Dutch Swing College Band – Dixie Jubilee (1970)

FrontCover1.JPGThe Dutch Swing College Band “DSCB” is a traditional dixieland band founded on 5 May 1945 by bandleader and clarinettist/saxophonist Peter Schilperoort.

Highly successful in their native home of The Netherlands, the band quickly found an international following. It has featured such musicians as Huub Janssen (drums), Henk Bosch van Drakestein (double bass), Kees van Dorser (trumpet), Dim Kesber (saxes), Jan Morks (clarinet), Wout Steenhuis (guitar), Arie Ligthart (banjo/guitar), Jaap van Kempen (banjo/guitar), Oscar Klein (trumpet), Dick Kaart (trombone), Ray Kaart (trumpet), Bert de Kort (cornet), Bert Boeren (trombone), Rod Mason, Rob Agerbeek (piano) – among many others.

The band continues to tour extensively, mainly in Europe & Scandinavia, and record directed by Bob Kaper, himself a member since 1967, following the former leader, Peter Schilperoort’s death on 17 November 1990. Schilperoort had led the band for more than 45 years, albeit with a five-year sabbatical from 13 September 1955, when he left to pursue an engineering career before returning to lead the band again officially on 1 January 1960


On this record, the Dutch Swing College Band celebrates their 25th anniversary with a couple of old tunes, from the very early days (mono recordings) till 1970.

Enjoy this beautiful trip in the past … enoy this trip to the early days of Jazz !


Dick Bakker (banjo on 01. – 03.)
Martin Beenen (drums on 07.)
Chris Bender (bass on 01. – 03.)
Wybe Buma (trumpet on 05. – 07.)
Kees van Dorsser (trumpet on 01. – 05.)
Eddie Hamm (vocals on 05.)
Huub Jansen (drums on 12.)
Arie Ligthart (banjo on 05. + 06.)
Bob Kaper (clarinet on 12.)
Dick Kaart (trombone on 07. – 12.)
Ray Kaart (trumpet on 08. – 11.)
Dim Kesber (clarinet on 01. – 06.)
Oscar Klein (trumpet on 07.)
Wim Kolstee (trombone on 01. – 07.)
Bert de Kort (corent on 12.)
Joop Van Leeuwen (banjo on 04.)
Arie Merkt (drums on 01. – 04.)
Jan Morks (clarinet on 07.)
Bob van Oven (bass on 04. – 11.)
Lu Ssanet (drums on 07. – 11.)
Peter Schilperoort (saxophone on 12.)
Joop Schrier (piano on 01. – 07.)
Koos Serierse (bass on 10.)
Peter Schilperoort (clarinet on 01. – 03., 05., 07. – 10., cornet on 04., drums on 12.)
Chris Smildiger (bass on 12.)
Andre Westendorp (drums on 05., trumpet on 06.)
Ferry Wienneke (piano on 09.)
Peter Ypma (drums on 11.)

Conductor: Peter Schilperoort


01, PanamaA1 Panama (Tyers)  3.04
02. At The Jazzband Ball (Shields/La Rocca) 3.96
03. Tin Roof Blues (Pollack/Brunies/Roppolo/Stitzel/Mares/Melrose) 3.11
04. Snake Rag (Oliver) 2.48
05. Dipper Mouth Blues (Oliver/Armstrong/Melrose) 2.41
06. Steamboat Stomp (Senter) 3.17
07. Buddy’s Habits (Nelson/Straight) 8.35
08. Big Butter And Eggman (Armstrong/Venable) 2.39
09. Besame Mucho (Velazquez) 2.37
10. Clarinet Marmalade (Raggs/Shields) 3.41
11. Melancholy (Blues) (Bloom/Melrose) 3.27
12. Since My Best Gal Turned Me Down (Quicksell/Lodwig) 3.14




Chris Barbers Jazzband – Maryland, My Maryland + 2 (1955)

