Harborough Mail, Thursday September 18th. 2003


Jazz at its very best

I HAVE been following J For Jazz for some years now and I can honestly say that I have never heard them play so well as they did at Harborough’s Jubilee Hall last Sunday.
With their usual line-up apart from Barry Palser, a face more often seen on the back end of his trombone, guesting on drums, they were absolutely dynamic and exciting and on really top form.
The programme started with Some Of These Days followed by a vocal from John Timms called Whinin’ Boy Blues. Geoff Muggleton on clarinet and Fred Jordan on trombone duetted on a very up-tempo version of Travelling Blues and John countered with Dr Jazz, followed by Fred Jordan’s trombone solo Magnolia’s Wedding Day.
Then came tunes new to their repertoire including All My Sins and Careless Love Blues.
J For Jazz shared the evening with a band from Denmark called New Orleans – well three of them were Danish namely leader Kjeld Brandt on metal clarinet, Erling Lindhardt on banjo and Claus Lindhardt on drums, the other three Göran Magnusson (keyboards), Bengt Hansson (trombone) and Stefan Kärfve on String bass being from Sweden. Touring with the band on this trip is our own Derek Winters on trumpet and vocals.
The band presented a varied programme – Can’t Escape From You and Far Away Blues opening the set and leading to a lovely tune called Begonia which, while played New Orleans style, had a distinctive Latin beat to make an interesting result.
Trumpetplayer Derek Winters formerly played with Ken Colyer and after Ken’s death collaborated with Tony Pringle to write a tribute tune called One For The Governor, as Ken was known. Kjeld Brandt’s clarinet took He Touched Me followed the band’s tribute to Beautiful Ohio and Derek Winters’ My Gal Sal.
The evening almost came to a close with When The Saints Go Marching In with the audience of 150 joining in the singing but it was the encore which really brought them to their feet – a wonderful version of Rock Around The Clock and Shake, Rattle and Roll.
The whole evening was truly a delight thanks to 13 very talented players – who says 13 is an unlucky number?
Phil Smith

Rochdale Observer, Wednesday 1 October, 2003

Scandinavian sounds

SUMMER in the city proved the wisdom of just one Jazz on a Sunday at Castleton in September, but the quality made up for ant jazzers suffering from withdrawal symptoms, with the first visit of the Scandinavians, from Denmark and Sweden.

They played the slow, lazy rhytms of New Orleans, but with a band title of New Orleans Delight, their music was every bit true to their calling.

A seven-piece outfit, they highlighted their talented rhythmic section with several solos plus their prominent soft slide trombone virtuoso Bengt Hansson.

Opening up with ’Have You Ever Been Lonley’, they followed up with a well-blended multi-solo ’One Sweet Letter From You’ with not a beat out of place. Guided through their British tour by guest trumpeter Derek Winters, an unwelcome ’bug’ persuaded him to leave his vocal talents in the ’box’!

The first set also produced a couple of duos in the number ’Begonia’ with band leader and clarinet player Kjeld Brandt partnering both Winters and Hansson, while drummer Claus Lindhardt was given his freedom in ’Let’s Go Down To New Orleans’.

A short second set opened with the popular spiritual ’Royal Telephone’ and then presented an unusual arrangement of ’I’m Forever Blowing Bubbles’.

We were then privileged to listen to a superbrendition of the hymn ’He Touched Me’ with clarinet intro, muted trumpet, soft trombone and elegant rhythm with pianist Göran Magnusson, Erling Lindhardt on banjo and traditional bassist Stefan Kärfve. And so to the final set, and dedicated to newly weds Ted and Margaret – ’Oh, You Beautiful Doll’ then a great version of ’Beautiful Ohio’ – clarinet intro and solo with ’aerobics’, ’Lily Of The Valley’ with neat changes of tempo, a march around the club with prominent drums and a finale of ’When The Saints Go Marching In’.

Review in Bornholms Tidende 14. juli 2003

Jazz in an authentic form

How a seriously working jazz-ensemble feel like when playing for a dining and especially chatting audience, I don’t know. Anyhow New Orleans Delight seemed to be sufficiently professionel to make a virtue of necessity and instead played on the guests premises. This was the case for the band as well for the guest-soloist, the trumpetplayer, vocalist and – entertainer – Derek Winters, who quite seemed to have lost his heart to ‘this beautiful isle’ in particular and generally to the Danish women. Entertaining and charming he is, Derek Winters, and the audience loved it.
This written, because the band was not just sitting to entertain quite a few dining guests, and later on to strike up for dancing, but because the band should be listened to, and because it definitely in a number of points differ from current bands having traditional jazz on the repertoire. Partly much is made out of the respective trumpet-, trombone- and clarinet-solos, partly are many choruses in the individual numbers constructed so detailed, that many elements quite vanish when people meet and good food is on the table. (Va’ fa’en han så mener med det?!!) And partly it is wonderful to listen to New Orleans Delight transforming the old New Orleans classics into melodiously free expressions. Like this you could enjoy the clarinettist Kjeld Brandt’s engaged and legato playing. Derek Winters’ just as engaged but hardly as legato, although charming playing, supplemented by the trombonist, who when playing brilliantly partly took the lead, partly supported the other wind players in an ideal manner. The rhythm group, more modest in the background, but showed off as well. Not least the bass player Stefan Kaerfve who, I must admit, I fancy a lot, was a steady ‘anchor-man’. His feeling for rhythm and his active concise playing are unsurpassed delicacies, and added to that, the other band members seem to become influenced and inspired of his energetic rhytmics.
Still in another respect New Orleans Delight differ from so many other jazz-bands playing traditional New Orleans Jazz: Apart from the bass player it is the clarinet-solos which are never just rushed through, no tones are abridged just to get along; on the other hand there is time and place to linger and stretch the individual tone just a moment longer, and that makes a great difference.
The front belonged without doubt to the three wind players, with Winters’ and Brandt’s ensemble playing almost like a symbiosis, and this in spite of it’s just the second year that Winters perform with the New Orleans ‘delicacies’.
Just to mention an example of the delicacies we were entertained with, the band played a laden blues. All the good blues-elements were present, but were moreover accentuated by the warm contribution by the trombone and the heavy rhythm by the double bass. The solos played by the trumpet and the clarinet put the things in their place, and brought light and spells of sunshine into the whole grey weather picture.
Jazz at on high level, with authenticity and genuine musicality in the expressions.


