & alt cl**)
Bengt Hansson (tb)
Göran Magnusson (p)
Erling Lindhardt (bjo)
Stefan Kärfve (b)
Claus Lindhardt (dm)

Total playing time: 66:23

Recorded at Woodhouse Recording Studio August 11 and 12, 2003 by Jørgen Vad ·
Mixed by Stefan Kärfve, Bengt Hansson and Jørgen Vad
Mastering: Jørgen Vad · Jørgen Vad uses Audio-Technica microphones
Executive producer: Henning Schädler
Liner notes: Bert Thompson
Layout and dtp: Kjeld Brandt
Prepress: Normandiet
Music Mecca CD 4054-2


Having reviewed several of New Orleans Delight's previous CD's, which have all earned top marks from me, I had no hesitation accepting when the leader, Kjeld Brandt, asked me to consider writing the liner notes for this CD. As those acquainted with them know, New Orleans Delight is a six-piece Danish/Swedish band that plays in the New Orleans style of collective improvisation. It has a two-man front line of Kjeld Brandt on clarinet and Bengt Hansson on trombone, and a four-piece rhythm section of Göran Magnusson on piano, Stefan Kärfve, string bass, and the father/son team of Erling and Claus Lindhardt on banjo and drums, respectively. They frequently augment their number by adding a trumpet or cornet player to the front line, especially for festivals and tours, having had among others Kid Bastien (Canada) and Derek Winters (U.K.) and even another reed, George Berry (U.K.), recently. This time it is the turn of Chris Tyle from the U.S., who was invited to tour with the band in 2003.

Chris Tyle was born in 1955 in Vancouver, Washington. His father, Axel Tyle, was the drummer and a founding member of the famous Castle Jazz Band of Portland, Oregon.
Chris Tyle is well-known in U.S. traditional jazz circles, having played over the years with numerous bands, including those led by Turk Murphy, John Gill, Hal Smith, Banu Gibson, and Orange Kellin, to mention just a few. In 1989, Tyle moved to New Orleans, where he played with many of the greats, including Willie and Percy Humphrey and Danny Barker, and formed his own band, the Silver Leaf Jazz Band, in 1992. At the end of 2002, he returned to Portland, Oregon, where he freelances and also plays with the River Boat Jazz Band. In addition, he is a member of the faculty of America's Finest Dixieland Jazz Festival Adult Jazz Camp in San Diego each year and is also teaching a traditional jazz workshop at Portland State University this summer (2004).

A multi-instrumentalist, Tyle plays cornet, clarinet, and drums and is featured on this CD on two of these instruments—cornet and clarinet. He and the rest of the band meld beautifully when he plays cornet (New Orleans Delight has the happy knack of always backing their guest horn players most ably), and then there is a special treat when he lays down the cornet to pick up the metal clarinet and engages in exciting duets with Brandt, as he does on several of the selections on this CD.

As they always do, New Orleans Delight plays in the New Orleans manner, here ably abetted by Tyle, who spent some dozen or so years in the Crescent City playing and absorbing all the nuances of the style. Ensemble is always to the fore, and dynamics are given their due. The repertoire is quite eclectic, ranging from pop songs (When I Leave the World Behind or One Sweet Letter from You), to a hymn (Old Rugged Cross), to the blues (Sugar Blues), to the jazz "standard" (American Soldier). In short, all tastes are catered to, which is akin to what the New Orleans musicians all, it seems, had on their business cards: "Music for all occasions."

The disc opens with Claus Lindhardt laying down a street beat leading into a roll-off, the rest of the band coming in with the opening bars of When My Dreamboat Comes Home. The second chorus raises the volume level a bit, but at no time does the band blast. Lindhardt maintains the pulsating street beat throughout, aided by the support of the rest of the rhythm section, and the piece "swings like the clappers," to use an apt U.K. expression.

Following that is Sugar Blues, featuring Tyle's wa-wa mute and vocal. Unlike many bands, New Orleans Delight does not attempt to "send up" the tune, which is refreshing. The stop chords behind the cornet solo are very effective.

