CD REVIEW by Bert Thompson TWO GREAT DIXIELAND JAZZ BANDS (Merry Makers Record Company MMRC-CD-32). Playing time: 49 mins. 11 secs.
Len Barnard’s Jazz Band: Moose March; Big Fat Ma and Skinny Pa*; Texas Moaner; Wait till You See My Baby Do the Charleston; Lord, Let Me in the Lifeboat; Mr. Jelly Lord; Stomp Off, Let’s Go. Personnel: Bob Barnard, cornet; Frank Traynor, trombone, vocal*; Earl “Tich” Bray, clarinet; Greg Clarke, piano; Peter Cleaver, banjo; Bill Fredrickson, tuba; Len Barnard, drums. Recorded Melbourne, Australia, October, 1953.
The Gin Bottle Seven: Down by the Riverside; Electric Chair Blues*; Ostrich Walk; Apex Blues; Oh, Baby; Bombay Blues; Liza; Everybody Loves My Baby. Personnel: Carl Halen, cornet; Bob Butters, trombone; Martin Kollstedt, clarinet; Fred Gary, piano; Jan Carroll, banjo, guitar, vocal*; John Pollock, tuba; Tom Hyer, drums. Recorded Dayton, Ohio, March 23, 1955.
These two recording sessions were first issued as 10” LP’s back in the days of vinyl, and they have been long out of print. Indeed, they were difficult to obtain even when in print since the Barnard disc was available only in Australia on the Jazzart label (CMS5), and the Gin Bottle Seven on the band’s own label (no number) sold only from the bandstand. While the Australian label Swaggie did reissue some of the Jazzart sessions, it did not this one. So we are indebted to Ted Shafer for having made both sessions available again and probably to a wider audience than was the case when they were first issued.
The Barnard Jazzart disc had an additional tune, the title being given as New Orleans Hop Scop Blues, which is not included on this CD. Apparently there was some doubt if the tune is, indeed, New Orleans Hop Scop Blues, so it was decided not to include it here.
There is also some question about the recording dates. Those given above are from the Bruyninckx discography, while the CD gives the Jazzart as simply 1952 and the Gin Bottle Seven as 1954. However, I have found that the Bruyninckx discography is not infallible, so here one must take his pick.
These two bands, from different sides of the world, have several things in common. The instrumentation is the same, and their heritage similar in that both have obviously listened to the bands of the U.S. West Coast revival, such as Lu Watters seven-piece band, Turk Murphy’s group, etc. But it should be noted that there is no attempt on either band’s part to copy these predecessors—each establishes its own sound, thus differing from the other as well.
Also at the time members of both bands were youthful, none more so than Bob Barnard—a mere stripling of seventeen summers and brother of Len Barnard. Carl Halen was right behind him, being in his mid twenties then, as were all of the other musicians of both bands. Given the youth of the bandsmen, it should come as no surprise that the performances, particularly those of Len Barnard’s group, perhaps, are marked by vigor, exuberance, and any other such traits one could ascribe to youth, resulting in driving jazz. I would defy anyone with a detectable pulse to try to stop his foot tapping as he or she listens. And despite their youth, these musicians were not short on talent or technique. These are not “garage bands.”
Quite striking is the incredible trumpet playing of the youthful Bob Barnard. He shows a maturity far beyond his years, his ability to improvise being astonishing and a definite harbinger of the acclaimed musician he was to become and is to this day. While both bands lean heavily on ensemble work, solos being kept to a minimum, one can almost sense young Barnard’s impatience to “get back in” with the ensemble at the end of a solo, and when he does, he and the others tear it up.
Halen, on the other had, is just a bit more reserved, but by no means tame. His lead is quite authoritative as well, the result being some musically satisfying renditions of the tunes by the Gin Bottle Seven. The band is not averse to a slight touch of hokum, either, as the jew’s harp solo on Down by the Riverside attests.
So this CD is well worth having. (I would remind the reader, however, of the caveat regarding the paper label that the Merry Maker CD’s now sport. Also, there are no liner notes with this CD.) It is a pity that the additional Barnard title was not included, despite the uncertainty of the title. As I said above, this was a fine band, so anything additional would be a plus, and certainly the disc’s playing time of a little over forty-nine minutes would have accommodated it. But it is good to have access to these recordings, despite the short playing time, and the pleasure one will derive from listening to the performances should more than make up for it.
This CD is available from Ted Shafer at his Jelly Roll Jazz Band gigs, by writing him at Merry Makers Record Company, 926 Beechwood Circle, Suisun City, CA 94585, or by calling him toll-free at 1-866-563-4433 for $16.00, post paid. It should be obtainable from mail order sources that carry Merry Makers label CD’s.
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