Kritikeren Art C. Stone i “The American Rag” December 2002

AC’s CDs

by A. C. Stone

New Orleans Delight: Go To New Orleans
(Music Mecca 3086-2)

When I reviewed previous CDs by this group, I mentioned that this Danish band would be right at home in Preservation Hall. The only thing that’s changed since then is the trumpet player on this release is Derek Winters, from England. It’s evident that he is a master of the style and enlivens the CD with some fine vocals.
Brandt is great on clarinet, as usual; Hansson does a fine job on trombone and the rhythm section perform admirably. It’s obvious the whole band has listened to the masters. You can hear a touch of George Lewis, Jim Robinson or Kid Thomas now and again but these are not note for note something that has been recordedbefore. They are original interpretations of some fine old songs.
On first listening to this CD (before I read the liner notes) it occurred to me that this was what Jelly Roll Morton had in mind when he said, ”Jazz music should be played sweet, soft, with plenty of rhythm”. The Morton references was confirmed when I recognized the ”Spanish tinge” he often talked about in this band’s version of Maria Elena and Go To New Orleans. Later I found that the writer of the notes had come to the same coclusion.
But Morton played the ”Downtown New Orleans” jazz and this is strictly ”Uptown”. It’s the kind of music New Orleans bands played for dancers and other musical ”functions”. Even the Willie Nelson tune, Can I Sleep In Your Arms Tonight, Lady? Is based on the traditional, We Shall Walk Through The Streets Of The City. So, if you’re a lover of the ”Uptown” style, you’ll want to hear this CD. If you’re wondering what I’m talking about, I can’t think of a better place to find out.
It’s available from Music Mecca, P:O. Box 2208, DK 1108 Copenhagen K, Denmark or check their web site at www.cdjazz.com. The price, $18.00 (US), includes postage and handling.

New Orleans Delight: My Little Girl

Music Mecca CD 3061-2

When I reviewed a CD by this band from Denmark last July, I summed it up by saying, ”This is an interesting CD ... that will be appreciated by those who enjoy the ’Uptown’ New Orleans style.” In retrospect that may not have been a strong enough recommendation.
There have been a couple of personnel changes since then ... the trombone, piano and bass players are new and vocalist Kristin Lomholt has been added ... but, if anything, the band sounds better than it did nine month ago.
Once again they play a lot of seldom heard tunes; tunes that might well have been on the play list of any N.O. band working a dance gig, a few years ago. Ciribiribin, for example, isn’t the bravura performance of Harry James, it is played at a swinging dance tempo more in keeping with the way De De Pierce might have played it.
The musicians have obviously listened to the records. (Susemihl, in fact, oft6en visits and plays along side his heroes in New Orleans.) But this isn’t just an imitation of what they’ve heard. They’ve absorbed the style and play it as well as (or better than) anyone you’ll hear at Preservation Hall today.

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.

Bornholms Tidende 15. juli 2002

Delicious duets

Review by Poul Lund

New Orleans Delight with guest Derek Winters (trumpet and vocal) in Grönbech’s Court, Saturday July 13th.

Jazz has a green colour – and is optimistic. With Grönbech’s gently restored courtyard as a worthy background, NOD with guest soloist Derek Winters as standard bearer, bewitched the audience. What did they get? High class traditional jazz music with due respect to the roots of this kind of music. No currying favour with the listeners, the band delivers a rough and genuine sound, which gets you involved immediately. This is due to the wind players who at least at this special concert delivered a 110% effort, simply ‘delicious duets’ between Winters and Kjeld Brandt playing an almost ‘golden sounding’ clarinet.
It shall be clearly stated that the undersigned is not too happy with traditional jazz. But this band doesn’t play traditional jazz in a normal sense They search for and achieve a sound and a musical basis, which many other jazz-bands could benefit from listening to. And New Orleans Delight - yes, real delicacies – effects this authencity to an audience carried away by the music.
Of course the front figures alone cannot create this mood. That’s why they are being ‘backed up’ by first rate band members like Claus Lindhardt on drums, an older Lindhardt, Erling who plays his banjo in a way, that you’re just about to believe you are back in New Orleans between 1910 – 1920, and as an immovable ‘anchor’-figure, the bass player Stefan Kärfve. Sorry, but my mouth waters when I listen to his playing. It varies from the subtle, he plays light pizzicato on the coarse strings, and he plays with an obviousness and ease an improvised solo as he loyally forms part of the rhythm group. A for Kärfve typically ‘handplayed’ bass solo in the beautiful tune ‘Go down Sunshine’, with improvisations over a lot of traditional ostinato-figures. He plays it subtly and he enjoys it.
A quite simply tremendous first set was gently finished with a beautiful tribute, a homage to the late English trumpet player Ken Colyer. Bittersweet and soulful sounds, and after all a tune which showed the essence of the bands capacity: Seriousness combined with an unfailing optimism, a genuine musicality and the ability to express it.

