JAZZ CRUSADE RECORDS
Record Label

Website: www.jazzcrusade.com
Contact: bigbill@jazzcrusade.com

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Words from Big Bill Bissonnette:

"My notes to these CDs may seem more concerned with biographical and historical information than the music. This is deliberate since it is my belief that the fine music on these...CDs speaks volumes on its own behalf. It is often my melancholy task to write about musicians who are dead and being at heart a bit sentimentalist and very much a romantic I often feel despair at their loss until I remember the total joy inherent in the music and put on a record to be immediately transported. (I) believe I'll play 'St. Louis Blues' again and practice my circular breathing!"
--Liner notes to Capt. John Handy's CTJC Concert V.2--

"New Orleans groups are adept at giving the public what it wants. The drugged-up jazz musician starving in a garrett determined never to compromise principles by going 'commercial' is a novelist's Hollywood-style fantasy. Look at the collection of musicians' cards in the New Orleans Jazz Museum: few mention 'jazz,' nearly all proclaim 'music for all occaisions.'"
--Liner notes to Capt. John Handy's CTJC Concert V.1--

"As long as records like this can be made in New Orleans, there is hope the tradition, that began a century ago, will continue. The brass bands are important for this continuity because they have become the breeding ground for new talent. Even more important is that they are the only link between the music and the black community. Most of the black people in New Orleans don't come to Preservation Hall, but when brass band marches throught their street they all rush out to join the second line. Take your umbrella and join them!"
--Liner notes to Tuba Fats/Street Music--

 

Back in the 1940s, the New Orleans trumpeter Willie "Bunk" Johnson was discovered living in obscurity in New Ibersville, Louisiana. Stoking the flames of the traditional jazz revival that had begun in the 1930s, the discovery led to an interest in traditional jazz music and the men and women who had played it. Unfortunately, by the end of the decade that interest had flagged and the original form of jazz music languished once again, largely forgotten. In 1961, however, Preservation Hall opened in New Orleans, presenting local craftsmanlike musicians playing the music that they had helped develop. At the same time a number of independent record labels dedicated to traditional New Orleans-style jazz began to pop up.

One of these was Jazz Crusade, run by a young man who called himself Big Bill Bissonnette. Bissonnette has been a tireless advocate for New Orleans jazz and for the original black musicians who recorded and performed (and continue to perform) this style of music. He set up his own record label and fronted his own group, the Easy Riders Jazz Band, which later spawned another group, the Mouldy Five. Bissonnette organized tours to Northern cities for musicians such as George Lewis and Jim Robinson (who is Bissonnette's trombone-playing idol), and generally expanded the circle of listeners who were exposed first-hand to original New Orleans-style jazz.

After a period during which Bissonnette withdrew from the jazz scene he published his memoirs, titled Jazz Crusade, in 1992 and reactivated the Jazz Crusade label. Since then he has released outstanding recordings by such current and past New Orleans and British talent as Dr. Michael White, Gregg Stafford, Geoff Cole, Sammy Rimington, and the late Anthony "Tuba Fats" Lacen.

Jazzitude Distribution is proud to be associated with the Jazz Crusade label. Every Jazz Crusade release can be ordered directly here at Jazzitude, and we'll continue to offer reviews of various Jazz Crusade releases at regular intervals. So get yourself ready to march in that second line, all the way to New Orleans!


Featured Jazz Crusade Releases

Wilbur DeParis/Live In Canada 1956 This is a fine live collection of music by an intelligent band using intelligent arrangements—listen to deParis quoting from Mercer Ellington’s “Things Ain’t What They Used to Be” (Sidney DeParis played with the Ellington orchestra from 1945-1947) on “St. Louis Blues.” There are also guest turns from Willie “the Lion” Smith and vocalist Jimmy Rushing. Smith performs “Maori” and “Zig Zag” both of which demonstrate his prowess at the keys. Rushing does “Goin’ to Chicago” and “I Want a Little Girl” as only he can.

 

Geoff Cole/Do What Ory Say Cole has listened to Ory inside and out, and he is an interpreter, not an impersonator. Rather than attempt to merely sound like Ory (which he certainly does, at times) he tries to think like him, to offer interpretations that evoke Ory without slavishly imitating him. He is quite successful in this, and though some of the arrangements here are all Ory, Cole does not offer note-for-note solos or ensemble passages. The opening salvo, “Yaaka Hula Hickey Dula,” of which Ory’s version is definitive, lets you know right away that you are in the company of some wonderful musicians and will be having an enjoyable time in their company.

 

Tuba Fats/Tuba Fats' Chosen Few Jazzmen This is one of the best traditional New Orleans jazz albums you are going to hear. Beginning with the spiritual “Lead Me Saviour” and continuing through such stalwart tunes as “Hindustan,” “Amazing Grace,” and “Ice Cream” Tuba Fats provides the basis for a band that is swinging at literally every turn. Unlike many traditional groups who play a literal imitation of the music played by black musicians in New Orleans in the 1920s and 1930s, these guys sound like the real deal—which indeed they are. In other words, if a real New Orleans marching jazz band from the 1920s could have continued to play, with the same personnel, right up until today, this is what their sound might have developed into.

 

Gregg Stafford & Dr. Michael White/Praying & Swaying V.1: At the Cross
It might seem almost impossible for a group of present day musicians to recreate that peculiar combination of elements of the black experience in America with the conviction and energy that was present on such classic recordings as those found on the Jelly Roll Morton Hot Pepper sessions or the music laid down by Louis Armstrong’s Hot Fives and Sevens or by countless groups of musicians who never made it into a recording studio. Yet that is precisely what Gregg Stafford and Dr. Michael White have done along with a group of musicians dedicated to making sure this music is not lost to modern listeners.

 

 

 

 

Various Artists/New Orleans Soundtrack This CD features the soundtrack, out-takes, and associated music from the 1947 film and features Louis Armstrong, Mutt Carey, Kid Ory, Barney Bigard, Red Callender, Zutty Singleton, Billie Holiday, and others.

 

Tuba Fats' Chosen Few Brass Band/Street Music Track Listing: Oh! Lady Be Good*Mardis Gras Iko/Food Stamps*In the Sweet Bye & Bye* St. Louis Woman*Big Leg Woman*Mardi Gras In New Orleans*Those Were the Days*Red Dress*When the Saints Go Marching In*Panama Rag*Bye & Bye*Thunderstorm* Lily of the Valley

 

Capt. John Handy's All Star New Orleans Jazz Band/CTJC Concert (First Half) Track Listing: Exactly Like You*Blue Skies*Blueberry Hil*Eh La Bas*Tiger Rag*Sunny Side of the Street*Perdido*Sheik of Araby*Tuck Me to Sleep In My Old Kentucky Home*Handy's Boogie*St. Louis Blues

 

Capt. John Handy's All Star New Orleans Jazz Band/CTJC Concert (Second Half) Track Listing: When I Grow Too Old to Dream*Panama Rag*Lonesome Road*Nagasaki*Joe Avery's Piece*Just a Closer Walk With Thee*In the Gutter*Bill Bailey*Courbon Street Parade*Shuffle Boogie*Sister Kate*When the Saints Go Marching In

 

Dr. Michael White & Gregg Stafford/Praying & Swaying V.2: Blue Horizon Track Listing: Mahogany Hall Stomp*Old Rugged Cross*Swing Low Sweet Chariot*Blue Horizon*Sing On*Mr. Jelly Lord*NobodyKnows the Trouble I've Seen*Does Jesus Care?*Decatur Street Special*Farewell to Storyville*Lord, Lord, Lord*Kansas City Man Blues*Sing On

 

 
 
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