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An introduction to the new orleans jazz band dag

My Little Girl 4: Love Song Of The Nile 4: On Treasure Island 4: Moonlight And Roses 4: Marcel Joly Cover- and bandphoto: Kjerstin Westgaard Photo of Norbert Susemihl: Torsten Graae Design and dtp: An introduction to the new orleans jazz band dag their secret may be, they prove it once again on this record. When you have you plenty rhythm with you plenty swing, it becomes beautiful. You got to be able to come down in order to go up. Kjeld Brandt claims to be influenced by George Lewis, but is completely his own man.

Just like the master he makes his instrument sing, mourn or jubilate, but he is singing his own very personal song. Bengt Hansson, who has been playing with the band for 18 months now, brings an introduction to the new orleans jazz band dag very individual voice to the frontline. Norbert Susemihl is an old friend, whose playing I enjoyed many times in the past, mainly in New Orleans where he often stayed and worked for several months in a row.

He was accepted by the local musicians and treated as one of their own. After playing a parade with the all black Algiers Brass Band, a neighbour asked one of the musicians: Norbert is without any doubt one of the best New Orleans style trumpet players today and his exciting playing an introduction to the new orleans jazz band dag an asset to every band he works with.

In New Orleans terminology: A father and son playing the same music side by side is something special in these times of generation gaps. Erling on banjo and Claus on drums Lindhardt perform this remarkable act in an exemplary way. Erling is a banjo player who knows exactly what his task is in an introduction to the new orleans jazz band dag New Orleans band. Son Claus is reported to have a lot of experience in Salsa music. The effect is marvellous! A group of capable, knowledgeable musicians do not necessarily make a good band.

Especially in this kind of music, something else is needed: This is exactly the strongest quality of New Orleans Delight. New Orleans music originally was ensemble music, not a series of solos with an ensemble chorus at the beginning and one at the end of a tune, like in many other jazz styles.

There is plenty of ensemble playing on this CD and the musical harmony is remarkable all the time. The icing on the cake is the presence on some tracks of the lovely singer Kristin Lomholt. She started her career as a vocalist and pianist in Spain in 1992. Her grip on the traditional material on this album is remarkable and shows great love and understanding of the idiom.

Her approach is completely original and fullof imagination. Norbert is clearly paying homage to DeDe here. Notice the softly played ensemble chorus, just before the final one. This is a quality only true New Orleans bands have. Kid Thomas used to play this too. It is taken here at a relaxed tempo. Norbert sings it and plays a beautiful muted solo. Great low register clarinet with comments from the trombone. Stefan uses his bow to great effect.

Everybody is featured on this one, including the bass and the drums. Norbert takes the vocal again.

Report on new orleans jazz band

Elvis Presley sang a beautiful version of it. It was recorded in New Orleans style before by a.

Sammy Rimington and by the great Australian gospel and blues singer Lee Gunness. Norbert plays flugelhorn here and his duet with Kristin is an introduction to the new orleans jazz band dag thing of real beauty. Two ensemble choruses, again one soft and one loud finish this great swinging performance.

DeDe Pierce told an interviewer that he picked it up from a Creole musician in Southeast Louisana, near Lake Charles and added himself lyrics to it through the years. New Orleans Delight plays it with a Latin beat. Norbert sings the lyrics in Louisiana French patois and treats us to some great variations on the theme with his trumpet. I read somewhere that this beautiful hymn was born over a brief conversation between these two men one day. Within the space of half an hour, this song was written.

Kristin sings an introduction to the new orleans jazz band dag excellently, slowly building up to an exciting climax. Kjeld introduces the melody with delicate comments from Bengt, Stefan uses his bow and Kristin sings her heart out. As expected, Norbert plays some great Kid Thomas stuff on this one, including the bursts of sound into the metal derby. A real tour de force! Lemare as a slow waltz. What a lovely sound! I would use the same words to describe this exciting version of this old hymn.

One night, years ago, I was standing at the corner of Bourbon and St. We were talking about the future of Preservation Hall. I asked him what would happen if there was nobody left in New Orleans playing the old music.