Bornhoms Tidende, Thursday July 12th 2001.

New Orleans came to Allinge

One can’t claim that Allinge Church Wednesday evening was converted into a black church in New Orleans, but when the seven members of the jazzband New Orleans Delight came marching up the aisle in the nearly filled church playing ‘In the Sweet Bye and Bye’, the tone was musically set for a two hours long concert with gospel tunes, spirituals and other religious music.
As a string of pearls the first tune was ‘Doe’s Jesus Care?’ where the German Norbert Susemihl besides some highly gifted trumpet playing also showed to be a competent singer. He has lived several years in New Orleans where he has played and sung with many of the city’s well known musicians.
Not just the old tunes were played by the band. ‘He Touched Me’ composed by a vicar in New Orleans and part of Elvis Presleys repertoire, was played unaffectedly by the band. ‘What a Friend we have in Jesus’ and ‘Just a little while to stay here’ were among other tunes on the programme.
The latter was played so beautifully and inciting that the undersigned’s hair stood on end and made the one sitting next to me shiver.

This leads to mention of the individual musicians, and here Kjeld Brandt must be set off, his clarinet-playing was close to perfect when he let his instrument ‘sing’ together with Norbert Susemihls trumpet and Bengt Hanssons trombone. Göran Magnusson is a fine and sensitive piano-player, and the rhythm section accompanied the others in the very best way. Erling Lindhardt on banjo, Claus Lindhardt on drums and Stefan Kärfve on stringbass.
It is the third time New Orleans Delight participates in the Allinge Jazz-festival, and their playing hymns (in waltz time) and gospel tunes etc. form a suitable mixture of experience and youthful enthusiasm.
The solo performances in each number were rewarded with applause, and when the band quite reasonable ended with ‘When I come to the end of my Journey’ the seven band members were cheered with rounds of applause by a standing audience. An encore had to be given, ‘When the saints’

Praise the Lord.
The vicar Carsten Møller-Christensen finished the fine evening off with a short devotion, where he among other things said that he considered the concert as a praise of the Lord in the most festive way. He ended with the Lords Prayer and blessings, and the the psalm ‘Nearer my God to thee’ was sung, a psalm that Carsten Møller-Christensen sincerely hopes will not be deleted from the hymn-book. But not as usual to organ-music, but to the tones from New Orleans Delight in a faster rhythm than usual, but slowly after all. Everyone joined in singing, and you comprehend reportings from the black congregations services, where jazz-rhythms play an important role.
Member of the board of Allinge Jazzfriends Hanne Engmark ended the concert, which must be one of the festivals culminations, by thanking the church for ‘shelter’ and New Orleans Delight for a beautiful and successful concert.
Bornholms Tidende, Monday July 16th 2001.

Early New Orleans-Jazz

Review by Poul Lund

New Orleans Delight with Kristin Lomholt
The square in Nexø Friday July 27th 2001.
Arranged by Baltic Jazz in Nexø

It is quite understandable that traditional jazz has a large and loyal host of fans. The problem, if you can call it so, is then that an increasing number of bands play traditional jazz, and this kind can hardly be accused of development and being un-predictable. And yet, a band has gone a somewhat different way and has looked further back into the New Orleans Tradition.
It’s obvious that to New Orleans Delight, the band on the stage on Nexø market-place Friday afternoon, it has been a pleasure to go back in time to around 1920. With starting point in the march-music, (as played by the so called Brass-bands) new Orleans Delight has built up a strong frontline, supplemented with a very pronounced bass and a rhythmic swinging banjo. It’s with this line up that the band gives a good offer for traditional jazz in another way.
New Orleans Delight was a festive swinging treat. Partly they were ‘through’-musical, partly was the contact with the audience established in no time, and partly was the rhythmic expression so strong that the listeners broke loose while they stamped their feet on the paving-stones or clapped their hands.
And the most concise in the sound-picture – what you in fact could hear from far away - was the perennial bass-player, the Swede Stefan Kärfve, who together with the trombonist Bengt Hansson made the whole base for a melodic drive.
New Orleans Delight had with them the singer Kristin Lomholt, (who by the way is about to go back to U.S.A. on a KODA scholarship.) Traditional jazz is not exactly Lomholts usual repertoire, but Sugar Blues she sang so the all the desperation, the melancholy and the missing spirits came far over the edge of the stage. Also in the perennial Swanee River her musical talent unfolded beautifully. With distinguished solistic contributions by the trombonist, the bass-player, (once again), and a beautiful rhythmic pulse from the pianist Göran Magnusson.
With the deep range in the soprano-voice Kristin Lomholt also expressed the more touching hymns and spirituals. And to the last but one number Thank you Mr. Moon there is only one thing to say: “Thank you Kristin Lomholt and New Orleans Delight for a festive and foot-tapping concert

