- George Berry, Nottingham, 18.02.03

– Brian Towers, Toronto, 16.02.03

My first direct contact with Cliff ’Kid’ Bastien was in January 2001, when in co-operation with ”New Orleans Delight” I invited him to come to Denmark. Cliff answered that he was most honoured and in fact this was the very first time he had ever been invited to play alongside another band. Cliff hated flying, and he also had other excuses. However, I still got the impression that in a way he would very much like to come to Denmark as he in several letters asked for more time ”to think this over”, as he put it. I continued telling him that he had to come, because so many here in Denmark wanted to listen to his way of playing the Kid Thomas style of music. Finally, after about nine months I persuaded him to come. It happened this way. In September 2001 I met George Berry at the Bude Jazz Festival and spontaneously asked him whether he would come to Denmark and join the band if Cliff finally agreed to come. Cliff and George had played together in Toronto in the early 1970s. George agreed and Cliff’s reaction was immediate: ”If George comes, I will come”! The tour to Denmark became a great success. The band played eleven wonderful concerts, six in Denmark and five in Sweden and everywhere in front of very enthusiastic audiences.
Sadly, Cliff died at his home February 8, 2003 only two month after his visit Denmark. Cliff stayed at my house during his visit, and I soon found out that not only was he an extraordinary musician, he was also a generous and warm person with a great sense of humour. I’m proud and honoured to have known Cliff. If you believe in eternity, I hope that Cliff is now sitting in his heaven chatting and playing with his musical mentor, Kid Thomas Valentine, who changed Cliff’s whole life so completely back in 1957 at the Westwego Fireman’s Hall in New Orleans where Cliff listened to his music for the first time.

– Christian Westergaard, Sosum, 6.3.03

LINER NOTES FOR NEW ORLEANS DELIGHT WITH KID BASTIEN AND GEORGE BERRY

When Kjeld Brandt told me, about a year ago, that most probably Kid Bastien from Canada was going to tour with New Orleans Delight in November 2002 I was filled with anticipation. The idea of one of the best European New Orleans bands playing together with the living legend from Toronto was indeed very exciting. I knew from experience that Cliff Bastien always inspired every group he was playing with to wonderful performances. I had heard it many times during Cliff’s short visits to New Orleans. When the news came that George Berry would also be part of the planned tour the anticipation grew even stronger. George had been a member of Bastien’s Camelia Jazz Band in the seventies and recorded two exciting LP’s with the band, now hard to find collector items. In fact George’s yes to the offer to tour with the band was the trigger that pulled Cliff over his doubts and his fear for flying. “If George comes, I’ll come too” Kid Bastien said.

“Make sure you make a recording on this tour” I told Kjeld “I volunteer to write the liner notes!” I never had thought that I would be writing these liner notes in such sad circumstances. Less than three months after the tour and just after he had given his OK for the release of a CD, Cliff Bastien suddenly died. He was found by friends, sitting in his armchair in front of the TV, holding his hymnbook, probably looking for some new material to play. He was only 65 years old…

I first heard about Kid Bastien in New Orleans, when someone, filled with excitement, told me: “Kid Bastien is arriving tomorrow!” Frankly, I didn’t quite understand the excitement. After all, at that time, many of the original pioneers of the music were still alive and playing well in Preservation Hall and other places. It sounded to me like bringing coal to Newcastle. Unfortunately I had to leave the city two days later, so the chances were few I would hear much of this Kid Bastien and I could live with that. When I heard, merely by coincidence, that Bastien would have a jam session at Bonaparte’s Retreat, one of my favourite hangouts in those days, I decided I would pack early and spend my last evening at Bonaparte’s to find out what all the excitement was about. My long stay in the city had provided me with loads of excellent music and I could not imagine that this last night would stay in my memory forever. When I entered the old bar I saw an unassuming middle-aged man with a short beard, chatting and joking with a bunch of musicians, some locals, some visiting. When they finally got ready to start the session I took out my little Sony walkman recorder, ready to record the music, no matter how good (or bad?) it would be. From the first notes Cliff blew on his trumpet I began to understand about his reputation, even in a city still filled with wonderful music. It was not only his own playing that was exciting and wonderfully emotional, it was also the impact he obviously had on his fellow musicians. My old friend Chris Burke, for instance, one of my favourite clarinet players, delved in his Milé Barnes/Israel Gorman bag and played some of the best old style New Orleans clarinet I ever heard him do. How much I felt sorry that I had to leave New Orleans the next day and would miss other nights with this quiet and humble musician from Toronto. That night I decided I would never again miss a Kid Bastien session on his future visits to the city and I never did. One of the first questions I always asked arriving in the city on later visits was: “Any idea if Kid Bastien is coming?” If the answer was yes I knew it was going to be another great year. Although we met only a couple of days each year, we became friends and Cliff’s Christmas card was every year one of the first that hit my mailbox. When my physical condition prevented me from making any more trips to New Orleans after 1992 , Cliff made sure that I received a copy of his 1993 CD.

After our first meeting I also met several members of Cliff’s Toronto band, Roberta Tevlin on trombone and piano, Patrick Tevlin on reeds, Chuck Clarke on drums, to name just a few, and everyone of them showed that complete understanding of what New Orleans music is all about. When I talked to them and asked them where they got that deep feeling so many were looking for and so few really found, the answer was unanimous: “Cliff taught us!” So this man was not only a wonderful New Orleans musician, but a marvellous teacher as well! I remember I wrote in my annual report for Footnote (now New Orleans Music): “Every country should have a Kid Bastien.”

I had started to collect everything Bastien recorded after I first heard him live. I found out that I already had one of his albums on the obscure “Sunny South” (from Canada!) label, but never had realised how great the music on this LP was. Hearing someone in person often gives a new dimension to the appreciation of his recorded work. Unfortunately Cliff recorded very little. As far as I know there were three LPs on the Sunny South label (1971, 1975 and 1984) and one on Fat Cat’s Jazz (1972). Maybe the latter will be reissued by George Buck one day? There was at least one cassette recording on Tapeworm (1989). Finally there is his only CD recording dating from 1993 and recorded at Grossman’s Tavern in Toronto, the place were for something like 30 years he played weekly. He had recorded another CD in 1990 as a sideman with the Sammy Rimington Band. This was issued in 1994 under the name of Chester Zardis who had replaced the band’s regular bass player. Although this was a fine CD with great tunes and fine musicianship, it didn’t really do justice to Kid Bastien who was not feeling well the day of the session, but didn’t want to let his fellow musicians down.

In fact Cliff saw no reason to record. In his opinion the original New Orleans musicians had already done all the recording that was needed. For him the main purpose of his playing was to entertain the people and to let them have a good time. “Laissez Les Bons Temps Rouler” (Let The Good Times Roll) was the appropriate closing tune on the 1993 CD.

