Liner notes
Working with music in different ways for many years I’ve been privileged to listen to all kinds of jazz - actually all kinds of music.
In my early youth my first encounter - and first pleasure - with jazz was the European so-called revival jazz, that was based on the original New Orleans jazz. And I was curious and from records I discovered the real thing, the sound, the energy and the spirit of the old music.
I even played the traditional jazz for some years, but beside this activity my ears stayed curious - and they still are (good for a music critic) - and they were soon open for newer things and artists like Charlie Parker, Miles Davis, John Coltrane and Cecil Taylor.
But I have never skipped my passion for music forms, that I have loved once, and for me it’s still a pleasure to listen to the old jazz styles.

In this case we are talking about a music style that in the 50s survived through New Orleans musicians like clarinettist George Lewis and trombonist Jim Robinson during their tours and recordings. Their sound and their spirits is kept alive today by - among others - a Danish group of experienced musicians called New Orleans Delight.
All kinds of music can be boring and meaningless if it’s a copy of a copy. Maybe someone should call New Orleans Delight a copy of a copy. I never felt that way. Well, here’s no revolution. But no doubt. The true passion and the right energy is there. The music is present. You can’t reject it.

There are no barriers of understanding to the British pianist Mike Lunn, who works very well in the old collective New Orleans form, or to the German trumpetplayer Norbert
Susemihl, who has a leading role at this session. He has been living for longer periods in New Orleans in the years 1978-1990 and he has been working with quite a lot of the last legends. To me it seems that his playing contains just about the whole New Orleans tradition - from Bunk Johnson to Wynton Marsalis.
In my job as a critic I’ve heard him through the years and I have always been fascinated by his fine way of entertaining, his uncomplicated way of singing and - most of all - his brilliant musicianship.
For unknown reasons - things like these happen - my concert reviews of Norbert Susemihl were never printed, until I made a review of the trumpetplayer together with New Orleans Delight.
This was a positive review, because it was a nice combination and nice music.
And it is, the recording confirms. The music has a contagious good mood and - what’s so special - the melodies are not of the kind, you have heard over and over and over again.
Actually - to me most of the stuff is completly unknown.
But really - it’s music worth knowing. Everything seems fresh and timeless.

Bandleader and clarinettist Kjeld Brandt, who plays with a fine and delicate-vibrating tone in the real George Lewis tradition, and Norbert Susemihl are responsible for the choice of repertory. Indeed a delicate mix of songs.
The cheerful opener »Peggy O’Neal« and the nice farewell-song »Lights Out« are both numbers, that Norbert Susemihl picked up in New Orleans when he was playing with banjoplayer »Father« Al Lewis’ band. And he learned the spicy »Last Night On The Backporch« and the beautiful waltz »Sometime« from two legendary trumpetplayers, Kid Sheik and Percy Humphrey respectively.
Their sound goes on through the trumpet of Norbert Susemihl, who changes to the cornet on the well-known Stephen Foster song »Swanee River« and to the flugelhorn on »On Higher Ground«, one of many fine gospel songs that have been a part of the New Orleans music tradition.
Other parts are rhythm & blues, popular songs, marches and all kinds of caribbean music. Here’s a couple of charming and life-confirming calypso
songs »Miss Bombilla Brown« and »Enjoy Yourself«, the latter a wellchosen album title.
Sure - Enjoy Yourself.