The successful climax of this summer
The Jazz-festival in Askersund lured many satisfied listeners

A successful festival. Better than last year and the year before. At least seen from an economic point of view. All concerts were sold out tourist advisor Irene Jacobsson sums up with satisfaction. And the jazz-listeners Mary and Bosse Larsson from Laxå, who haven’t failed a single festival throughout the years, weren’t late to agree: ‘This is definitively one of the culminations of the summer’
Mary and Bosse have always liked jazz. The latest six years they have also participated as festival-stewards at different concerts.
‘We plan our holidays according to the jazz-festivals in Askersund and Smögen’, they explain.
During Friday the Larsson couple managed four concerts, and on Saturday a total of six. In other words there was quite a lot of driving between Laxå and Askersund these two days. Mary and Bosse have two clear favourite bands: New Orleans Delight from Denmark and Second Line Jazzband from Göteborg. These bands are our favourites.

-Lotta Ekberg in The Askersund post.

Translation of a review published in Berlingske Tidende 12.12.2000

Written by Kjeld Frandsen.
Translated by Jens H. Haagentoft.

In a good atmosphere.
An authentic offer for the religious aspect of the traditional jazz.

his is the time of the year where gospel-songs and spirituals sneak in here, there and everywhere. And that could soon be too much of a good thing. Quite simply because the popular black American southern states baptist song tradition can not that easily be transferred to Danish temperament.
But in Sorgenfri Church Sunday afternoon nothing else but good jazz and good religious songs was performed. The Danish/Swedish band New Orleans Delight has – as the name indicates – their musical roots in the early jazz, and the fine vibrating clarinetplaying which the bandleader Kjeld Brandt delivered was in fact indebted to the legendaric George Lewis, as well as it went well with the Swedish tromboneplayer Bengt Hanssons more airy and pensive style.
But the principal person this afternoon was the singer Kristin Lomholt, who until recently primarily has devoted her time to the more modern forms of jazz, but here showed to have a knack of singing the good American hymns and spirituals.
Her strength was her good frasing and authentic interpretation without trying to sing in the ’heavy’ black tradition. And in this way she had, all things considered, grasped the roots as these psalms to a great extent are of European origin.
Consequently it felt more like Sorgenfri (Free Of Sorrows) than Alabama, but there was absolutely no reason to regret this. And even if a church acoustically may prove to be somewhat problematic when it comes to this kind of music, it flowed off in a good atmosphere.
The hard driving rhytmical numbers were absolutely catching, but it was in the slow hymns the music really uplifted. Kristin Lomholt was in beautiful harmony with the two wind players in ’In the Garden’, and one could hardly wish for a more perfect finish of the concert than her intense and very lyrical interpretation of ’SilentNight’.

Kristin Lomholt & New Orleans Delight, Sorgenfri Kirke, Sunday afternoon December 10th 2000.

Review in Vestergöta Tidning, March 12th 2001, by Ingemar Levinsson.

Jazz in Valstad means a crowded church.
In the chancel stood NOD.

If you are not an early bird, chances are that you won’t get in! Friday night it was again time for music in Valstad Church where NOD with the guest soloist Martyn Sharp on trumpet played.

It is with expectation you go to Valstad Church when jazz music is on the programme, and one wonders that it becomes a success each time.
The church was filled to capacity, all seats were taken, and standing room was scarce. This great interest must be a spur to the organizers to arrange more concerts as the public come in large numbers.

Musical treat.
Mats Löwing gave everybody a warm welcome to Valstad this evening. Jan and Margareta Sköld could not be present, but the band played a tune as a greeting to them. When listening to the music it is not only the sense of hearing that is influenced, but the music creeps into your body and affects the whole of you. You take an active interest in the music in a way that’s quite fantastic, the leg or the foot starts to move by itself keeping time with the music.
Just listening to the music is a treat, seeing the band playing just makes it even better.
When one of the band members plays a solo on his instrument, it’s fantastic not just to listen, but seeing him play with a feeling that only a person who loves his music can do.
During the intermission coffee was served in the Valstad Café, and many took advantage of that offer, as a lot had come very early. So a sandwich and a cup of coffee worked wonders.

Standing ovations.
After that there was more music by NOD which consists of Kjeld Brandt, bandleader and clarinettist, Martyn Sharp, guest soloist on trumpet, Bengt Hansson on trombone, Göran Magnusson on piano, Erling Lindhardt on banjo, Stefan Kärfve on string bass and Claus Lindhardt on drums.
The band got standing applause as a sign of the audience wanting to hear more, and they got more.
After the encore Kjeld Brandt took his clarinet apart in two as an indication of that that was it for tonight

Translated by Jens H. Haagentoft.

Excerpt of a review in Skara Allehanda, March 12th 2001 by Lena E Jonsson.

New Orleans music in Valstad.