When Cliff accepted the invitation to tour with New Orleans Delight he was asked if there was a chance to do a recording session together. “All the best music has already been put down by the New Orleans guys.” He said. Next question from Kjeld was: “But would it not be nice to have some memories from the tour?” Cliff again: “Some of my best memories are held in my heart, not on tape.” He further explained that recording microphones made him nervous and that he wanted to relax and have fun without the pressure of the knowledge that the music would be recorded and heard over and over again later on. The argument was settled when Cliff said that he could not come if there would be a recording. The reason why you are holding this CD today was an act of sheer friendliness towards Jorgen Vad, New Orleans Delight’s sound engineer. Jorgen had been travelling with the tour for his own pleasure and had some nice conversations with Bastien. Near the end of the tour he went up to Cliff to say goodbye. “Will I see you tomorrow?” Cliff asked. “Only if you allow me to record the session” Jorgen replied. After a long look at Jorgen, Cliff said: “See you tomorrow.” After listening to this CD you will agree with me that we have to be thankful for Jorgen Vad’s insistence! Cliff himself was happy with the recording after hearing the results and looked forward to the publication of the CD. Unfortunately he isn’t here anymore to enjoy it…

Cliff Bastien made his first visit to New Orleans in 1957 when he was only nineteen years old and still living in England. There he met Kid Thomas Valentine and listened to him as much as he could. This meeting would change his life. Cliff decided that this was the music he wanted to play, THIS music or nothing at all. In 1962 he immigrated to Canada. On subsequent annual visits to New Orleans Cliff studied the music at the source. He not only became adept at the trumpet, but also played banjo, bass, drums and trombone. His admiration and respect for the old New Orleans musicians was boundless. I don’t think he ever realised how good he was himself and how close he approached his heroes. I’m sure he never was aware of the excitement his short visits to New Orleans caused over there. For him it was just visiting old friends and having a good time with them.

I don’t understand why some people blamed him for being a Kid Thomas copyist, while nobody ever said a thing about the many trumpet players who followed Louis Armstrong or all the tenor sax players who took Coleman Hawkins as their model. Once we talked about the Kid Thomas influence on his playing and Cliff had this to say: “I never tried to copy Thomas because that just is not possible. I only use him as a guide line.” I also think Cliff never realised that he had much more in common with the great old man from Algiers, the trumpet player with the iron chops, than just the way they blew their horn. Watch the parallel between two following anecdotes! When a newspaperman asked Kid Thomas what his plans were for the immediate future, Tom replied: “Well, I think I’m gonna fix my roof. I had it done but I’m not satisfied with the results. I’ll better do it myself.” One night Cliff, who made his living as a accomplished commercial artist whose hand-crafted signs, woodwork and acid-edged glass can be found all over Canada and other parts of the world as well, was walking to his hotel with a well known trumpet player residing in New Orleans. This fellow said: “Well Cliff, I don’t think a real musician should try to copy another musician.” The answer he got was: “I don’t know, I’m not a musician, I’m just a sign painter.” This unglamorous approach toward their art – and an art it was, although they seemed unaware of this themselves – their down to earth attitude, completely free of any desire to be famous, made them what they were: true folk musicians, unpretentious craftsmen, whose heartfelt music is so much more captivating than the work of their more self-conscious and more glamorous counterparts. Their aim was to entertain the people who came to hear them. They always did so with complete dedication and enormous talent.

While Cliff Bastien was probably mostly known for his Kid Thomas style trumpet playing, his entertainment value was just as much due to his singing. It is common knowledge that most New Orleans musicians like to sing and Cliff was no exception. What makes his vocal work so endearing to me is its completely natural character. Cliff doesn’t even try to imitate one of his great black predecessors, except when he is obviously paying tribute to one of them, like to DeDe Pierce on “Big Mamou” on this CD. He just uses his natural voice and sings with great feeling. He swings like hell on the faster tunes and is appropriately sentimental on ballads and reverent on hymns. His voice was strong and clear and often I saw him, in the absence of a microphone, use his hand cupped beside his mouth to amplify it. To me he was one of the great New Orleans singers of all time. When he sang one felt like singing along with him because it looked like so much fun.

What is there to say about George Berry, the other guest with New Orleans Delight on this CD, except that he was the perfect companion to Cliff for this tour. He is a walking anthology of New Orleans reed playing, being equally adept at the clarinet, the alto sax and the tenor sax. He listened closely to all the New Orleans greats and forged his own style based on their playing. He played with Bastien’s Toronto band in the seventies and was on two of the Sunny South LPs. Like Kid Thomas Cliff always seemed to have a saxophone in his front line. On this tour George stuck to the tenor sax and added a lot to obtain the typical Kid Thomas sound. He was obviously strongly influenced by the playing of Emanuel Paul, Kid Thomas’s long time companion, but one can hear other influences as well, like Andrew Morgan’s and even some of the best New Orleans rhythm & blues players. Just like Manny Paul, George is not only great in his solos, but his accompaniments to his fellow musicians are a model of inventiveness and superb taste all the time. If you want to hear this fine musician on the three instruments he plays, you should buy “Dance Hall Days” by the Melody Inn Quartet on Rose Records RRCD 1023. On this CD the quartet is paying tribute to The Mighty Four, a group containing Harold Dejan on alto sax, Lionel Ferbos on trumpet, Creole George Guesnon on banjo and Alec Bigard on drums. The British group had besides George, David Copperwaite on trumpet, Louis Lince (New Orleans Music’s publisher) on banjo and guitar and Charles King on drums. Although these liner notes will talk mostly about Kid Bastien – after all this CD is definitely his last – George Berry’s presence was just as important to the success of the present CD and…so was New Orleans Delight.

One of the most remarkable qualities of this live recording is how New Orleans Delight merged with the two guest musicians. It really sounds like they had been playing together for many years. Collective playing with a four-piece front line is not an easy task, but they succeed above all expectations. Never the ensemble playing sounds confused or crowded. To the contrary, there is a marvellous interplay full of light and shade all the time.
With a rhythm section that fits this front line perfectly, the band sounds warm and glowing.

Kid Bastien was known for his extensive repertoire which not only included the New Orleans classics, but also songs culled from all kinds of music: popular, latin, cajun, rock ‘n’ roll, western swing, folk and whatever you can think of. So it was natural that he had brought along some tunes that were new to the band. No problem when you’re talking the same musical language! New Orleans Delight too always make an effort to include new material, which keeps their music fresh and interesting. This again is completely in the spirit of the Kid Thomas band. Whenever a patron at the dance halls requested a tune unknown to the band, the Kid sent someone to Werleins on Canal Street the next morning to get the sheet music. One of the readers in the band played it and the others picked it up. The next time they would play at the same spot again, the new song was included in their performance. When we look at Thomas’ recorded repertoire we find tunes that just became popular at the time of the recording. Contrary to what some pundits think, New Orleans music was not a set of so-called jazz classics, but a way of playing all kinds of music in the musicians’ own personal style.