Mama Inez, the next number, is a rumba, evidence of the variety in the repertoire of New Orleans bands. The lead is Tyle's muted cornet, and the breaks are very clean. Brandt's clarinet solo, which follows the opening ensemble, is nicely supported by the rest of the ensemble in typical New Orleans fashion, and the others' solos are backed by the rhythm section, leading into the final ensemble chorus, where Claus Lindhardt supplies small drum fills to the breaks.

A change of mood is then effected in Old Rugged Cross, this being the first of several tunes featuring clarinet duets between Tyle and Brandt. The melody is always to the fore (another New Orleans style characteristic), and the harmony created by the two clarinets is most pleasing. On both the opening and closing choruses, Brandt plays melody in the lower register while Tyle weaves around it with the harmony. As he does on several of the selections, bassman Stefan Kärfve uses his bow to good effect, here on the third strain in most choruses.

Next up is When I Leave The World Behind, a song penned by a young Irving Berlin in 1915 that looked more toward the later period of earthly existence than to the present of a twenty-seven-year-old. However, the sentiments are not morbid, as we hear in Tyle's vocal here. This tune has become a favorite of many of the traditional jazz bands of today.

Another pop song, written some four years after the previous number, is Breeze. After the opening dual reeds chorus, Tyle playing lead and Brandt on alto clarinet, again Tyle supplies the words.

Following that comes On Treasure Island, a piece which appeared during the Great Depression in the U.S. It's a jaunty number, the lyric expressing the twin desires of escape and longing—but here for non-material treasure, namely love—as we hear in Tyle's vocal. The song was very popular almost immediately after it appeared in 1935. In his discography Jazz Records: 1897-1942, Brian Rust lists no fewer than eight recordings that year by jazz bands. Today it can still be found in quite a few bands' tune lists. In the bridge of New Orleans Delight's rendition we can hear the "latin tinge" that Jelly Roll Morton spoke of as being one of the elements of jazz.

After that comes Mama's Gone, Goodbye, opening very effectively with the verse played by cornet and banjo, who are then joined by the rest of the ensemble on the chorus. In the vocal, Mama becomes Papa as befits the gender of the singer!

Every so often I come across a tune that is new to me, such as the next track, Begonia, with its sounds of the Caribbean. From the start it is a catchy piece showcasing the two clarinets, Brandt playing melody on the first chorus, Tyle on the second. Following these, Bengt Hansson takes the lead on trombone, backed by Brandt on clarinet; then Hansson takes a further chorus backed only by the rhythm section. He is followed by Tyle, who takes two choruses, and then the out-chorus again features the clarinet duet. The charm of the melody is added to by the stop chords on the twenty-third and twenty-fourth bars. Kjeld Brandt learned this tune from a
GHB recording by John Defferary, clarinetist with the Chris Barber band, together with the trombonist, pianist, banjo, and bass from Rudi Balliu's Society Serenaders. Brandt wanted to know who composed this tune, and after some fruitless searching, he contacted Defferary, who told Brandt that he believed the name of the composer is Robert Mavounzy. After intrepid sleuthing on the internet, Brandt tracked him down. Mavounzy was born in Panama in 1917 of parents who were from Guadeloupe but had gone to Panama to work on the canal. He returned with them to Guadeloupe in 1928, where he took up the sax, ultimately playing alto, tenor, and soprano. He emigrated to Paris in 1937, where he eventually led his own orchestra, as well as playing with Django Reinhardt's orchestra in 1943. He remained in Paris, playing until his death in 1974. While Begonia may be little-known now, I predict more bands will want to add it to their repertoires after hearing it here.

Two more pop tunes follow, the first, One Sweet Letter From You, being taken at a relaxed tempo and displaying a nice use of dynamics. Referring to this phenomenon, Jelly Roll Morton said when the glass is half empty, more can always be added, and the band demonstrates that here. It also really swings on this number.