Music in Valstad started out with NOD for the first concert, and the audience couldn’t be kept away. Already early the church was packed with music lovers, who got an evening with wonderful tones that carried you away.
NOD is a Danish/Swedish composition which has played together for four years now. They focus on N.O. jazz from the forties and the fifties, but they also make a point of the Caribbean and religious music in their repertoire.
At the Saturday concert the church was as usual, when it’s a Valstad Music Arrangement, as packed as possible.The verger had to find all available spare chairs, and the reverend Mats Löwing welcomed music lovers from near and far to an evening with exciting and swinging music. Thomas Dorseys Precious Lord was the opening number played in a quiet tempo, a tempo that later increased as the evening went on.

Translated by Jens H. Haagentoft.

Review in Nya Värmlands Tidning, March 12th 2001 by Johnny Olsson.

Endowing jazz evening.

New Orleans Delight is a Danish/Swedish band spiced with an englishman visited Thursday Jazz i Lusaken. The cozy jazz premises in Restaurant Varvet was filled with an expectant audience with a feeling for the older style of jazz ,and they must have felt satisfied because they faced a good band. NOD has taken the legendary clarinet player George Lewis’ groups as basis. This means balanced reflection in the ensemble playing, collective improvisations, varied dynamics and well formulated solo playing within the chosen stylistic framework.
In the wind-instrument-trio the bandleader Kjeld Brandt plays clarinet, – in the spirit of the example – well tuned, what is un-common and relieving!, often in low or middle register and concise in the formulation. The English trumpet player Martyn Sharp and the trombone player Bengt Hansson are both soloists with a contrasting hold on things – Sharp with febrile attacks, Hansson with brief, relaxed clarity in content and a rich clear tone.
In the rhythm group Göran Magnusson plays the simple chords the style demands, vigorous and guiding with Erling Lindhardt on banjo as an additional spark. Stefan Kärfves bass-pizzicato has edge and drive and his playing with bow revives at times memories of sound from when a tuba was part of the rhythm-group.
A very important man in the connexion is the drummer Claus Lindhardt, who really has studied his older examples. The way his rhythm swings, like Baby Dodds’, by using only the snare drum, gives a lot of the authenticy the band brings along. Further the explanations you get also helps regarding what has influenced on the melting down of what became of what is called the New Orleans style.
From these roots a high and widely branched jazz-tree has since grown up. To have the origin presented with such a profound understanding for the tradition, love and musical fervour as NOD offers is giving and valuable.

Translated by Jens H. Haagentoft.

Review in Borås Tidning, March 13th 2001 by Ingela Gustavsson.

Sold out when Toarp offers jazz and hash.

Jazz and hash. That is the concept which fills the parish hall in Toarp with people. Last night the Danish/Swedish band NOD played.

The grey fog bank over Dalsjöfors’ and Toarps parish hall is lifting. The audience gives a warm applause to the bass players solo. The heart beats an extra stroke. Trad-Jazz from New Orleans gives Almighty God a new framing.
– We grew up in the forties. These are our roots, the music is so living says Lilian Lorentzen from Dalsjöfors.
She and her husband sit on the fifth row in front of the stage. The chairs are standing close, very close, in the parish hall. Many more wanted to get in, but you couldn’t squeeze more together.
– We were sold out as early as last Wednesday. We had to say no to more than 50 people says Christer Wikner, reverend in Toarp.
For the fourth year in a row the community arranges jazz and hash. These evenings attracts considerably more people than religious music events. But that doesn’t matter, Christer Wikner thinks.
It’s nice to see the church can arrange something that gives so much life. One can’t describe the mood in the premises.
He takes himself some dance steps in the foyer of the parish trying to remenber how one danced to jazz music in the forties. Could it have been swing or foxtrot? What is it called…was it charleston? Says Christer Wikner and shines.

Translated by Jens H. Haagentoft.

Review in Borås Tidning, March 13th 2001 by Rolf Haglund.

Standing enthusiasm in Toarp.

If it is true that only coloured people can play New Orleans music in the right way, it is tempting to call the Danes for Europes negroes.

Danish bands have in all cases a good hold on the music form. NOD is no exception although half of the band consists of Swedes.
All the same, this goes for a splendid concert as the one last Sunday in Toarp. The audience must have a sixth sense. The 125 tickets were sold out the Wednesday before.
Quite true hash was included, but probably the hunger was more for the music, and the atmosphere got concentrated towards the end. Standing ovations and of course several encores.
The band is puristic, only collective improvisation counts, no pandering dixieland manners. But what separates true NO-music more from false is the mixture of relaxation and intensity, that the spark ignites all cylinders absolutely synchronously, when not only the rhythm-engine but also the audience purrs like a content cat, this feeling of timelessness.
The musicians have a perfect technique measured with the goal of the genre where sympathetic insight is more important than virtuous performances. Still these occur. The plagiarisms of the revival epoch is long gone. To days New Orleans bands pursue all the time good melodies and exotic rhythm, willingly Caribbean, and it’s a must that each tune is played in a new way – every time.
The band leader and clarinet player Kjeld Brandt is standing centrally with a tone and musical perception that clearly indicates George Lewis as ideal, but equally as much in the spirit from early George Lewis bands is the trombone player Bengt Hansson imported from Lund, simple and expressive like a Jim Robinson. Father and son, Erling and Claus Lindhardt offer at the same time steady and varied accompaniment on banjo and drums. Epecially the latters experience with salsa music shines through, while another Swedish import, Stefan Kärfve from Malmø, shows a great width in his bass playing, which must be unique in the trad-jazz business. Another Swedish afficionada, the pianist Göran Magnusson, drives at least once a week all the way from Hjo to Denmark, in order to be a rustic and driving vitamin-injection. Tonights special guest, the English trumpet player and vocalist Martyn Sharp completes with his relaxedness and explosive expression this group of thoroughbred musicians.
Many fans must feel tempted to attend the Askersund Jazzfestival the 15th to 17th July 2001.