The CD opens with a lively version of “Algiers Strut”, the well-known Kid Thomas anthem, based on the popular song “You’re All I Want For Christmas” and the mood is set for the rest of the evening. When you listen closely you will hear that the spirit of the Kid Thomas band is caught to perfection, but you will also notice the differences, which proves that this band was not imitating at all. Listen to the rhythmic force with which Cliff Bastien leads the ensembles. Bill Russell was right: in a New Orleans band EVERYBODY plays rhythm! Kjeld told me that Cliff started every concert with “Algiers Strut”. Listening to this performance one realises that this band didn’t need warming up. Cliff’s slapstick enters during the second part of the trombone solo and you will hear it again and again adding a fifth and exciting voice to the rhythm section.

Next comes the Bob Wills classic “San Antonio Rose”, one of the most beloved songs of the western swing repertoire. As Wills said himself “this song took him from hamburgers to steaks”. Notice the beautiful bridge!

The band slows down for a beautiful rendition of Jelly Roll Morton’s “Winin’ Boy Blues”. Cliff takes his first vocal and Jelly’s spirit is smiling on him when he hums some phrases like the master did. George’s sax weaves a rich tapestry behind the singing. Bengt takes a plaintive solo, followed by George and then Kjeld’s crystal clear clarinet takes over. Goran pays tribute to the composer before Bastien leads the final ensemble to a rousing climax, making ample use of his metal derby. Wonderful!

Now we’re in for a relaxed treatment of Fred Rose’s “Highways Are Happy Ways”. Fred Rose was the man who discovered the great Hank Williams. He also wrote another great song, which recently became part of the New Orleans repertoire, “Blue Eyes Crying In The Rain”, a Willie Nelson favourite. Sometimes it pays to look over the fence to other musical pastures! Cliff sings again with great feeling.

Next comes a tune of which I always thought the title was “Let Me Go Home” A search on the Internet revealed that this song is known under several titles like “The Wreck Of The John B.”, “The Sloop John B.” and “John B. Sails”. Lee Hays of the folk group “The Weavers” adapted this old song from the Bahamas from a version in poet Carl Sandburg’s 1927 songbook “The American Songbag”. Alan Lomax had already recorded it in Nassau in 1935 sung by Bahamian Negroes. The Kingston Trio recorded it in 1958 and 8 years later the Beach Boys had a hit with a rocking version of it. The band plays it the New Orleans way while still respecting the calypso rhythm. Kjeld keeps his singing clarinet in a Caribbean mood (shades of Stellio!). Listen to the wonderful rhythm Cliff obtains from his slapstick! Listen to the beautiful variations both George and Bengt play in their solos.

“Gloryland” will remind most New Orleans fans of the 1927 Sam Morgan recording and of course of the 1944 recording by Kid Shots Madison with George Lewis. When I hear this often played religious song another memory haunts my mind. At Father Al Lewis’ wake a small group performed a few songs. When they played “Gloryland” Percy Humphrey, who was no part of the band and had been sitting quietly in the chapel together with his brother Willie, suddenly rose, pointed two fingers forward and sang the lyrics with his unique gravelly voice. One of those magic moments one never forgets…When I listen to Cliff’s vocal here I hear him sing “If you get there someday before I do, over in the Gloryland, will you tell all my friends I’m coming there SOON” instead of “I’m coming TOO”. A premonition? Most probably not, but it’s sad to know how SOON it would be. Now he has joined the “happy angels band”.

After Glenn Miller, Connee Boswell, Gene Autry and Louis Armstrong had recorded “Blueberry Hill”, written in 1940, Fats Domino had a million seller record with it in 1956 and the song entered the local New Orleans repertoire. It’s obviously Fat’s version that the band had in mind. Cliff’s vocal is close to Domino’s and George Berry blows some great rhythm & blues lines on this one.

“Big Mamou”, written by Link Davis in 1953 is a typical Louisiana cajun song. Sam Charters recorded Billie and DeDe Pierce singing “Big Mamou” at Luthjens in 1954, which again proves that the musicians at the dance halls were very much aware of what was going on musically elsewhere. Cliff sings the lyrics in both English and patois French and is obviously paying tribute to this other great trumpet man and singer. This is really a bundle of uninhibited joy! Notice Claus’ fantastic drum work.

We come now to the most moving song of this CD: “Last Mile Of The Way”, written almost a century ago (1908) by William E. Mads and Johnson Oatman Jr.. It’s shown again here how much Cliff shared Kid Thomas lyrical side, an often overlooked ingredient of the latter’s style. Every time I hear this track I get tears in my eyes. Cliff sings: “When I’ve gone the last mile of the way/I shall rest at the closing of this day/And I know there are joys that await me/When I’ve gone the last mile of the way.” probably unaware that he would soon walk that last mile. Cliff’s untimely death adds a terrible poignancy to this track. All solos have a plaintive quality and are filled with a sincere feeling of sadness.

Next song, a combination of “Joe Avery’s Piece” and “Dippermouth Blues” is again a celebration of life. George brings it in driven by the great rhythm section with Cliff’s slapstick adding to the excitement. Cliff pays tribute to King Oliver while the band swings happily behind him.

This CD ends in sheer melancholic beauty with a long forgotten Walter Donaldson song “A Thousand Goodnights”. Donaldson was the writer of many evergreens like “My Blue Heaven”, “Makin’ Whoopee”, You’re Driving Me Crazy”, “Love Me Or Leave Me”, “Yes Sir, That’s My Baby” and “My Buddy”, to name just a few, all part of the classic jazz repertoire, but I must admit that “A Thousand Goodnights” was new to me. Even a 1976 Steve Lane LP, completely dedicated to the work of Donaldson, didn’t have it. And what a wonderful closer this is. One can easily have a vision of a multi-facetted glass boll turning slowly around throwing splashes of light on a ballroom filled with dancing couples. Cliff turns himself into a crooner for this one. Kjeld’s low register solo, with subdued comments from Bengt, is a thing of sheer beauty. Cliff leads the final ensemble with great authority.

What a shame we will never hear this great combination anymore. Cliff had enjoyed the tour very much. At one moment he told Kjeld: “I didn’t know it was possible to have so much fun while keeping one’s clothes on.” Fortunately we have the CD you are holding now. It will give you joy and beauty for many years to come.

- Marcel JOLY

Cliff "Kid" Bastien Discographie


Mention:

... I have just recieved a copy of the much-awaited CD, cut from live concert performances last November in Denmark and Sweden, with Kjeld Brandt’s band, New Orleans Delight. This is the Kid’s last recording, and it is a splendid testament to his approach to jazz. The album itself is exquisitely produced, with an eightpanel jewel case, plus a 28-page booklet. No doubt it will be reviewed in The Rag™ in the near future.