– Kjeld Frandsen
Music critic and writer, Berlingske Tidende, Copenhagen
Editor of Politiken Jazz Encyclopedia (1987)
Chairman of The Danish Jazz Journalists Association - JASA

Kritikeren Art C. Stone i “The American Rag” Juli 2001

AC’s CDs

by A. C. Stone

New Orleans Delight: Enjoy Yourself
Music Mecca CD 3028-2

New Orleans Delight is a Danish band which was inspired by the music of George Lewis and Jim Robinson. Formed in 1996, it is now an experinced band that plays the style without slavishly imitating their heroes.
On this CD they are joined by Norbert Susemihl, a German trumpet player and Mike Lunn, a pianist from England. Susemihl has spent a lot of time in New Orleans playing with the likes of “Father” Al Lewis, Kid Sheik and Percy Humphrey and their influence shows in his work. Lunn, who sometimes sounds under-miked on this CD, adapts well to the New Orleans ensemble style.
The leader, Kjeld Brandt, is always evident ... taking some lovely, understated solos or fitting in behind whichever of his sidemen happen to be soloing. Barfoed, on trombone, has obviously listened and learned from the late Jim Robinson.
The titel tune, “Enjoy Yourself" is played to a Latin beat with Susemihl playing flugelhorn. A swingin arrangement that makes it easy to do what it says. The version of “Bogalusa Strut” is as good as any I’ve heard and is followed by one of my favorites, “Last Night On The Back Porch”. (It’s what I sing at weddings, much to my wife’s disgust, whenever the M.C. calls for songs that have the word “love” in them). The band does a far better job than I ever have.
Brandt takes a nice solo on “Thank You Mr. Moon” and demonstrates the influence George Lewis has had on his approach to the music. The final tune, “Lights Out” is what you might expect from a band playing the last dance of the evening.
This is an interesting CD that includes a number of seldom heard tunes and will be appreciated by those who enjoy the “Uptown” New Orleans style.

Anmeldelse i Just Jazz

Sally-Ann Worsfold anmelder i september-nummeret af det kendte engelske månedsmagasin Just Jazz New Orleans Delight’s seneste CD:


Lige i hælene på orkestrets Church Conserts '99 kommer denne CD, som præsenterer den engelske pianist Mike Lunn som gæst, et nyt navn for mig.

Repertoiret er et interessant potpourri, som på ægte New Orleans manér er en blanding af gamle kendinge som Franklin Street Blues og Gettysburg March og sjældent hørte melodier som Enjoy Yourself, som fik mig til at tænke på Billy Cotton, og I Thank You Mr. Moon, som gjort populær af Boswell Sisters fra New Orleans allerede har et tilhørsforhold til denne by.
I noterne nævner Kjeld Frandsen (som er formand for Danske Jazzjournalisters Forening - gad vide hvor mange medlemmer den har?), at trompetisten Norbert Susemihl under sit ophold i New Orleans fra 1978 til 1990 lærte både Peggy O’Neal og Lights Out under sit samarbejde med ‘Father’ Al Lewis’ band, mens Kid Sheik Cola lærte ham Last Night On The Back Porch og Percey Humphrey Sometime, (den eneste anden version, jeg har hørt, var tilbage i 50’erne med countrysangeren Eddie Arnold på et MOR album).

Der er en god blanding af hurtige og langsomme numre, fra det livsglade calypso-beat i titelnummeret og Miss Bombilla Brown, (en melodi som er ny for mig), til det eftertænksomme ‘down beat’ i Lights Out, et »rundt og fyldigt« slutnummer. I åbningsnummeret Peggy O’Neal, tæt og sammenhængende fra de første toner, opbygges anført af trompetisten Norbert Susemihl, en fremdrift som opretholdes og øges i det ene swingende kor efter efter det andet.