FrontCover1Donald Christopher ‘Chris’ Barber (born 17 April 1930) is a British jazz musician, best known as a bandleader and trombonist. As well as scoring a UK top twenty trad jazz hit, he helped the careers of many musicians, notably the blues singer Ottilie Patterson, who was at one time his wife, and vocalist/banjoist Lonnie Donegan, whose appearances with Barber triggered the skiffle craze of the mid-1950s and who had his first transatlantic hit, “Rock Island Line”, while with Chris Barber’s band. His providing an audience for Donegan and, later, Alexis Korner makes Barber a significant figure in the British rhythm and blues and “beat boom” of the 1960s.

Barber was born in Welwyn Garden City, Hertfordshire, the son of a statistician father and headmistress mother. He was educated at Hanley Castle Grammar School, Malvern, Worcestershire, to the age of 15, then St Paul’s School in London and the Guildhall School of Music.

Barber and Monty Sunshine (clarinet) formed a band in 1953, calling it Ken Colyer’s Jazzmen to capitalise on their trumpeter’s recent escapades in New Orleans: the group also included Donegan, Jim Bray (bass), Ron Bowden (drums) and Barber on trombone. The band played Dixieland jazz, and later ragtime, swing, blues and R&B. Pat Halcox took over on trumpet in 1954 when Colyer moved on after musical differences and the band became “The Chris Barber Band”. (by wikipedia)

And this is one of his early singles and the music sounds pretty good and this single is fun, fun, and fun only !


Chris Barber (trombone, vocals)
Jim Bray (bass)
Ron Bowden (drums)
Lonnie Donegan (banjo)
Pat Halcox (trumpet, vocals)
Monty Sunshine (clarinet)


01. Maryland, My Maryland (Traditional) 3.36
02. St. George’s Rag (Barber) 3.51
03. Wabash Blues (Ringle/Meinken) 6.04



Original Dixieland Jazz Band – The 75th Anniversary (1992)

FrontCover1The Original Dixieland Jazz Band, who billed themselves “The Creators of Jazz”, have long been been dismissed as the White guys who copied African-American music, and called it their own. There is a lot of truth to that statement, but on the other hand, The Original Dixieland Jazz Band’s recordings still hold their own unique charm, over 80 years after their initial release. However unfair and indicative of the racism of the era, the record “Livery Stable Blues”, coupled with “Dixie Jass Band One Step” became the first Jazz record ever released on February 26, 1917 for the Victor Talking Machine Company. It was wildly successful. Its release signaled the beginning of the Jazz age and helped define the wild, exuberent era we call the “Roaring Twenties”. The Original Dixieland Jazz Band had recorded for Columbia in January 1917, but the session was unsuccessful and the band had to come back and re-record the songs, thus the release of the Columbia sides did not come about until after the amazing success of the Victor records. The group had formed in New Orleans, all of the musicians had played in Papa Jack Laine’s Reliance Brass Band at one time or another.


In 1916 the band moved from New Orleans to Chicago, just like so many of the African-American and Creole musicians from that city. In Chicago, they played a season at the Booster Club under the name of Stein’s Dixie Jass Band. At the beginning of the following year the band ditched Stein and moved to New York where, on the recommendation of Al Jolson, they landed a gig at Reisenweber’s Café on Columbus Circle and 58th Street, a fashionable restaurant and night-spot. The band created quite a stir and Columbia rushed to record the band only two weeks after they had arrived in the city. The band was an immediate success, with their wacky stage antics, like wearing top hats that spelled out “Dixie”, playing the trombone’s slide with the foot, and so on. The band’s slogan was “Untuneful Harmonists Playing Peppery Melodies”, and their leader Nick La Rocca and cornet player delighted in stirring up the press, describing themselves as musical anarchists and coining fun statements like “Jazz is the assassination of the melody, it’s the slaying of syncopation”.


