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The Dutch Swing College Band

1956

LAKE LACB243 [56:54]

 

 



New Orleans Stomp
When It’s Sleepy Time Down South
Where’s My Heaven
Creole Belles
Three Little Words
The Last Time
Some Of These Days
Two-Nineteen Blues
I Ain’t Got Nobody
Am I Blue
Kansas City Stomp
Bob’s Blues
Knee Drops
St. Louis Blues
I’m Coming Virginia
Come Back Sweet Papa
Neva Raphaello (vocals)
The Dutch Swing College Band
rec. 1956

 

This is another of Lake’s releases devoted to a specific year. It captures the DSC Band in 1956 in an album originally issued under the LP rubric Jazz at the Seaport. This was actually in Rotterdam, at the Grote Schouwberg, a capacious theatre that was packed for the two evenings of live recordings eventually issued on LP and 7" EP. Here they are now, tastily transferred to CD.

As a result there’s a lot of audience participation. That endemic hazard of the live gig, prolonged after-solo applause, inevitably means that the purist will be denied the next couple of bars of the ensuing solo. But the gains are those of spontaneity and adrenalin-fuelled verve. The disc showcases both the strengths of the band – assimilation of models and a definite dynamism – and also its limitations, which included a certain leaden approach to aspects of the repertoire.

New Orleans Stomp gives us the former with its brisk and snappy take fuelled by audience approbation. Armstrong was the primary influence on Wybe Buma and Bechet on clarinettist and soprano saxophonist Dim Kesber. On Where’s My Heaven we are treated to a fine and swinging intro from pianist Joop Schrier. But that revivalist stand-by Creole Belles reveals a turgid and galumphing approach to Ragtime. Influences also include the swing era – there’s an approximation of a Goodman riff in Three Little Words, not inappropriately so.

Singer Neva Raphaello joins the band for four tracks. Annotator Mike Durham is not enamoured of her. It’s true that the temperature drops; the band certainly retreats to a rather conventionally supportive role. She sang quite widely – doing some sides with Lyttelton amongst others – and her singing is certainly passable. Once freed of these constraints we can hear the DSC’s full-on Lu Watters feel in Kansas City Stomp and especially in Come Back Sweet Papa – where we can note the two cornet front line of Buma and André Westendorp.

Enjoyable rather than essential I’d say but the DSC’s many admirers will relish the thought of consolidating their old vinyl in this way.

Jonathan Woolf

 

 



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