– Brian Towers, Mississippi Rag, June 2003

Review in Euroclub de Jazz - Trad Channel

New Orleans Delight with Cliff Bastien & George Berry - Joe Avery’s Piece/Dippermouth Medley - from the album SeaSide Jazzklub - Music Mecca CD 4024-2 - web address www.new-orleans-delight.dk
The track we’re broadcasting here is one of the most infectious dancewise that we’ve heard from a jazz band in many years - it’s an old New Orleans standard - one that locals play at their own parties and one which it is said helped give rise to (ssshhhhh don’t tell anyone) the birth of rock and roll. Whatever - the two main musicians here - Cliff ‘Kid’ Bastien on trumpet and George Berry on tenor sax boot the number along in one of the most swingy and infectious styles I have ever heard. It’s a great memorial to the two - both of whom have only recently passed over. They are more than ably backed by the wonderful New Orleans Delight Band from Scandinavia and we’ll hear more from them the months to come. And of course - there are many more great tracks like “Joe Avery’s Piece” on this CD.

- Brian Harvey

Review in NEW ORLEANS MUSIC. Incorporating FOOTNOTE
Vol. 11 No. 6. 2004.

Reviewed by Mike Pointon

This CD offers a tribute to two wellrespected musicians who died recently and are the two featured guests with New Orleans Delight, a band that does a sterling job flying the flag for New Orleans music in Denmark. Cliff Bastien first visited New Orleans in 1957 and met Kid Thomas, whose playing left an indelible impression upon him which can be felt in every bar heard on this album. He eventually emigrated to Canada and George Berry joined him in Toronto in the 70s. Their style are readily compatatible as Berry’s tenor sound is clearly based on Emanuel Paul and, with sympathetic backing from the Danes, the end result is a true down-home dance hall sound.

Marcel Joly’s affectionate notes fill in the background and give in-depth information about some of the more unusual pieces in the band’s repertoire.He reminds us that Algiers Strut is ‘based on the popular song You Are All I Want For Christmas’ (in fact it’s the self-same melody!) and the version is a lively opener.

The long Winin’ Boy (10.15) features a warm vocal from Bastien and some melodic tenor and fluent clarinet underpinned by supportive but unobtrusive drums. John B Calypso (known here as I Wanna Go Home and a hit for Lonnie Donegan) suits the band’s style well and allows Bengt Hansson to evoke shades of Louis Nelson making one feel it would have been an ideal vehicle for the Thomas band.

Big Mamou gives a salute to DeDe Pierce well in keeping with the proceedings and has a boisterous vocal from Bastien, breaking into patois, with booting tenor propelling things along nicely. Highways Are Happy Ways, again, is just the sort of homely material one might have heard at, say, the Westwego Firemen’s Hall (where Bastien heard Thomas for the first time) as is San Antonio Rose, although the band doesn’t seem too at home with the latter, having seemingly truncated the sequence.

The poignant Last Mile Of The Way and the charming but neglected A Thousand Goodnights, by the prolific Walter Donaldson, almost evoking a Ted Lewis mood with its reflective vocal, provide an appropriate farwell to two dedicated musicians.
All in all, a honest, workmanlike album. Well worth a listen.

CD REVIEW by Bert Thompson

Just Jazz, October 2003


NEW ORLEANS DELIGHT - LIVE RECORDINGS "SEASIDE JAZZKLUB",

One of the best kept secrets in traditional jazz circles has been the late New Orleans style trumpet player Cliff "Kid" Bastien. Bastien did not promote himself at all; he did not like to travel much, particularly where flying was involved; he played few festivals; and he did not record extensively, believing (wrongly, I think) that he had nothing to add to the canon—"All the best music has already been put down by the New Orleans guys," Marcel Joly quotes him as saying. As a result he was little known outside of the Toronto area, where he lived and played, and New Orleans, where he frequently attended and played at the French Quarter Festival (driving down from Canada for it); and more's the pity. As this CD shows, he was a fine musician in the Kid Thomas mold—but he did not try to be a Thomas clone. One can hear touches of Thomas, but Bastien maintained his own identity.

He, along with George Berry, was prevailed upon to join New Orleans Delight, one of the best European bands playing in the New Orleans style, in Denmark for a tour late last year. Bastien, like Berry, hailed originally from England, emigrated to Canada, and entered the traditional jazz scene at about the same time, both being founder members of what came to be known as "Cliff Bastien's Happy Pals," a band built on the lines of Kid Thomas' Algiers Stompers. Berry, of course, later returned to England, but Bastien stayed on in Canada. As stated above, Bastien avoided travel, and when approached by New Orleans Delight to join them for a tour, was unwilling to entertain the idea until he was told his old mate, Berry, would also be on the tour. That was sufficient bait to attract Bastien into going. He also had to be lured into recording, because one of his conditions was "no recording." Details of how that interdiction was gotten around can be found in the CD's liner notes.

Perhaps here it should be noted that this CD's packaging departs from the usual. Instead of a plastic jewel case, the CD is contained in a type of gatefold container which opens out in both directions to disclose a series of photographs, notes from Brian Towers of Toronto and George Berry of Nottingham, and a 27-page booklet by Marcel Joly of Belgium—all in all a very impressive production, and with the additional great advantage of not being open to the damage often inflicted on plastic jewel cases by the post offices.

As a glance at the repertoire on this CD will show, there is quite a variety of tunes. It opens with a Kid Thomas composition, Algiers Strut, one which will be familiar to most readers. In it Bastien immediately establishes his authority, but there is no overblowing. Here, and in other places, he shows his command of the aluminum derby mute, and we hear other Thomas trademarks, such as the flares and short flurries of notes, all in good taste and not overwhelming, either in content or volume. San Antonio Rose follows, with appealing unison duets between Bastien and Berry. On Jellyroll Morton's Winin' Boy Blues, I liked the contrast provided by the "fat" sound of the tenor sax solo being immediately followed by the "slender" one of the clarinet, and the block chording by the piano is also just right. On this track Bastien takes the first of the several vocals on this CD. Speaking of vocals, while I am not usually fond of those taken by musicians, I must confess that Bastien's are quite appealing. In fact, the very sentimental lyrics of Highways Are Happy Ways are "saved" by his manner of delivering them, although there are legions who, unlike me, wholeheartedly endorse such excursions into sentimentality. I am not as taken with the last tune, A Thousand Goodnights, however, as Bastien and Joly are. Perhaps there is a reason for its obscurity. Of the others, as Joly says, Blueberry Hill leans toward Fats Domino, Big Mamou toward Billie and DeDe Pierce, and (Over in the) Gloryland to the Morgan band. The latin tinge (calypso beat) of John B. Calypso (as the folk song is titled here) is refreshing and Last Mile of the Way equally so for its being unfamiliar.