Rytmegruppen lyder nok sine steder lidt tung, og i forbindelse med en lydbalance, der her og der synes at favorisere banjoen, går det nogle gange ud over pianistens soli. Dog giver både Franklin Street Blues og I Thank You Mr. Moon et godt bevis på Mike Lunn’s ukomplicerede og blues-modulerede stil, meget lig Alton Purnell’s. Trombonisten Kristian Barfoeds firkantede og rå »sound« lyder bedst i ensemblespillet, men hans solospil gør sig dog også godt på begge de to førnævnte numre I Thank You Mr. Moon og Down In Jungle Town. Klarinettisten Kjeld Brandts vemodige og lyriske tonegange får helt klart én til at tænke på George Lewis, uden at det dog lyder som denne. Hans spil er hele vejen igennem bemærkelsesværdigt, og gør sig allerbedst i valsen Sometime.
Med skyldig hensyntagen til de øvrige orkestermedlemmer er Norbert Susemihls spil, både i ensemble-sammenhæng og som solist fremragende. Hans polerede tone, hans tekniske kunnen, hans dynamik og intuitive fornemmelse for frasering, hvilket alt sammen virker inspireret og inspirerende, kendetegner ham som en af nutidens bedste trompetister. Som Kjeld Frandsen skriver i noterne: »... for mig er det er som om, han er indbefatningen af hele New Orleans traditionen fra Bunk Johnson til Wynton Marsalis«. For at nævne blot et par højdepunkter så lyt til den hurtige og uventede hentydning til Louis Armstrongs Cornet Chop Suey-coda i slutningen af Swanee River, det underspillede bluesspil på Franklin Street samt »the holy roller« ‘signifying muted statements’ i kontrast til den klagende bittersøde flugelhornsolo på Higher Ground. Dog synes jeg, at det havde været bedre, hvis hans vokalindslag var blevet skåret ned fra 9 numre til et par stykker.

I høj grad en ‘in-house’ produktion, Norbert Susemihl har remixed, Kjeld Brandt har stået for design og tryk af noter og cover med et fotografi af en fornøjet karibisk lady klædt ud til karneval (måske Miss Bombilla Brown?).

- Sally-Ann Worsfold

0versat af Jens Haagentoft.
Anmeldelsen kan læses på engelsk under Sidste nyt.


Sagt om cd'en:

"Good Old New Orleans Jazz. What a very nice CD. I shall get some of these for the next Trust Newsletter!"
– Tony Leppard, Ken Colyer Trust, England

"Marvellous. I listen to it several times: I like the music very much"
– Jan van Zuidam, The George Lewis N'Awlin Jazz Society, Holland

"Excellent! Probably the best to date. Enidence of Billie + De De, Father Al, Manny Sales and George, also a great selection of tunes. As good as could be heard anywhere! A beautiful New Orleans feel to it all.
– Gordon Hunt, bandleader Panama Jazz Kings, England

Annoncetekst i JazzKlubben's salgsbrochure:

New Orleans Delight dyrker som navnet viser den ægte New Orleans Jazz, og vel og mærke ikke de gængse og mest fortærskede melodier, men mere med hovedvægten på det mindre kendte repertoire. New Orleans Delight har kun eksisteret i ca. to år, men det er gået stærkt - masser af jobs - og allerede fire cd'er på markedet. Gennembruddet var åbningskoncerten i 1998 ved "Swingin' Copenhagen" i Odd Fellow Palæet (findes på cd). Senere kom en live-optagelse fra Vognporten i 1999, og nummer tre var "Church Concerts" med udelukkende spirituals. Den nye er en studieoptagelse fra december 1999, og derudover består variationen bl.a. i de to gæstesolister, den tyske trompetist Norbert Susemihl og den engelske pianist Mike Lunn - to garvede musikere, som sætter ekstra 'skub' i musikken.

Sommer-cd'r

For New Orleans-elskere er der (i hvert fald) hele tre nye plader som er værd at tage i nærmere øre-syn. New Orleans Delight udsender deres anden cd i år. "Enjoy Yourself" (Music Mecca) har besøgt af den engelske pianist Mike Lunn, og den tyske trompetist og sanger Norbert Susemihl. Sidstnævnte har helt i orkesterets ånd, fra sine år i New Orleans medbragt en håndfuld numre, som kun ubønhørlige tilfældigheder har foresaget at vi ikke har lært at kende for længst. ... (fortsættes)
- Martin Sne i JazzSpecial, #53 aug./sep. 2000