After the Reisenweber’s Café engagement end the band played at the Alamo Cafe (148th Street) and the College Inn at Coney Island. The Original Dixieland Jazz Band went on to record and play in London, producing 20 tracks for Columbia, including another big hit, Soudan. They returned to America in July of 1920. They signed a new record contract with Okeh, but the public began to tire of them and they never regained the sales or popularity of their initial success. The group broke up in 1925 after La Rocca suffered a nervous breakdown. The surviving members briefly re-formed in 1936 and recorded some sides for Victor. In 1940 the band re-formed yet again, but this time without La Rocca and recorded six sides for Bluebird and played up until 1940. Eddie Edwards formed a version of the band that recorded a V-Disc during World War II and for Commodore Records in 1945 and 1946. Tony Sbarbaro was the only other original member to perform on those sessions. (by redhotjazz.com)


The Original Dixieland Jazz Band was the first jazz group to record. Although their two earliest titles for Columbia (“Darktown Strutters Ball” and “Indiana”) have not been reissued in a long time, all of the ODJB’s output for Victor (including “Livery Stable Blues,” the first jazz recording ever released) is on this definitive CD. This colorful group, which stuck exclusively to ensembles with no solos, introduced such standard tunes as “Original Dixieland One Step,” “At the Jazz Band,” “Fidgety Feet,” “Sensation,” “Clarinet Marmalade,” “Margie,” “Jazz Me Blues,” “Royal Garden Blues,” and “Tiger Rag,” all of which are included on this release. It’s an essential acquisition for any serious jazz library. (by Scott Yanow)


Eddie Edwards (trombone)
Nick LaRocca (cornet)
Henry Ragas (piano)
Tony Sbarbara (drums)
Larry Shields (clarinet)


01. Livery Stable Blues (LaRocca) 3.07
02. Dixieland Jass Band One-Step (Edwards/LaRocca/Ragas/Sbarbara/Shields)2.38
03. At The Jazz Band Ball (LaRocca/Shields) 2.41
04. Ostrich Walk (LaRocca/Shields) 3.16
05. Skeleton Jangle (LaRocca) 2.53
06. Tiger Rag (LaRocca) 3.07
07. Bluin’ The Blues (Ragas) 3.22
08. Fidgety Feet (LaRocca/Shields) 2.44
09. Sensation Rag (Edwards) 2.59
10. Mournin’ Blues (Sbarbaro) 2.56
11. Clarinet Marmalade Blues (Shields/Ragas) 2.49
12. Lazy Daddy (LaRocca/Shields/Ragas) 3.21
13. Margie (Conrad/Robinson) 3.08
14. Palesteena (Conrad/Robinson) 2.40
15. Broadway Rose (West/Fried/Spencer) 3.18
16. Sweet Mamma (Papa’s Getting Mad) (Rose/Little/Frost) 3.24
17. Home Again Blues (Akst) 2.45
18. Crazy Blues (Bradford/Belledna) 2.37
19. Jazz Me Blues (Delaney) 3.09
20. St. Louis Blues (Handy) 3.22
21. Royal Garden Blues (C.Williams/S.Williems) 3.09
22. Dangerous Blues (Brown) 3.12
23. Bow Wow Blues (Osborne) 3.15




Various Artists – A New Orleans Jazz Festival 1949 – 1952 (1974)

FrontCover1This ia a very rare album from 1974 with traditonal jazz & dixie music … recorded live.

The highlights are tracks 9–11 where you hear not less than 5 Bigbands playing (mostly) simultaneously. The event was called “Gene Norman & Frank Bull Dixieland Jubilee Concert”. Later in the 50ies Gene Norman & Frank Bull startet a record label called “Dixieland Jubilee”.
When I hear historical recordings like this, I always try to compare them to something in our time. In 1950 Jazz was as old as Techno is today, about 25 years. So for the visitors this event must have been similar to the LoveParades of today.


