Original Dixieland Jazz Band Music

All of these recordings by the ODJB set the paradigm for later recordings. In particular, we have their first l9l7 recordings, including those cut for Columbia before the Victor sides but not released until after--"Darktown..." and "Indiana". In addition, the l923 recordings give the historian their sound following their time at Reisenweber's in New York and their international success in England. My late friend, Tony Sparbaro, the band's drummer shared some of the highlights of this period, and the book on the band helps to fill in the details. This group and the New Orleans Rhythm Kings make a good case for the authenticity of white bands and their contributions to traditional jazz.

This cd contains one of the most important recordings of the century (no, that isn't hyperbole). "Livery stable blues" was the first recording of jazz on record. It was an ear popping experience to a population still living in a Victorian culture and was the beginning of the jazz era which would continue until the great depression of 1929. This piece still sounds wild, primitive and boisterous today - it was the unleashing of a potent force that would profoundly influence all music from that point on. I hate what jazz became but I love what early jazz was. It was dance music then and not the pseudo-cool/hipster/pseudo-intellectual/take itself too seriously garbage of later decades.
Some try to put down the Original dixieland Jazz Band because: 1) they were white (yep, anyone whose skin color is white and plays jazz or dance music is labeled a phony or a robber of black music. This is like calling any black person who does rock or pop a phony or robber of white culture (I guess Nat King Cole was a white culture robber? After all, crooning was white man's music). This type of racism ignores the fact that early white jazz is still palatable while early black jazz is unlistenable today. Early white dance music is melodic. Early black music now sounds pointlessly full of improvisation that is very tedious. 2) they claimed to have invented jazz. True, they exaggerated their place but their exaggerations are no wilder than every black musician in the south claiming to have invented rock and roll despite all evidence to the contrary. Besides, the Original dixieland band wrote much of their own music and even if they didn't invent jazz, they contributed a great deal to its music. These guys played great. These recordings are pre-electric recording and are primitive but are still very much worth listening to.

This CD comes close to offering the ODJB's entire recording history, except for the sides on Columbia, before the RCA recordings, and some of their sides with larger orchestras. Still, this is an outstanding sampling of their music, including the recordings made in l936, when the band got back together for the March of Dimes. It's neat to catch the energy still in the band over these years, even though the recording techniques are so primitive for their earlier sides. They're the pioneers of recorded traditional jazz, and deserve all of their hype. See my review of other ODJB CDS.

This CD comes close to offering the ODJB's entire recording history, except for the sides on Columbia, before the RCA recordings, and some of their sides with larger orchestras. Still, this is an outstanding sampling of their music, including the recordings made in l936, when the band got back together for the March of Dimes. It's neat to catch the energy still in the band over these years, even though the recording techniques are so primitive for their earlier sides. They're the pioneers of recorded traditional jazz, and deserve all of their hype. See my review of other ODJB CDS.

This CD comes close to offering the ODJB's entire recording history, except for the sides on Columbia, before the RCA recordings, and some of their sides with larger orchestras. Still, this is an outstanding sampling of their music, including the recordings made in l936, when the band got back together for the March of Dimes. It's neat to catch the energy still in the band over these years, even though the recording techniques are so primitive for their earlier sides. They're the pioneers of recorded traditional jazz, and deserve all of their hype. See my review of other ODJB CDS.

These must have been pressings that never made it to market. Even the
classic "Big Noise From Winnetka" was a shortened and not close to the
quality of the one with which I am familiar.

These must have been pressings that never made it to market. Even the
classic "Big Noise From Winnetka" was a shortened and not close to the
quality of the one with which I am familiar.

Though it is doubtful that the ODJB "invented" jazz, proper credit must be given to the fact that they made the first recording of this innovative music, in 1917, with "Livery Stable Blues". Even today, beneath the static and the comedy, you can hear the utter rebellion and originality of that song, which practically explodes with rhythmic energy and zaniness. The ODJB was a very consistent, solid ensemble, and "Livery Stable Blues", while historically important, isn't the only great song on this record. "At the Jazz Band Ball", "Ostrich Walk", "Skeleton Jangle", "Bluin the Blues", "Palesteena", in fact, the entire repertoire of this collection, is consistent, musical, rhythmic, exuberant, and historic. Not to be disregarded simply on the basis that Nick LaRocca was a white man, the ODJB should be more seriously rewarded on their landmark acheievements. They might not have created jazz, but they certainly made the first jump to record it, and those recordings lay open for your enjoyment.