Translated by Jens H. Haagentoft.

Review in Kirstinehamn-Posten, March 10th 2001 by Thomas Larsson-Almberg.

New Orleans jazz at ’Varvet’

Sometimes it tears along. But more often it feels really really slow and tough when NOD is playing.
– No matter in which tempo you play it should be felt as if you’ve got all the time in the world, says the bass player Stefan Kärfve.
This Thursday evening NOD brought along a little piece of the southern America to Varvet. With this, to put it mildly, recumbent jazz, the listeners from Kirstinehamn could enjoy music which had as well an element of blues, and maybe a little bit surprisingly,also of religious numbers.
– Caribbean music has also had an enormous influence on New Orleans music, says the Danish clarinet player and bandleader Kjeld Brandt and starts out with ’Enjoy Yourself’ a salsa-inspired tune which proves this.
Kjeld Brandt, the Swede Bengt Hansson on trombone and the English soloist on trombone alternates between playing solos and playing on various rhytm instruments. In one of the choruses Martyn Sharp gets up and sings as well.’

Brings a message about
It’s in the tune with the bluesy title ’Have you ever been lonely, have you ever been blue’ that the best known tone-sequence in New Orleans jazz shows. A dragging march-melody that leads the thoughts to slow funeral ceremonies with fans and spinning umbrellas. Martyn Sharp sings again and succeeds actually to deliver the words of the message.
The backbone in NOD is a firm accompaniment by Göran Magnusson on piano, Erling Lindhardt on tenorbanjo and his son Claus Lindhardt on drums. The bass player Stefan Kärfve impresses with his simple and effective accompaniment. He plays not only with with his fingers, but also with bow.. Long singing tones that makes me wonder if it’s meant to sound like a tuba.
– No, in fact on the contrary, tells Stefan Kärfve after the concert.The double bass was there from the start, but it was difficult to play in the recording studios, so it was replaced with the tuba as it sounded stronger.

Make a quick call.
The somewhat unusual way of playing does not only go for the bass player Stefan Kärfve. The trombone player Bengt Hansson has often a way of playing which seems as if it was a matter of being behind all the others. Long dragging tones, and often without any vibrato at all.
The encore ’Over the Waves’ is completely the clarinet player Kjeld Brandt’s. A slow waltz where he to perfection carols the tones from his instrument.
After a while the tune changes into boogie-woogie tempo.
And now it goes fast, really fast. But in spite of the tempo forced up as it is, it still feels relaxed.
Melodious applause.
Together with the audience and Jazz In Lusaken, NOD succeeded in creating a wonderful feeling in Restaurant Varvet. Although the music nearly wasn’t amplified, everything came forward as it was meant to.
Even all the rounds of applause the band got sounded fine. I hope the musicians felt it.

Translated by Jens H. Haagentoft.

e-mail from Sweden
Dalsjöfors March 11th 2001.

Hello Kjeld,
Last night we went to Församlingshemmet in Dalsjöfors and listened to a fantastic performance with your band!
We would therefore like to write a couple of spontaneous lines to all of you, and really wish to thank for this unforgettable evening. What a joy of playing.
Take for instance the English trumpet player, wasn’t it as if he became 10 years younger when he sang his numbers? Think of what wonders music can do, not only to you who can play the instruments, but also and not less to us the audience.
We like you all to know it was a real super evening, and please forward this mail to everyone in the band.
Your fans in Dalsjöfors
Lars Wässbring.

Translated by Jens H. Haagentoft.

Review in Praestoe Avis, March 2001 by Eigil Grønholdt,

New Orleans at ’Kirsebærkroen’

For the 3rd time and again with the English trumpet player Martyn Sharp in front the jazzband NOD visited Præstø Jazzklub, and the audience, that very festive and in form filled the tap room, got a really good evening to recall.
The band consisting of three Swedish and three Danish musicians had in the middle of their tour come to Præstø and achieved once again musical triumphs, because they were far from tired of playing. Ever so fine the rhythm group was swinging, whether it was good old N.O. tunes or Caribbean rhythms. Especially the bass player Stefan Kärfves beautiful playing was noted. Likewise the young drummer Claus Lindhardt, who really expanded in the hot rhythms.With such a magnificent setting there was in the frontline very fine clarinet playing by the bandleader himself Kjeld Brandt, whose very sensitive tone showed to the best advantage in the more quiet numbers. But when it tore along the trumpet player Martyn Sharp showed that age certainly doesn’t weigh on a good musician, and in several numbers he grasped the mike and proved to be a very fine jazz vocalist.
So no one can object to, that the band had to give up to several encores strongly applaused by an enthusiastic standing audience, who got what they came for, N.O. jazz music played with joy and understanding, so it was a great pleasure for everyone.

Translated by Jens H. Haagentoft.