This CD would be a worthwhile addition to anyone's library, particularly because it is a rare—and final—contribution to the Bastien discography. But it is also worthy of purchase because of the contribution of George Berry and, of course, New Orleans Delight, a band which just keeps getting better and better, the result in large part, I'm sure, of the heavy playing schedule, as well as practice and rehearsal. Nothing like it to keep a group sharp! As with other Music Mecca CD's, it can be ordered on-line at the following internet websites: www.cdjazz.com (e-mail ambia@cdjazz.com) or www.jazznblues.co.uk (e-mail jazzjerry@aol.com).

Bert Thompson plays drums with the Jelly Roll Jazz Band, the Zenith New Orleans Parade Band, two San Francisco area bands, and Gremoli, a Southern California band.

The Jazzgazette

Kjeld Brand succeeded in a short period of time to make from Delight a very good band and made for the band a still stronger growing reputation on the European New Orleans Jazz scene.
The fact that the band has no steady trumpet player, leaves room for experiments and for them to look for trumpet players who fit into the style of the band. A recent example of this search is Belgian, Bruno Van Accoleyen who they discovered by the CD's he made with a.o. the Julian's. examples from the past are Norbert Sushemil and Derek Winters. From my previous reviews one can see that my preference goes to the recordings they made with Derek Winters. Normally Derek would have accompanied them to New Orleans, to the French Quarter Festival, but because of the illness of his wife, Derek was unable to make the trip.
In their quest for a trumpet player who fits into the New Orleans Delight musical philosophy, Kjeld went with a plan to persuade Cliff Bastien to come to Denmark for a series of concerts. It was not easy, but Kjeld persevered and this CD is the result of a long series of letters, phones and pleas.
In a precedent edition of The Jazzgazette, people who have known Cliff better, have extensively written about Cliff's ideas and opinions on the music and about Cliff as a friend. For me, Cliff Bastien was the trumpet player on that LP with the white sleeve and with Sven Penn Stahlberg on drums, an LP with which Marcel misled me, making me believe it was recording by the Kid Thomas band.
A lot of the musicians who discover and play New Orleans music, leave this ' simple' music after a while and style from their examples to put forward their own technical prowess. Hereby they often forget that the beauty and the attractiveness of this music lay in its simplicity. Bastien is like Dan Pawson and Sammy Rimington, one of the few musicians who have not denied their great musical examples and who, with slavishly copying them , have developed their own style in the true spirit of the great masters.
One can hear clearly the influence of Kid Thomas in Cliff's trumpet playing, and even in his facial expressions there are some tics that remind us of Kid Thomas. But what is more important , is the philosophy that was behind the music of Kid Thomas, 'please the people'. And this had nothing 'uncle tomish'. Just listen to 'Johnny B Calypso', a one time hit for the Beach Boys, as 'Sloop John B'. 'A Thousand Goodnights', it gave me pimples when I heard it for the first time. For me a real discovery, just as 'I Don't See Me In Your Eyes Anymore' was, when these Kid Thomas recordings were released for the first time by 504.
And George Berry, old time mate from many and long jazz nights and concerts? He does not remind me so much of Manny Paul, but also of Andrew Morgan and the most of Lee Allen and the great saxophone players from the flowering time of New Orleans Rhythm 'n' Blues. But the latter is also the music to which Cliff leads the band, just listen to 'Big Mamou'. But above all this is functional music, danceable music.
And then there is New Orleans Delight. All the good things I wrote about this band in a previous issue, is once again confirmed on this CD. An excellent rhythm section that feels the musical direction in which Cliff wants the band to go. The two other front players let do their guests do their thing and fill up the gaps in a typical New Orleans way.
An excellent CD.

- Jempi De Donder

jazzreview.com

http://www.jazzreview.com/



Featured Artist: New Orleans Delight

CD Title: Cliff 'Kid' Bastien and George Berry

Year: 2003

Record Label: Music Mecca

Style: Traditional Jazz

Musicians: Cliff 'Kid' Bastien (trumpet, vocal, slapstick); George Berry (tenor sax); Kjeld Brandt (clarinet); Bengt Hansson (trombone); Goran Magnusson (piano); Erling Lindhardt (banjo); Stefan Karfve (bass); Claus Lindhardt (drums).

Review: The newest release from Music Mecca brings two old pals together for the last time as they join the fine Danish band, New Orleans Delight. Cliff 'Kid' Bastien and George Berry have been friends since 1967. Both players are British born and spent many years in Canada. New Orleans Delight is a traditional jazz outfit without a trumpet player. While other bands would consider this a handicap, N.O.D find it's a blessing. Their appearances include guest trumpet stars from Europe, Britain or North America.

When invited to do a Scandinavian tour with the N.O.D, Bastien was hesitant due to a life-long fear of flying. When told that his old buddy, George Berry would be doing the gig, Bastien agreed. Sadly, this would be a final tour for the well-loved trumpeter. Only two months after recording this session, Cliff passed away at his home in Toronto.

Cliff Bastien became firmly hooked by New Orleans revival jazz in the 1950's and upon visiting the Crescent City in 1957, he was knocked-out by the trumpet work of Kid Thomas Valentine. Moving to Canada in 1962, Bastien brought his love of jazz, his magnetic personality and a ton of enthusiasm to Toronto. The city had heard a lot of traditional jazz in the past through such bands as Trump Davidson, Ken Dean's Hot Seven and The Queen City Jazz Band. Kid Bastien became a pioneer of sorts, and fostered an interest in jazz played in the rough and ready New Orleans style. The Kid held court at Grossman's Tavern from 1968 until his death in February 2003. That was a great gig! Adept at bass, banjo, drums and trombone in addition to the trumpet, he tutored many other musicians in his favorite jazz style.

Over the years he headed The Black Eagle Jazz Band ,Kid Bastien's Camelia Band and his Happy Pals . The Happy Pals continue to play the gig at Grossman's Tavern without their beloved leader but with the backing of the legions of friends inherited through Cliff's legacy.

The Music Mecca session was recorded at a live performance in the SeaSide Jazzklub at Frederikssund on November 30,2002. Happily, the trumpeter was able to hear and approve the final tracks before he passed on. The resulting presentation is a thing of beauty. The collaboration of label owner Christian Westergaard, recording engineer Jorgen Vad, writer Marcel Joly, photographer Goran Magnusson and graphic designer Kjeld Brandt make this a very pretty package. Marcel Joly's articulate liner notes appear in booklet form and outline Bastien's life perfectly. Major recording companies could learn something from this small label. Without good music, the package would mean little. Happily, the music is exciting and a fine example of raw New Orleans fare. Bastien's trumpet enthusiasm is matched by a most professional band, New Orleans Delight led by clarinetist Kjeld Brandt. Brandt recently appeared as a guest in New Orleans at Preservation Hall and at gigs with trumpet star, Gregg Stafford. New Orleans Delight has a huge fan base in Europe and I recently saw their gig list. The band is tightly booked into mid 2004.

