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Dutch Swing College Band - Vintage Dutch Swing College Band: Vol. 2 1950-52
Dutch Swing College Band
rec.1950-52
LAKE LACD 251 [79:09]

 

 


 

Fidgety Feet
Royal Garden Blues
That’s A-Plenty
Tin Roof Blues
High Society
Stealin’ The Blues
Black Bottom Stomp
Everything’s Wrong (Ain’t Nothing Right)
Annie Street Rock
Nobody Knows You When You’re Down and Out
Snake Rag
Out Of The Gallion
Dutch Swing College Blues
King Porter Stomp
Original Dixieland One-Step
Absent Minded Blues
Boogietrap
1919 Blues
Mabel’s Dream
Freeze An’ Melt
Buddy’s Habits
Buddy Bolden’s Blues
Them There Eyes
Weary Blues
See See Rider
Cakewalkin’ Babies From Home.

 

Volume two of Lake’s DSCB tribute takes us to sessions made between 1950 and 1952. They were amongst the more cosmopolitan and technically fluent of European bands at the time and these sides also reinforce the nature and extent of their stylistic flexibility. They were fortunate in having a versatile, indeed outstanding clarinettist in the shape of Peter Schilperoot. He operated rather as Humphrey Lyttelton did with his own band; the Dutch clarinettist doubled trumpet whilst the English trumpeter doubled clarinet. It gave versatility to the front line, allowing an Oliver-Armstrong recreation and with fellow clarinettist Dim Kesber, Schilperooot formed a formidable two-clarinet team adding depth and contrapuntally weaving lines.

Fortunately the DSCB’s rhythm section was altogether lighter than some of the more Jurassic European competitors. The arrangements were also well thought out and calibrated. And they certainly cover a deal of ground, from obscure and Classic blues, standards, New Orleans warhorses, boogie, rags and originals.

Joop Schrier is the boogie-oriented pianist whose fire illuminates the introduction to Stealin’ The Blues. He shows his strong allegiance to Jimmy Yancey in Boogietrap. Trumpeter Kees van Dorsser comes on strong in a confident, brassy Nobody Knows You When You’re Down and Out. The band is augmented by the visiting Sidney Bechet for two numbers. They sound considerably better rehearsed - and considerably less nervous - than the Lyttelton band when they recorded with Bechet. Of the two King Porter Stomp gets a fine swing revamp that plays to the band’s strengths; Bechet is marvellous as ever though he coasts. Mabel’s Dream, so beloved of revivalists, is given an excellent, though banjo-dominated, workout and it’s a measure of their stylistic pluralism that we go straight to the McHugh-Fields vehicle Freeze and Melt without too much strain. Even a guitar solo! Buddy Bolden’s Blues comes tuba laden and sends us straight back to the 1920s.

These tracks show instrumental strengths but also show a lack, as yet, of real direction, a searching around for a style that might fit rather than a natural affinity with a particular idiom. Still, on their own terms they’re enjoyable and commanding performances from one of Europe’s very best bands.

Jonathan Woolf

 

 



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