A contrast is provided by the next selection, the slow ballad True by Louis Cottrell. On this tune Tyle plays the introduction solo on clarinet and then plays lead on the first chorus, backed by Brandt on alto clarinet, who also backs Tyle's vocal. As he does on several of the slower numbers, Stefan Kärfve bows his string bass, helping create mood.

Rounding off this CD and complementing the opening number is another march, this one American Soldier, more familiar to many, perhaps, by its alternate title, Bugle Boy March. This march from 1907 is given a swinging treatment by the group, Tyle and Claus Lindhardt leading in on cornet and drums with the familiar fanfare, joined by the rest of the ensemble in a moderate tempo which is maintained throughout. On the two out-choruses dynamics are again to the fore, the penultimate chorus being relatively soft, followed by a rousing out-chorus.

In the above comments, no specific mention was made of Göran Magnusson on piano and Erling Lindhardt on banjo. The rhythm section is largely dependent on both (as is the front line also—without them, no chords!), and in that role they tend to be unsung heroes; yet when called upon to play solo, each acquits himself well. And in that sense they are proper members of a New Orleans style band, the strength of which is in the ensemble, not in the soloists. Such is the strength of New Orleans Delight.

All of the band's CD's have provided me much pleasure, undiminished by repeated listenings. This one, which I have already heard a number of times, has proved no different. Now as you listen to it, I'm sure you will share my experience.

Bert Thompson
Orinda, California
February 2004

In front of Femoe Church, August 2003. Photo: Magnusson Bildbyrå, Sweden

Featured Artist: New Orleans Delight featuring Chris Tyle
CD Title: True
Year: 2004
Record Label: Music Mecca
Style: Traditional Jazz
Musicians: Kjeld Brandt (metal clarinet, alto clarinet); Bengt Hansson (trombone); Goran Magnusson (piano); Erling Lindhardt (banjo); Stefan Karve (bass); Claus Lindhardt (drums). Special guest: Chris Tyle (cornet, metal clarinet, vocals).

Review: You can always count on New Orleans Delight to issue a new CD yearly. Pardon the pun but this new offering is delightful and features Chris Tyle as special guest. The Danish/Swedish sextet does not include a trumpeter nor vocalist and this leads to a lot of diversity with guest performers. In the past, we have heard trumpeters Ken Pye, Derek Winters, Norbert Susemihl and Cliff “Kid” Bastien, reedman George Berry and vocalist Kristin Lomholt.

Chris Tyle is well respected within the traditional jazz community in America and Europe. A multi-instrumentalist, Tyle plays cornet, clarinet and drums. He is highly regarded as an expert on jazz history, especially concerning the New Orleans period. A dauntless practitioner of the pure Crescent City style, Chris Tyle lived in the city for about fifteen years. He now resides in Oregon and performs regularly at festivals and venues on the west coast.

The album kicks off to a rouser in the form of Dave Franklin and Cliff Friend’s When My Dreamboat Comes Home . The band handles the tune as a march which is quite logical when it is considered that the melody was based upon a time-worn military bugle pattern. Chris Tyle's jaunty cornet style is put to good use on Sugar Blues, a piece that will forever be associated with Clyde McCoy’s “wah-wah” approach.

New Orleans jazz bands played whatever the dancers demanded and the nightly fare included tangos, rumbas and waltzes. New Orleans Delight leader, clarinetist Kjeld Brandt loves uncovering obscure songs. His incessant research brings two such discoveries to the forefront on this session. First is a piece titled Begonia which appeared on a recent British recording. Brandt liked the melody and its Caribbean flavor. After many hours of detective work, he finally attributed the tune to the pen of Panama born Robert Mavounzy (1917-1974). This is the type of song that Monty Sunshine would love to perform and the twin clarinets of Tyle and Brandt do a fine job of introducing jazz listeners to a great piece of music.