Together, Bastien, Berry and Brandt are electrically energized. A wonderful synergy results from the combination of the three players. I'm just guessing when I suggest that Cliff Bastien picked the tunes. It's an eclectic mix bearing his trademark. The Kid Thomas anthem, Algiers Strut kicks off the set which includes other Crescent City classics such as Joe Avery's Piece, Winin' Boy Blues and Gloryland . The trumpeter traditionally included unusual items in a performance. Here it happens to be the Cajun song Big Mamou with wonderful new rhythms. Another takes the form of the calypso favorite, Sloop John B with a jazzy new look. Since Walter Donaldson is my favorite composer, it was nice to hear the band's version of A Thousand Goodnights. Adrian Rollini recorded the tune in the 30's but I'd never heard it until now. Bastien's vocal shows his sensitivity for vintage material and his singing throughout this CD is fine.

George Berry's tenor attack echoes the sound of Manny Paul and every note carries a knife-edge. On Joe Avery's Piece Berry takes the lead solo and then slices off a boogie woogie bass figure behind Bastien's solo. Proficient on reeds, George plays clarinet, tenor and alto sax. He appears on vinyl in Canada with Kid Bastien's Camelia Band and with Kid Chapman's Olympia Band.

While this CD is obviously not for Charlie Parker fans, New Orleans devotees will love it. It's a fitting memorial to a kind, gentle and generous human being. Cliff's wish was to be buried in New Orleans and his wish was granted.

Tracks: Algiers Strut; San Antonio Rose; Winin' Boy Blues; Highways Are Happy Ways; John B. Calypso (Sloop John B.); Gloryland; Blueberry Hill; Big Mamou; Last Mile Of The Way; Joe Avery's Piece / Dippermouth Blues Medley; A Thousand Goodnights.

Record Label Website: http://www.cdjazz.com

Artist's Website: http://www.new-orleans-delight.dk

Reviewed by: Richard Bourcier

Traditional Jazz

CD reviews by Geogg Boxell, New Zealand


NEW ORLEANS DELIGHT
LIVE RECORDINGS “SEASIDE JAZZKLUB” FEATURING CLIFF “KID” BASTIEN & GEORGE BERRY
Music Mecca CD 4024-2 2003 11 tracks 80 min

Algiers Strut, San Antonio Rose, Whining Boy Blues, Highways Are Happy Ways, John B Calypso, Gloryland, Blueberry Hill, Big Mamou, Last Mile Of The Way, Joe Avery’s Piece/Dippermouth Medley, A Thousand Goodnights

Kid Bastien: this English born Canadian trumpet player had a well earned reputation as a world class jazzman, but a very small discography. He wasn’t even going to do this recording as ‘All the best music has already been put down by the New Orleans guys.’ It was only through a friendship with NOD’s sound engineer, Jorgen Vad and Jorgen applying emotional blackmail, that this CD was made. It was just as well as only days after listening to the mastercopy and giving his approval for the CD to be issued, this unique jazzman died. Listening to this CD one wonders if he didn’t know that this CD was to be his obituary. On ‘Gloryland’ the words ‘tell them I‘ll be coming too’, get changed to ‘tell them I’ll be coming soon’. Add that to the lyrics of ‘Last Mile Of The Way’ and you become convinced that Kid had had a premonition of his coming death.
If you have never heard Kid Bastien, and unless you fortunate enough to have heard him live, that would be most of us, then this CD will let you know what you missed. Kid in many ways modelled himself and his own band on Kid Thomas and on this CD New Orleans Delight do an excellent job of fitting in with Kid Bastien’s style, to the extent that they sound much better than Kid Thomas does on the few tracks of his that I have.
Kid Bastien hated flying almost as much as he did having his music recorded. What finally persuaded him to go to Denmark and play with NOD was the fact that he would have the chance to play alongside an old mate, tenor saxophonist George Berry.
Now anyone who knows me will tell you that I am not keen on tenor saxes, especially in a traditional jazz band, and even more so in an extended frontline where it has to share space with a clarinet. This time, though, it works and works brilliantly. How much is due to George’s ability to fit in and how much is due to clarinettist Kjeld Brandt’s talent in working around other jazzmen, only those two gentlemen will be able to say.
This beautiful CD is well balanced in sound engineering, front to backline balance, featured guests to the rest of the band, popular and rarer tunes and types of rhythm employed.
From ‘Blueberry Hill’ with its gracious nod to the Fat’s Domino R&B version, to ‘John B Calypso’, to the street marching ‘Joe Avery’s Piece/Dippermouth Medley via gospel and dance music’, this Cliff ‘Kid’ Bastien led band (and I am sure that he did provide the lead whilst he was with NOD) will delight you. What was that? A delight? Yes, a New Orleans Delight!
Oh, and while you are listening to the jazz go down, why not read the excellent booklet that is included with the CD.

The Unofficial Ken Colyer Homepage

This is a truly great CD made by some truly great musicians!

There are only a couple of things that bothers me. First – I really regret that I wasn’t there when this session took place. And secondly – the thought that we will never ever again hear anything like this is almost unbearable.

This is, as you all know, Cliff “Kid” Bastien’s last recording – in a way his “last will and testimony”. He died some time after this excellent recording was made, sadly missed by New Orleans Jazz lovers all over the world. From the first number to the last it is nothing but a very beautiful heritage to us all. And how could it not be – with two very competent front-liners in the shape of Cliff Bastien on trumpet and his old friend George Berry on tenor sax, backed up by a superb band.

I have heard the New Orleans Delight play excellent New Orleans Jazz during the last years, but never have I heard them play this good. Well, once, I must admit, at a private party last year they took me back to the 1940’s dance halls of New Orleans.

It is almost impossible to pick out a favorite among the melodies on this CD, but Gloryland is a good choice as well as the medley Joe Avery’s Piece – Dippermouth Blues, but there are others, unusual and seldom played melodies… Hell, all of them are favorites!

If you haven’t bought this CD yet – then do it, and do it at once! – and you see what I mean with “a truly great CD” – excellent music, an excellent booklet and a beautiful cover. I wish I was there, in Gloryland, with Bastien and all other legends!

- Bengt Johansson, Gothenburg, Sweden

Just Jazz
- the traditional jazz magazine
July 2004. Issue No. 75

Review:

Live recordings at SeaSide JazzKlub
New Orleans Delight featuring Cliff “Kid” Bastien and George Berry
Music Mecca: CD4024-2
Total playingTime: 79:17

Clarinettist Kjeld Brandt send me this CD following a favourable review (in ‘New Orleans Music’) of mine of four tracks by this same band recorded at Sorgenfri Kirke (Church) during the Kid Bastien/George Berry Scandinavian tour with New Orleans Delight in 2002. This CD contains all the other tracks recorded by this remarkable band, and they are gems to be treasured.