Kerstin Arghe writes about the Gothenburg Jazzfestival 2000 in the ’Tradjazzpulse’, membership magazine for the association Friends of Trad-Jazz in Stockholm:

…”I started the festival out by following the parade up to Götaplatsen, and went after that down to Park Avenue Hotel to listen to New Orleans Delight with Norbert Susemihl in the Banquet Hall.
A magnificent band which owing to lack of an own trumpetplayer had brought Norbert Susemihl along. You seldom hear New Orleans jazz played so nice and relaxed. Norbert Susemihl, (a master-ly trumpetplayer from Germany), has spent a great deal of his time in New Orleans playing with and learning from the the old musicians there. Better than like here New Orleans jazz can’t sound.”…

Translated by Jens H. Haagentoft.

Review of the CD
Enjoy Yourself with New Orleans Delight in Just Jazz, September 2000.

Hot on the heels of the band's Church Concerts '99 CD, this one features guest artist, the British pianist, Mike Lunn, a name new to me.
The repertoire is an interesting miscellany, combining, in true Crescent City fashion, staples such as Franklin Street Blues and Gettysburg March, with such seldom heard themes as Enjoy Yourself, which I associated with Billy Cotton, and Thank You Mister Moon, which, in being popularised by the Boswell Sisters from New Orleans, already has a Crescent City pedigree. In his note, Kjeld Frandsen (whose credentials include chairmanship of the Danish Jazz Journalists Association - how many members I wonder?) mentions that during his New Orleans sojourn, which spanned 1978 to 1990, trumpeter Norbert Susemihl first learned both Peggy O'Neal and Lights Out working with 'Father' Al Lewis' band, while he first heard Last Night On The Back Porch from Kid Sheik Cola, and from Percy Humphrey, Sometime (the only other version I've heard was back in the 1950s, on a MOR album by the country singer Eddie Arnold).
The tempos are balanced nicely, too, ranging from the exuberant Calypso beat of the title track, and Miss Bombilla Brown (a number new to me) to the contemplative, bown beat of Lights Out, a mellow finale. The opener, Peggy O'Neal, tightly cohesive from the first notes, finds trumpeter Norbert Susemihl's declamatory lead establishing a momentum which is heightened and sustained through chorus upon swinging chorus.
The rhythm section does sound a bit laggardly in places, which, in addition to the balance wihich seems to favour the banjo here and there, tends to subsume some of the pianist's solos. Both Franklin Street Blues and Thank You Mister Moon, though, capture Mike Lunn's unfussy, blues-inflected style, being very much in the Alton Puurnell tradition. Trombonist Kristian Barfoed's rough-hewn, rip-snorting sound works best as an ensemble voice, his his solo style is shown to good advantage on both the aforementioned Thank You Mister Moon and Down In Jungle Town. Clarinettist Kjeld Brandt's wistful tone and lyrical lines obviosly evoke shades of George Lewis, yet without sounding derivative. His work throghout is notable, and is captured at its most appealing on the waltz, Sometime.
With due deference to his colleagues, Norbert Susemihl's contributions, as both ensemble player and soloist, are outstanding. His burnished tone, flexible technique, use of dynamics and intuitive sense of phrasing, which seems both inspired and inspiring, mark him out as one of the finest jazz trumpeters currently active. As notewriter Kjeld Frandsen putsit "... to me it seems that his playing contains just about the whole New Orleans tradition from Bunk Johnson to Wynton Marsalis." To mention just a few highlights, listen to the swift, unexpected allusion to Louis Armstrong's Cornet Chop Suey coda at the tail end of Swanee River, the understated blues playing on Franklin Street, plus the holy roller 'signifying muted statements', on Last Night On The Back Porch, contrasted by the plaintively bittersweet flugelhorn solo on Higher Ground. I feel, though, that his vocals ideally should have been reduced to a couple, rather than nine.
Very much an 'in-house' production, the remixing was done by Norbert Susemihl, the design and printing of the accompanying was produced by Kjeld Brandt, while the cover photograph of a very cheerful looking Caribbean lady dressed up for a carnival (Miss Bombilla Brown, perhaps?) is reproduced on the label.
Details about this new CD, plus previous issues may be caccessed on:

Sally-Ann Worsfold

Translated by Jens H. Haagentoft.


Translation of a review published in Berlingske Tidende 24.01.2000
Written by Kjeld Frandsen.
Translated by Jens H. Haagentoft.

Lifegiving curlicues

The German trumpetplayer Norbert Susemihl delivered an easy–flowing playing which – nearly – contained the whole New Orleans tradition, without appearing kaleidoscopic or copylike.

It's a widespread understanding, that week–ends New Orleans jazz will be played at the venue Vognporten in Copenhagen. And that is on the whole a correct understanding. It was anyhow the case on Friday night, allthough none of the involved musicians were born nor raised in the native town of jazz.
The members of the Danish band New Orleans Delight took all the same a whole–hearted chance on the original sound, and the Swedish pianoplayer Göran Magnusson, who recently has joined the band, added a little extra ballast to the for this type of music so characteristic – as well stout as rough – rhythm–board.
Primarily it was the clarinetplayer Kjeld Brandt who – with his fine and delicate–vibrating playing – passed the heritage on from the old jazz-giants, and besides that it was – to quite as high a degree, the the guest-soloist the German trumpetplayer Norbert Susemihl who secured the artistic level.
In good form he took care of the to the genre belonging vocal parts, but his force was absolutely the melodious and easy–flowing playing on trumpet, cornet or flugelhorn. On the Danish scene he has parallels such as Finn Otto Hansen and Ole Stolle, but Susemihls playing contains also – just about – the whole New Orleans tradition – from Bunk Johnson to Wynton Marsalis.
His playing never seemed kaleidoscopic or copy–like, on the contrary. It was quiet, clarified, determined and melodic. And whether it was gospel, folkmusic, calypso, waltz, rhytm & blues or the basic New Orleans repertoire, Norbert Susemihl seasoned his playing with tiny lifegiving curlicues, which put a safe distance to any form of exhausted museum-jazz.