Another gem is the title tune called True (You Don’t Love Me) penned by New Orleans clarinetist Louis Albert Cottrell. Don’t let anyone convince you that “only hot tunes” are written in New Orleans. True is one of the prettiest songs you’ll ever hear and it’s played with the graceful simplicity that was the essence of Louis Cottrell. Tyle and Brandt join forces on the metal clarinets and are backed by the N.O.D.’s solid rhythm section. The seven minute track includes some very nice piano by Goran Magnusson. This is a farewell performance by the pianist who is leaving the band after five years.

Chris Tyle contributes several vocals including the title track. Irving Berlin’s When I Leave The World Behind stands out and is reminiscent of spirited singers like the late Clacy Hayes. Tyle’s trademark cornet is heard on Mama’s Gone, Goodbye and several other songs including the rousing American Soldier which monst listeners will identify as “Bugle Boy March.”

One of the busiest jazz bands in Denmark, New Orleans Delight has just finished a British tour and is booked through mid 2005. Leader Kjeld Brandt will be heard on several venues later this month at the New Orleans Jazz & Heritage Festival in the Crescent City.

Tracks: When My Dreamboat Comes Home; Sugar Blues; Mama Inez; Old Rugged Cross; When I Leave This World Behind; Breeze; On Treasure Island; Mama’s Gone, Goodbye; Begonia; One Sweet Letter From You; True (You Don’t Love Me); American Soldier.

Record Label Website:
Artist's Website:
Reviewed by: Richard Bourcier

Geoff Boxell’s CD-reviews, New Zealand

Music Mecca CD 4054-2 2004,12 tracks, 67 min
When My Dreamboat Comes Home, Sugar Blues, Mama Inez, Old Rugged Cross, When I Leave The World Behind, Breeze, On Treasure Island, Mama’s Gone Goodbye, Begonia, One Sweet Letter From You, True, American Soldier (Bugle Boy March)

As always with New Orleans Delight the interest is always in just how they are going to sound. Yes, I know they always sound good, but how have they made the slight shift in their sound to accommodate and match their current guest. This time they host American Chris Tyle. Now I have a CD of Chris with his Silver Leaf Jazz Band, so I know just how he sounds when at home. Although I enjoy that CD, I feel Chris and the band lack ‘whomph’. That can’t be said of this recording of him with NOD. This CD has all the drive and enthusiasm you expect with Kjeld and his boys and they have carried Chris along with them.
With Silver Leaf Chris plays either cornet or trumpet, but with NOD he also gets to play on his metal clarinet. Knowing Kjeld he was encouraged in this as Mr Brandt do love his metal clarinet and takes great pleasure in playing with others who have the same taste. Now one might expect problems with two clarinets in the front line of a jazz band, but Chris and Kjeld are exceptional here and never, ever, use the same air space, with Kjeld normally letting Chris take the lead whilst he under weaves him. On many of the tunes with the two clarinets, Kjeld uses an alto clarinet, which helps define who is playing what. The combination perhaps could be said to reach its apex on ‘Breeze’ with the result being an interpretation of the tune that must be reckoned as one of the finest around. Now what I am waiting for is for Kjeld to find an excuse to use the yellow plastic clarinet he once admitted he owned!
I think Chris Tyle really enjoyed himself playing and singing with NOD as the music on the album has such verve. My only problem now is that I will have to lend the CD to my old dad who is always asking me if I have anything new by ‘That Delight band’. He knows I had a package from Denmark arrive the other day and he has been sniffing around trying to find out what was in it. Why is that a problem? He likes NOD so much I can’t get the CDs back off him unless I either threaten him with taking legal action to recover my property, or I wait until he goes out and then spend time having a rummage around to see if I can find where he has hidden them. Think I am exaggerating? Buy this CD or any of NOD’s and you will find out just why both he and I like listening to them so much.


Artist: New Orleans Delight
Album: True
Label: Music Mecca
Review by Brian Harvey

New Orleans Delight are one of the finest New Orleans style jazz bands working in Europe and for this CD were joined by one-time New Orleans resident Chris Tyle a multi-instrumentalist.