Bastien recorded very little, like some legendary New Orleanians, that live music spoke many more volumes than anything recorded. Sadly he died shortly after this tour, and this CD, the church tracks and one with his own band (Kid Bastien’s Happy Pals - Music Mecca CD 4004-2) are, as far as I know, all that remains of his amazing, priceless contribution to New Orleans music. Cliff made many visits to New Orleans and studied there, refinding his unique approach which followed, but did not by any means copy, his heri, Kid Thomas Valentine. George Berry (ex-Blount band) similarly studied in the Crescent City, refinding his Emanuel Paul-like approach to the tenor. He also from time to time played with Bastien’s regular band in Canada. The combination of the two with the excellent New Orleans Delight is, for me, one of the discoveries of the decade. Cliff’s trumpet style. like that of Kid Thomas and Ken Coyler, has that catalytic effect of his sidemen. With him, they become for all the world a fully autentic, quite wonderful Algiers dance hall-style band. His subtle understated lead and solos, often with a mute and making sparing but searingly effective use of ‘flares’ and ‘shrills’, is unforgettable – spine tingling.

Throughout the eleven tracks here, both the ‘Kid’ and Berry blend wonderful with the local band, producing a light, bouncing jazz full of complex cross-rhythms and emotional intensity that is an object lesson in how New Orleans-style jazz should be played. In a totalitarian world this CD would be compulsory listening, there is so much to be learned from these tracks, not the least from the Scandinavian ‘side men’, whose subtlety and innate good sense is wonderful. We must praise them, and in particular, clarinettist Kjeld Brandt, for helping to bring this classic CD to our notice. Thank you gentlemen.

Brian Harvey



Mississippi Rag
August 2004

Reviewed by William J. Schafer

Joining the titular Brits (trumpet, tenor sax) on this live recording are a crew of Scandinavians - Kjeld Brandt, clarinet; Bengt Hansson, trombone; Göran Magnusson, piano; Erling Lindhardt, banjo; Stefan Kärfve, bas; and Claus Lindhardt, drums. Between them, they expertly recreate the Kid Thomas Valentine band of the 1960s, right down to the rivets and the grain in the wood. The CD is suffused with poignance, because Kid Bastien died unexpectedly shortly after completing this rare recording of his work (he was recording-shy as, say, Howard Hughes). Bastien, a much-loved figure in New Orleans for the past 40 years, was 64 at the time of the time of his death.

The poignance is false and misplaced - the music is outgoing and joyous, filled with life and light, as good an epitaph as anyone might have planned. A bit of hindsight makes the religious tunes seem prescient - “Gloryland” and “Last Mile of the Way are full of imagery about “the other side.” But they are also hopeful and sweet, one upbeat, noisy and romping, the other pensive and very quiet. Bastien sings and plays them with great sincerity, and they also make fitting epitaphs. The disc ends with “A Thousand Goodnights,” a conventionally sentimental closer (see “Thanks a Million,” etc.) by Walte Donaldson, which heightens the sense of an ending here.

Bastien was a life-long disciple of Kid Thomas Valentine and absorbed every nuance of the trumpeter’s deceptively simple stomp style and much more complex jazz sensibility. With New Orleans Delight’s precise and energeticbacking, he sounds like Valentine on one of his best days. The repertory is wide enough to give everyone a place in the sun, ranging from classic Morton (”Winin’ Boys Blues”) to western swing (Bob Wills’ “San Antonio Rose”), some basic New Orleans/Cajun soul (“Blueberry Hill” and “Big Mamou”). What might seem ringers, Fred Rose’s “Highways Are Happy Ways” and the folk/calypso “John B Calypso” (aka “Sloop John B”) are as idiomatic Thomas numbers as anything that ever rocked the Happy Landing. They are both driving numbers, and “John B” lets the band unlimber all the “Spanish tinge” resources on hand, as the Thomas band did notably on tunes like “Rum and Coca Cola.”

New Orleans Delight is a skilled and tightly knit group. Bengt Hansson makes a passable Louis Nelson, and Kjeld Brandt is in a Emile Barnes groove on most tunes here. The extraordinarily solid and kinetic drumming of Claus Lindhardt knits the rhythm section together. George Berry, Bastien’s colleague from Nottingham, is an experienced and savvy tenor man who sounds like Manuel Paul but also projects his own persona on every track. He teams perfectly with Bastien and provides a gentle counter-voice on many numbers. The live recording is resonant and clear, and the club audience makes their uninhibited joy evident.

This CD can be purchased online from www.cdjazz.com, which is a Danish online retailer. Or write to Music Mecca, P.O. Box 2208, DK-1018 Copenhagen K, Denmark. The price is 18 Euros.

Mails:

Last week I ordered the Cliff Bastien/George Berry/New Orleans Delight CD from Jerry Brown at Jazz 'n' Blues records. The CD arrived on Thursday morning. I played it over the weekend and thoroughly enjoyed it, very sad in some ways, but an excellent CD. I would like to congratulate whoever designed the sleeve and chose the artwork. It is, without doubt, the best designed sleeve I have ever seen. A fitting tribute to Cliff, who was a really nice guy. We will all miss him and his quiet unassuming charm.
Best wishes,
Peter Nettleton, Tyne & Wear, England

Dear Kjeld
Your CD arrived in perfect shape. At the present time I'm sitting in my study listening to that "Kid" Bastien sound! It takes me back to my brief chat with him several years ago when I was interviewing Chris Burke who was playing Albert System Bb clarinet with the Happy Pals in N.O. during the French Quarter Festival. This world class CD brings tears to my eyes on "Last Mile Of The Way". Yet, I'm back in spirited hand clapping mode on "Joe Avery's Piece". Thank you so very much.
Our paths will cross again sometime. Keep up your leadership, playing (especially that brilliant and so clear and full tone on a metal clarinet) and touring.
Thanks again. With kindest regards
Dick Bell, Zephyrhills, USA

Hej Kjeld
Tak for denne vidunderlige skive, jeg lytter med tårer i øjnene og smil på læben. Great rytm secsion, og vidunderlig frontline, og hvilket flot layout, det er helt fantastisk.
Hilsen Holger Bach

Kære Kjeld!
Tak for cd'en og hvilken cd. Det er det absolut bedste jeg har hørt i årevis og ikke kun fra jer men generelt. Hvis ikke den inden 2 år har solgt 100.000 stk. må I kalde mig gårdejer Mikkelsen som min gamle ven altid sagde. Det er ærgerligt at den ikke var klar til NO for så havde den allerrede nået de 100.000. Gloryland, Big Mammou, Joe Avery og ikke mindst 1000 goodnights. Tårene triller hos Ulla ved 1000 G. og mine hårrødder smerter - sådan skal det gøres. Hvis ikke det bliver årets bedste plade inden for NO-genren er der ingen retfærdighed til, og så har jeg ikke nævnt lay-outet. Hvor faen skal jeg opbevare sådan et mater-piece. Jeg kunne komme med mange flere
roser, men så tror du bare jeg fedter.
Hils rundt- kærlig hilsen Torben Kreiser.