George Lewis And His Ragtime Band (Artisan Hall, New Orleans, December 14, 1952):
01. At A Georgia Camp Meeting (Mills) 3.43
02. Chimes Blues (Oliver) 5.03
03. Burgundy Street Blues  (Lewis) 5.20

Kid Ory’s Creole Band (Shrine Auditorium, Los Angeles, October 7, 1949):
04. Tiger Rag (LaRocca) 3.39
05. Savoy Blues (Ory) 2.54
06. Twelth Street Rag (Bowman) 3.35
07. Eh! La Bas (Traditional) 3.05

The Massed Jazz Bands (Shrine Auditorium, Los Angeles, October 7, 1949):
08. High Society (Steele) 2.57
09. Who’s Sorry Now (Kalmar/Snyder/Ruby) 2.10
10. Muskrat Ramble (Ory) 2.43
11. South Rampart Street Parade (Ory) 2.48
Kid Ory’s Creole BandKid Ory’s Creole Band

Barry Tyler´s Original Dixieland Jazz Band – Stand Up Binky ! (I Am Standing Up) (2004)

FrontCover1Inspired by those great JAZZ innovators from New Orleans,The Original Dixieland Jazz Band,Bob Alcoe and I started to put the band together circa 1985.

In those days we called it The Original Disneyland Jazz Band (A Mickey Mouse outfit). We changed the name when we had to register our first album, “Limited Edition” fearing the wrath of Walt.

That proved a good decision because the album includes “I wanna be like you”(The King of the Swingers) and Disney’s lawyers called for a specimen copy.

Today,the band combines a formidable level of musicianship together with the fun and good humour associated with Traditional Jazz. We enjoy our music and we’re not afraid to show it.

Bob Alcoe (trombone)
Roger Curphey (bass)
Bill Gyford (banjo)
Binky Pollock (vocals)
Johnny Rodgers (clarinet, saxophone)
Terry Starr (trumpet, cornet)
Barry Tyler (drums, percussion)


01. You Meet The Nicest People (Hoffman/Goodheart/Kurtz) 3.58
02. Beale Street Blues (Handy) 3.40
03. When Eratus Plays His Old Kazoon (Coslow/Sammy/Fain/Spier) 3.52
04. The Home Fire (Weiss/Douglas) 6.10
05. Snake Rag (Oliver/Piron) 4.08
06. Louisiana-I-A (Darensbourg) 3.14
07. Ole Miss (Handy) 3.44
08. Blueberry Hill (Lewis/Stock/Rose) 3.00
09. Panama (Tyers) 4.40
10. That Old Feeling (Fain/Brown) 5.36
11. Dans Les Rues D’Antibes (Bechet) 4.21
12. When You And I Were Young Maggie (Johnson/Butterfield) 3.47
13. Tishomingo Blues (Williams) 6.00
14. Louisiana (Razaf/Johnson/Schafer) 3.50
15. Easter Parade (Berlin) 4.28



Kenny Ball And His Jazzmen – Midnight In Moscow (1962)

FrontCover1Kenneth Daniel Ball (22 May 1930 – 7 March 2013) was an English jazz musician, best known as the bandleader, lead trumpet player and vocalist in Kenny Ball and his Jazzmen.

Ball was born in Ilford, Essex. At the age of 14 he left school to work as a clerk in an advertising agency, but also started taking trumpet lessons. He began his career as a semi-professional sideman in bands, whilst also working as a salesman and for the advertising agency. He turned professional in 1953 and played the trumpet in bands led by Sid Phillips, Charlie Galbraith, Eric Delaney and Terry Lightfoot before forming his own trad jazz band – Kenny Ball and his Jazzmen – in 1958. His dixieland band was at the forefront of the early 1960s UK jazz revival.