For this excursion with 'NOD' Chris mainly led on cornet but on some tracks played metal clarinet which balances nicely with the band's own Kjeld Brandt who also plays metal clarinet and alto clarinet. The latter however is clearly wooden - evidence his duet with Chris on "The Old Rugged Cross" on which he plays some wonderfully 'woody' deep toned stuff reminiscent of the best of Jimmy Hamilton's work with the Duke Ellington Orchestra.

Overall this is an excellent set of easy-on-the-ear traditional jazz outings with no histrionics or exhibitionism. Indeed I couldn't help thinking as I played through it for the second or third time, that this would be a perfect CD to play for dancing at a party or barbecue this summer. The numbers are well chosen, full of variety with some excellent vocals by Chris adding piquancy and the tempos are well spaced and chosen.

There are one or two favourites like "When I Leave The World Behind", "Breeze" and "One Sweet Letter From You" and some excellent songs that we don't hear often enough like "Sugar Blues" and the Latin-tinged "Begonia". It's all good stuff and well recorded too.
If you're looking for something different to spice up your listening - search this one out - you won't regret it.



When Chris Tyle first started his tours of the UK with the Gambit Jazzmen, he made it known to me that his family originally came from Denmark. His father, Alex Tyle, arrived in the USA as a baby from Denmark in the early 1900s. For jazz historians, Axel was the drummer in the famous Castle Jazz Band, back in the late 1940s.

It is, therefore, of no surprise to me to see Chris’ name appearing here with that well-known Danish band, New Orleans Delight, which is led by clarinettist Kjeld Brandt.

Since 1999, Chris has made regular visits to Scandinavia, not only to play at various festivals, but to research his family tree. On his trip to Denmark last August he did some work with New Orleans Delight which included this recording session.

Not only does Chris lead the band on cornet, he also doubles on clarinet to play some features with Kjeld. I have been a great fan of Chris’ cornet playing, as he has that uncanny knack of being a good lead, good knowledge of tunes, correct use of dynamics, and most importantly, he can really play his instrument. It is a shame that Chris has not toured the UK with us since 2000; I would love to do some more work with him.

New Orleans Delight obviously enjoyed working with Chris, because it is that spirit that comes across from the recording. My only quibble is the lack of ‘power’ from the rhythm section – they appear to be treating the front-line too gently, and not getting behind them and pushing them on to more exciting climatic finishes. Aside from that, this is a very enjoyable CD, and for those folk who like New Orleans Delight (and Chris Tyle), this is a bonus.

A good one to have in your collection.

Peter Lay



Chris Tyle (cnt, clt*,vcl°) Bengt Hansson (tbn) Kjeld Brandt (clt, alto clt**) Göran Magnusson (pno) Erling Lindhardt (bjo) Stefan Kärfve (bs) Claus Lindhardt (dms)

Denmark, August 11 and 12, 2003

1.When my Dreamboat Comes Home 2.Sugar Blues° 3.Mama Inez 4.Old Rugged Cross* 5.When I Leave The World Behind° 6.Breeze°* ** 7.On Treasure Island° 8.Mama’s Gone Goodbye° 9.Begonia* 10.One Sweet Letter From You 11.True (You Don’t Love Me)° * ** 12.American Soldier

Music Mecca CD 4054-2

This is my first review of a New Orleans Delight CD. The reason is that I wrote the booklets for several of their earlier CDs. The fact that I did this with great pleasure will tell you enough about how I think of this band. In my opinion they belong to the very best today playing New Orleans music. All of them are excellent musicians who know what this music is about. They have the knack to use the right tempos, they understand about dynamics and they always come up with tunes that are not played to death yet. Having no regular trumpet player they usually invite a guest for that chair. In the past these were Ken Pye, Norbert Susemihl, Derek Winters and the late Kid Bastien, all excellent choices. We can say the same thing about the CDs that resulted from these meetings.