Hej Kjeld!
Många tusen tack för skivan som jag fick idag!!! En helt fantastisk skiva. Härliga 79 minuter lång. Jag har lyssnat på den två gånger nu redan, min favorit är nog Gloryland, fast egentligen är ju alla låtarna lika bra. Man önskar ju att Cliff också kan höra där han befinner sig nu, i sin jazzhimmel …
Bertil Jansson, Vaenersborg, Sverrige



Käre Kjeld!
Jodå, när vi kom hem fanns mycket riktigt bland all post "Kid Bastien-CDn", och vi har avnjutit den ikväll! Den är helt underbar, och till själva musiken kommer så alla underbara minnen från dom där dagarna i november ifjol. Ett riktigt hjärtligt tack!!
Astrid & Bosse Löfgren, Kungsbacka, Sverige

Dear Kjeld,
How very kind of you to send us yet another CD, this time the recording of Cliff Bastien and George Berry at the SeaSide Jazz Club. It's brilliant. It recaptures for us the wonderful evening at the Club. Lovely to have many vocals from Cliff. Also, great to hear George on the sax, which we seldom hear in England. The whole band is really swinging! And of course, the recording quality is excellent too. Thank you very much indeed.
From Harry and Claire.Suffolk, England



Hejsan Kjeld!
Ett hjärtligt tack för den härliga CD:n med Delight, Kid Bastien & George Berry, som kom i går. Jag har återupplivat den härligt svängiga kvällen i Örebro i höstas. En oförglömlig kväll och natt. Plattan är toppen med flera nya låtar man inte hört tidigare!
Med jazzhälsningar
Björn Bärnheim, Hallstrahammar, Sverige

Dear B.B. Kjeld;
Thank you very (very) much for the wonderful tribute to dear Kid Bastien. I will treasure it always as his last recording. The fact that your great musicians were there also is "icing on the cake!!"
Dick Luker, Windesor, Ontario

Dear Kjeld,
Many many thanks for the CD. What magnificent presentation! As for the music - isn't it nice to have an 8 piece band? We've never heard George play so well and 'Kid' Bastien too. Your band backed them up well and allowed them to shine. WONDERFUL, WELL DONE.
Love from us both.
Jill & Geoff Spencer, New Malden

Dear Kjeld,
The CD's arrived yesterday - what a wonderful production and what a fitting tribute to the memory of "Kid Bastien"! Your band is excellent and I really like your trombone player, pity he could not come to NOLA. It really is a very fine effort and you should all be very proud of it.
Regards,
Brian Towers, Toronto

Hi Kjeld
I got your wonderful new CD in the mail yesterday. It's terrific! Thank you so much. I think you did a great job on it. I'll play it around a bit, for the Happy Pals and so on. I'm sure they'll love it as well. The CD really captures the feel - no bullshit, just play from the heart. You've done Cliff proud.
As usual, great clarinet playing!
Grossman's is going along well. I'm playing trumpet pretty much all the time now. As I mentioned, it had been twenty years since
my last job on trumpet, so this feels really strange to me. But it's lots of fun, and I think it's the right thing for the band.
See you again soon, I hope.
Parick Tavlin, "Happy Pals", Toronto

Dear Kjeld!
First, thank you so much for the CD of Cliff and George. It sounds great and the presentation was lovely. You've done a wonderful job and we are all very grateful that you were a part of Cliff's final recording - unfortunate timing, but I know it meant a lot to him. I've only listened once to the CD, but I am enjoying it - I think it captures Cliff quite well and the spirit of the music is definitely there!
All the best and I hope we can meet/play again soon!
Roberta Hunt, "Happy Pals", Toronto

Dear Kjeld -
THANK YOU so much for the Bastien Berry CD! What a fitting end to the career of such a fine trumpet man and leader. I don't think I'd ever heard Cliff sing so well - and it was so well captured. I must tell you I had some tears when Cliff sang "Here the dearest of ties we must sever" in The Last Mile of The Way. It made me think about my Dad, my Brother, and Cliff and other friends who have gone on...
I don't think I'd ever heard Cliff roar Big Mamou like that before. Great stuff! - and I can tell NOD is digging working with those guys and vice versa.
On behalf of the old-style community, THANKS for pushing to get Cliff recorded and distrubuted - Cliff was rarely well recorded and this is the best I have ever heard.
Warmest regards, Dutch
Kid Dutch and his Blusicians, Florida
www.kiddutch.com

Dear Kjeld
It finally arrived in the mail this afternoon. As you can guess we are now listening to it, with tears in our eyes. It is wonderful and so "Cliff" and will certainly be treasured. Any time we need our "Cliff fix" we can now listen to it, that is what we used to say each Saturday when we decided to drive to Toronto to see him. Everyone on the recording sounds great and as you know we love your wonderful clarinet. All the best for now and thanks once again from
Brian and Heather Harris, Toronto, Canada

Dear Sir,
I thank you very much for sending me a copy of your wonderful CD with Kid Bastien via Marcel. It was very kind of you. I met KB in 1974 when I was living in N.O's and found him to be a very friendly and helpful with his knowledge of the City and the music. To get this CD with his wonderful collection of songs is a nice memory of him. Your band is excellent with a fascinating understanding for the music. The last song, 'A Thousand Goodnights' says it all. I must also congratulate you on the cover/artwork/sleeve notes, the best I've seen for a N.O's band. Will have to look out for MMCD 4023-2, which has some more of KB and your other CD's. Thanks again,
Peter Haby, Melbourne, Australia

Dear Kjeld,
First of all: a great many congratulations with you latest album: thanks for sending it. I have it in my car and I can't get enough from it! I am playing it again and again! It is so full of athmosphere and so full of swing: I like it so much! I am always convinced that live c.d.'s are the best for this kind of music, despite some mistakes. I intend to make only live c.d.'s in the series: THE GEORGE LEWIS SOCIETY RECORDINGS.
I am looking forward to see you in the beginning of June! Thanks a lot!
John van Zuidam, George Lewis Society, Maiden, Holland

Hi, Kjeld
Thanks for the CD! It is a good one and beautifully put together. It certainly is a tribute to the band, to Cliff & George, to New Orleans Jazz, to old friends and new friends. I hope everyone is well and playing a lot.
Chuck Clarke, "Happy Pals", Toronto

Hej kära vänner!
Jag har nu haft tid att lysna ordentligt på Kid Bastien-CD:n. Denr verkligen mycket hörvärd. Medföljande text är också perfekt. Dels biografin, men också presentationen av förekommande melodier. Snygg design också.
Häls. till er alla Delightare.
Anita Brink, Alingsås, Sverige