In 1961 their recording of Cole Porter’s “Samantha” (Pye 7NJ.2040 – released Feb. 1961) became a hit, and at the end of 1961 they reached No. 2 on both the U.S. Billboard Hot 100 chart and the UK Singles Chart, with “Midnight in Moscow” (Pye 7NJ.2049 – released Nov. 1961). The record sold over one million copies, earning gold disc status.[4] Their next single “March of the Siamese Children” (Pye 7NJ.2051 – released Feb. 1962), from ‘The King and I’, topped the pop music magazine, New Musical Express chart on 9 March 1962, further hits followed and such was their popularity in the UK that Ball was featured, alongside Cliff Richard, Brenda Lee, Joe Brown, Craig Douglas and Frank Ifield, on the cover of the New Musical Express in July 1962, although in the U.S. they remained a ‘one-hit wonder’.

In January 1963, New Musical Express reported that the biggest trad jazz event to be staged in Britain had taken place at Alexandra Palace. The event included George Melly, Diz Disley, Acker Bilk, Chris Barber, Alex Welsh, Ken Colyer, Monty Sunshine, Bob Wallis, Bruce Turner, Mick Mulligan and Ball. The same year, Ball became the first British jazzman to become an honorary citizen of New Orleans, and appeared in the 1963 film Live It Up!, featuring Gene Vincent.

In 1968 the band appeared with Louis Armstrong during his last European tour. Ball later appeared on BBC Television’s highly rated review of the ’60s music scene Pop Go The Sixties, performing “Midnight In Moscow” with his Jazzmen on the show broadcast on BBC 1, on 1 January 1970, and his continued success was aided by guest appearances on every edition of the first six series of the BBC’s Morecambe and Wise Show. He later claimed that the peak of his career was when Kenny Ball and his Jazzmen played at the reception for the wedding of Prince Charles and Lady Diana.

Ball and his band enjoyed one of the longest unbroken spells of success for trad bands, and his status rivals contemporaries Acker Bilk and Chris Barber. Their joint album, The Best of Ball, Barber and Bilk, reached No. 1 in the UK Albums Chart. He has charted fourteen Top 50 hit singles in the UK alone. All such releases were issued on the Pye record label.

In 2001 Ball was part of the recording of an album on the Decca label. It featured Don Lusher, Acker Bilk, John Chilton and the Feetwarmers, John Dankworth, Humphrey Lyttelton and George Melly, and was entitled British Jazz Legends Together.

Ball continued to tour until shortly before his death, his last scheduled concert being, aptly, with Acker Bilk and Chris Barber at Manchester’s Bridgewater Hall on 21 February 2013. He died at Basildon Hospital, Essex, where he was being treated for pneumonia.

Today the band continue with Kenny’s son at the helm and under the guise of Kenny Ball Junior and his Jazzmen. (by wikipedia)

Kenny Ball’s surprise hit of “Midnight in Moscow” in 1962 helped accelerate the trad jazz movement in England. Already a popular trumpeter, Ball’s hit briefly made him an internationally known figure. This LP mostly has infectious versions of Dixieland standards featuring Ball, trombonist Johnny Bennett and clarinetist Dave Jones. (by Scott Yanow)

A masterpiece of Britsh Jazz in the early 60´s !


Kenny Ball (trumpet, vocals)
Johnny Bennett (trombone)
Ron Bowden (drums)
Dave Jones (clarinet)
Paddy Lightfoot (banjo)
Vic Pitts (bass)
Ron Weatherburn (piano)

01. Midnight In Moscow (Ball/Soloviev-Sedoi/Matusovosky) 2.58
02. Tin Roof Blues (New Orleans Rhythm Kings/Melrose) 4.05
03. My Mother’s Eyes (Baer/Gilbert) 2.35
04. Big Noise From Winnetka (Crosby/Haggart/Rodin/Bauduc) 2.21
05. Yes She Do, No She Don’t (I’m Satisfied With My Girl) (Trent/DeRose) 2.13
06. Puttin’ On The Ritz (Berlin) 3.07
07. American Patrol (Meacham) 3.03
08. Dark Eyes (Traditional) 2.35
09. You Must Have Been A Beautiful Baby (Warren/Mercer)
10. Savoy Blues (Ory) 3.50
11. High Society (Copeland/Swan/Green) 6.30


Amper Stompers – Same (2001)

FrontCover1Dixieland music, sometimes referred to as Hot jazz or Early Jazz, is a style of jazz music which developed in New Orleans at the start of the 20th century, and was spread to Chicago and New York City by New Orleans bands in the 1910s.