This time they had a guest from America. Chris Tyle (Vancouver, Washington, 1955) is the son of Alex Tyle, the drummer and founding member of the Castle Jazz Band from Portland Oregon. Chris played a.o. with the bands of Turk Murphy, John Gill, Hal Smith, Banu Gibson and Orange Kellin. He moved to New Orleans in 1989 where he worked with living legends like the Humphrey Brothers and Danny Barker. In 1992 he put together his own Silver Leaf Jazz band with which he made some fine recordings. Today he is one of America’s foremost traditional jazz players. I remember with affection the nights we heard him at the Can Can on Bourbon Street. Contrary to most of the joints on Bourbon, the music at the Can Can was always first class. Chris is at home with all the traditional jazz styles. Ask him to play tributes to Bix, Fats Waller, Red Allen, Jelly Roll Morton, King Oliver, you name it, he will bring it all to a good end. Recently I read he played the part of DeDe Pierce in tribute to the Goodson sisters! His long stay in the Crescent City made him an excellent New Orleans player. I heard him in New Orleans on cornet and drums. On this CD I heard him for the first time on clarinet and it was a great experience.

Like they did before with their other guest performers, New Orleans Delight melded beautifully with Chris Tyle’s playing. Next on their schedule will be tours with the magnificent Australian singer Lee Gunness and probably also with New Orleans trumpet ace Gregg Stafford.

This CD again features a collection of great songs, most of them familiar to the New Orleans repertory, but the rendition by Chris and the band makes them sound fresh and exciting. One song was only recently brought into the repertoire by a recording by John Defferary with members of our own Society Serenaders. It’s “Begonia”, a Caribbean item composed by Robert Mavounzy, a musician from Guadeloupe who emigrated to Paris in 1937 and recorded a.o. with Django Reinhardt. On this tune, as on a few others, Chris plays clarinet. On this instrument he has the typical sound, unique in the world of jazz, of New Orleans, the city that delivered so many great clarinettists. The sound of the two clarinets is a joy to hear. Kjeld plays lead on the first chorus, Chris on the second. The clarinet behind the trombone solo is by Kjeld, the two choruses that follow are by Chris, while the out-chorus features them both playing duet again. Great track, one of my favourites!

Kjeld comes up with a new instrument on “Breeze” and on the Louis Cottrell favourite “True”: the alto clarinet. The deep sound of this horn blends in a great way with Chris’ regular clarinet. I recently learned that the melody of “True” was not written by Cottrell, like we all thought, but by Lloyd Glenn, the pianist with the Don Albert band of San Antonio, with which Cottrell recorded the song for the first time. “Breeze” is just as great with a fine trombone solo by Bengt, backed by Kjeld. What a warm sound! Chris takes the vocal on both these tracks as on several others on this CD. His singing is fine and completely in New Orleans fashion. Another fine clarinet duet is heard on the beautiful hymn “The Old Rugged Cross”, both players using their regular metal clarinets.

It’s a common thing in reviews to talk mostly about the horns, but I want to accentuate the importance of the great rhythm section we have here. Take for instance Göran’s three notes after the vocal break in “Sugar Blues”. Wonderful! Father (Erling) and son (Claus) Lindhardt are just as good. Listen to the mandolin-like playing of Erling on “The Old Rugged Cross”, in the tradition of Lawrence Marrero in the George Lewis band when they played hymns. Claus has mastered the typical New Orleans street beat to a T. Listen to his exciting playing on the rumba “Mama Inez” and on the Latin sounding bridge of “On Treasure Island”. I was again struck by the remarkable playing of bass player Stefan Kärfve. Listen to his break during the piano solo on “Sugar Blues” and to the fantastic way he uses his bow on the slower numbers. A fine musician!

One more favourite track before I stop this review. On Armand Piron’s “Mama’s Gone Goodbye” Chris plays the verse on trumpet only accompanied by Erling on banjo, before the rest of the band moves in for the chorus. Splendid!

A fine CD like this deserves good liner notes and I’m glad to say Bert Thompson from Orinda, California, did a great job giving us extensive information about the band, the guest and about all the tunes played. Well done! The atmospheric photo on the front page of the booklet is by Kjeld, who is not only a great clarinettist but a fine photographer as well!

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Marcel Joly