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The Sidney Bechet Society Presents Bob Wilber and
John Gill and his
Dan Levinson & his Swing Wing
Molly Ryan
Dan Levinson and his Canary Cottage Dance Orchestra
Mark Shane and the
Dan Levinson's
Dan Levinson's
Dan Levinson
The Paul
The Flipped Fedoras
Ed Polcer and his Swingtet
Ed Polcer and Judy Kurtz
Jonathan Russell
Slick Pelt
The Jim Cullum Jazz Band
Barbara Rosene and her
Barbara Rosene
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Discography
Below is a review of The TJC's first CD, Jammin' at the Cajun, KEVIN DORN'S TRADITIONAL JAZZ COLLECTIVE The Sheik of Araby / I Can't Believe That You're In Love With Me / Kevin Dorn, drums; Kevin Blancq, tp/voc; March 2005, New York City, NY. JAMMIN' AT THE CAJUN — Review by Michael Steinman. The rhythm section is filled out by bassist Largent, a first-rate accompanist who never intrudes (hear his duet with Hashim on "I Can't Believe") and a fluid soloist in the Hinton mold, and pianist Gelber, using both hands to good effect to sound down-home or terse, as the mood requires. I've heard Gelber in person face some atrocious pianos, and he always is an uplifting presence. The horn players are delightfully idiosyncratic: talented ensemble players who don't step on each other's territories, yet each one is a distinctive soloist. Most trumpeters in this style play loudly to show off their power: Blancq is a delicate soloist, reminiscent of Doc Cheatham, creating phrases that shine as they hang suspended in mid-air: he seems to be thinking about the last phrase before launching into the next one, and the result, echoing both Hackett and Clifford Brown, is something rare. Listen to what he does in the closing choruses of "Royal Garden Blues," resisting clichés or pure volume. And he delivers an engaging vocal on "Sun Showers" without imitating either Billie or Louis, no small accomplishment. Hawkes is unusual in that he is technically very supple (many trombonists in this idiom imitate what they believe is a New Orleans tradition: few notes and simple harmonies) but he never overplays, even when ripping off a staccato multi-noted passage. I especially admire his thoughtful solo on "Sweet Sue." He also sings on "Old Fashioned Love" and the neglected Fats Waller "Hold My Hand," and some perceptive record producer will snap him up as a vocalist — he has a charming neo-Southern earnestness that suggests he believes in the lyrics. Hashim doesn't choose to do traditional clarinet filigree and ornamentation on the saxophone, but he is a forceful soloist with the facility one associates with early Parker without falling into the trap of the twenty most hackneyed bop licks: rather, Hashim often sounds greatly like prewar Earl Bostic, another player with an astonishing command of the instrument — and, when inspired, might have been the stellar soloist in a very hip rhythm and blues band. The disc's title comes from the band's current home base — the downtown New York club — and the CD is an accurate sample of what they can do in person, upholding traditions without losing their own originalities, making jazz standards seem new, playing the blues with great conviction. — Michael Steinman Click on song titles below to hear audio clips (mp3) • Sheik of Araby To hear these streaming mp3 samples, you will need either For a copy of the Traditional Jazz Collective's CD, Kevin Dorn
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