The Penguin Guide to Jazz Recordings has ranked this RCA-Victor (BMG) re-issue of the originial Victor recordings of this milestone musical theatrical group right below the Timeless re-issue. But listeners should be assured that the sound quality, while perhaps not as good as that found on the European label, is still very good, far better in fact than most re-issues of old acoustic recordings I've heard. Now, the music's aesthetic value and its authenticity can be disputed; I myself find the recordings produced by the New Orleans Rhythm Kings in 1922 better performed and much more validated by subsequent mainstream jazz tradition (meaning black; both of these outfits were white). Nevertheless, it seems to me that anyone who's interested in jazz music, coming from whatever direction, should give these records as listen. These are the early records, by the way, and just the Victors at that, up to 1922. (Their discography is marked by a striking promiscuity in label, as is that of many early jazz artists.) More than adequate, though, to get the point across, which was that this was shocking new music. It may not have been as good as the Rite of Spring, or, more to the point, the music being performed but not recorded by black ensembles, while these guys were becoming grammophone and stage stars by blackfacing it, but to this very day it still has that "in-your-face" quality, a quality not easy to perceive, usually, in music getting on to a hundred years old.

No the Original Dixieland Jazz Band doesn't play on the same level as King Oliver's Creale Jazz Band would several years after these recordings were made, however these sessions were some of the 1st recordings made of Dixieland music, or jazz for that matter making these sessions both historical and enjoyable. This fun set is essential for any dixieland collector. Good sound quality and a great "Livery Stable Blues" where they imitate barnyard animals with their instuments. Great early jazz.

Though it is doubtful that the ODJB "invented" jazz, proper credit must be given to the fact that they made the first recording of this innovative music, in 1917, with "Livery Stable Blues". Even today, beneath the static and the comedy, you can hear the utter rebellion and originality of that song, which practically explodes with rhythmic energy and zaniness. The ODJB was a very consistent, solid ensemble, and "Livery Stable Blues", while historically important, isn't the only great song on this record. "At the Jazz Band Ball", "Ostrich Walk", "Skeleton Jangle", "Bluin the Blues", "Palesteena", in fact, the entire repertoire of this collection, is consistent, musical, rhythmic, exuberant, and historic. Not to be disregarded simply on the basis that Nick LaRocca was a white man, the ODJB should be more seriously rewarded on their landmark acheievements. They might not have created jazz, but they certainly made the first jump to record it, and those recordings lay open for your enjoyment.

The Penguin Guide to Jazz Recordings has ranked this RCA-Victor (BMG) re-issue of the originial Victor recordings of this milestone musical theatrical group right below the Timeless re-issue. But listeners should be assured that the sound quality, while perhaps not as good as that found on the European label, is still very good, far better in fact than most re-issues of old acoustic recordings I've heard. Now, the music's aesthetic value and its authenticity can be disputed; I myself find the recordings produced by the New Orleans Rhythm Kings in 1922 better performed and much more validated by subsequent mainstream jazz tradition (meaning black; both of these outfits were white). Nevertheless, it seems to me that anyone who's interested in jazz music, coming from whatever direction, should give these records as listen. These are the early records, by the way, and just the Victors at that, up to 1922. (Their discography is marked by a striking promiscuity in label, as is that of many early jazz artists.) More than adequate, though, to get the point across, which was that this was shocking new music. It may not have been as good as the Rite of Spring, or, more to the point, the music being performed but not recorded by black ensembles, while these guys were becoming grammophone and stage stars by blackfacing it, but to this very day it still has that "in-your-face" quality, a quality not easy to perceive, usually, in music getting on to a hundred years old.

No the Original Dixieland Jazz Band doesn't play on the same level as King Oliver's Creale Jazz Band would several years after these recordings were made, however these sessions were some of the 1st recordings made of Dixieland music, or jazz for that matter making these sessions both historical and enjoyable. This fun set is essential for any dixieland collector. Good sound quality and a great "Livery Stable Blues" where they imitate barnyard animals with their instuments. Great early jazz.