Well-known jazz standard songs from the Dixieland era, such as “Basin Street Blues” and “When the Saints Go Marching In”, are known even to non-jazz fans. Beginning with Dixieland, Riverboat jazz and to Chicago-style jazz or hot jazz as developed by Louis Armstrong and others. Chicago-style jazz or hot jazz was also a transition and combination of 2-beat to 4-beat, introducing Swing in its earliest form.

Hot jazz or Chicago-style jazz was also the current original music that began the Lindy Hop dance craze as it developed in Harlem, NY.

Dixieland is a name given to the style of jazz performed by early New Orleans jazz musicians. The name is a reference to the “Old South”. Dixieland, which was developed in New Orleans, is one of the earliest styles of jazz music. The style combined earlier brass band marches, French Quadrilles, ragtime, and blues with collective, polyphonic improvisation. While instrumentation and size of bands can be very flexible, the “standard” band consists of a “front line” of trumpet (or cornet), trombone, and clarinet, with a “rhythm section” of at least two of the following instruments: guitar or banjo, string bass or tuba, piano, and drums.

The term Dixieland became widely used after the advent of the first million-selling hit records of the Original Dixieland Jass Band in 1917. The music has been played continuously since the early part of the 20th century. Louis Armstrong’s All-Stars was the band most popularly identified with Dixieland, although Armstrong’s own influence runs through all of jazz.

The definitive Dixieland sound is created when one instrument (usually the trumpet) plays the melody or a recognizable paraphrase or variation on it, and the other instruments of the “front line” improvise around that melody. This creates a more polyphonic sound than the extremely regimented big band sound or the unison melody of bebop. (by wikipedia)

And dixieland is popular all over the world – still today.

This is fine example of dixieland from the South of Germany: Bavaria.

Founded in 1961 (!) The Amper Stomper are still active. And this is the first and last album, recorded in December 2000. And for your information: The Amper is a little river near Munich. And maybe some readers knows the bavarian beer gardens … You can hwear often this nice music in those beer gardens.

The piano play Peter Heger is totday one of the most famous boogie-woogie player in Germany. Here can you hear his boogie-woogie-music.

And now: enjoy this old time feeling !


Albrecht Baum (carinet, saxophone)
Peter Heger (piano)
Heinz Hertha (drums, vocals)
Wolfgang Kohl (trumpet, vocals)
Uli Kümpfel (banjo, guitar)
Helmut Schätz (trombone)
Rainer Stangl (bass, tuba)


01. Alabama Jubilee (Cobb/Yellen) 4.16
02. The Sheik Of Araby (Smith/Wheeler/Snyder) 3.24
03. Tin Roof Blues (Mares/Pollack/Stitzel/Brunies/Roppolo) 4.57
04. At The Jazzband Ball (Rocca) 4.16
05. Creole Jazz (Oliver) 2.28
06. Just A Closer Walk With Thee (Traditional) 5.10
07. China Boy (Boutelje/Winfree) 3.07
08. I Can´t Give Anything But Love (Waller) 5.03
09. As Fast As Possible Boogie (Heger) 2.39
10. Basin Street Blues (Williams) 5.02
11. Digga Digga Doo (Ellington/Williams) 3.21
12. Tiger Rag (LaRocca/DeCosta) 3.57
13. Der Stolz von der Au (Ferdl) 5.15