New Orleans Delight with Norbert Susemihl. Jazzhouse Vognporten, Friday night

Review of the CD
Church Concerts '99 with New Orleans Delight in Just Jazz, April 2000.

Some readers may already be familiar with this Scandinavian band from previous CDs, which include one with guests, trumpeter Ken Pye and bassist Annie Hawkins. Made at different church locations, this thirteen title set is gospel slanted, quite appropriately.
The first five items feature New Orleans Delight's regular line-up. Clarinettist Kjeld Brandt is a pleasing stylist in the George Lewis tradition. While his style does sound rather fundamental, trombonist Kristian Barfoed's rugged approach works well in this context. The rhythm is a tad turgid, although banjoist Erling Lindhardt is neither better nor worst than others of his ilk. Karl Kronqvist, in my view, seems to be the best of the three bassists, and contributes subtle, flowing lines which suggest he would be at home in any jazz setting.
Had the music continued in this vein, however pleasant, I would have deemed it strictly for the faithful or coverted. From the sixth item, though, the atmosphere is transformed to a higher plateau, thanks to the inclusion of German born trumpeter Norbert Susemihl, who has spent much time in New Orleans, according to the notes. With his burnished tone, commanding technique and driving attack, Susemihl contributes some commendable ensemble and solo work, which certainly has an inspirational effect upon the others. Furthemore, his pensive flugelhorn solo of the reflective version of What A Friend We Have In Jesus recalls both the Fletcher Henderson cornetist Joe Smith in it's bell-like clarity and bittersweet tones, and the harmonic sophistication and effortles delivery of trumpeter Clifford Brown. His pleasing vocal style also crops up here and there, while trombonist Barfoed sings Lilly Of The Valley.
The surroundings offer excellent acoustics, although they could not disguise Magnusson's badly tuned piano, although I believe Petersen plays an electric keyboard. Recommended, and it is to be hoped that more of Norbert Susemihl will be heard soon.
Sally-Ann Worsfold


Translation of a review published in »Præstø Avis« 11.02.1999
Written by Jens Bjerre Tybjerg.
Translated by Jens H. Haagentoft

 New musical friends in Præstø Jazzklub

»Find new friends in Præstø« it says in an elderly slogan from Præstø's Chamber of Commerce. It still applies. Præstø Jazzklub found new friends in New Orleans Delight, who the other day gave a genuine happy concert at Kirsebærkroen (The Cherry Inn).
Formally the band was formed in 1996. In these few years they have learned to play extremely good together, and the five of them did very well with regards to match the English veteran Martyn Sharp on trumpet - with or without mute. It sounded as if he had always been a member of the band.
Martyn Sharp possesses the abbility to give the trumpet a very crisp sound underlining the melodious in the ballads and the quiet numbers. In Panama Rag he gave vent to the horn and let the sound fill the tap-room. It is already reported now, that he'll return next winter. He shall be so hearty welcome. He sat between Kjeld Brandt on clarinet and Kristian Barfoed on trombone, and he was in 'human hands'. Kjeld Brandt masters the entire span of the clarinet, and has a rare ability, in the low register, to create the 'wooden-sound', which is the mark of the instrument.
When Kristian Barfoed played his vigorous trombone-soli, Brandt and Sharp put their horns together and made up a gentle musical 'floor' for the soloist. Then the three wind-instruments formed a synthesis.
The three in the rhytm-section did not fall behind. Erling Lindhardt on banjo is a treat, as well as the one forming a refined background as the soloist which strikes through. He showed the greatness of his instrument - regardless of last autumns banjo-jokes.
His son Claus knows his way with his drums. He creates a steady rhytm, and adds a solid drive to the band, which sends the music out to the most distant corner. He is also one behind the Carribean notes, which adorns the repertoire of the band.
Behind the double bass Ernst Hansen stands as a rock. The others can count on him. He is always in place as the reliable accompanist. He is not the great soloist, but an ensemble needs his qualities.
New Orleans Delight has fetched it's repertoire from the edges of the jazz-literature (?), (s'pose it should have been song-book or the like, translators comment). We heard melodies which are not 'daily fare' for the jazz people, and it's quiet relieving to get out ther too.
Martyn Sharp sings as well. In the quiet ballad 'Lovesong Of The Nile' he raised his voice, which was followed by a hair-raising clarinet solo. And he sang Tipi Tipi Tin with much humour, what went well with the Carribean undertone in the rhytm.
It was an extremely nice jazz-evening ... A powerfully playing band of a high musical quality with a broad embracing repertoire.
New Orleans Delight has found new friends in Præstø. The friends look forward to meeting them again. Same time, same place, next year.