In 1985 pianist Butch Thompson formed an octet using the same instrumentation as King Oliver's Creole Jazz Band of 1923, since it was the centennial year of the cornetist's birth. Thompson's ensemble's only recording took place three years later and it is surprising that most of the 13 selections cut by the band were not actually recorded by Oliver's band (although several were documented by Oliver with later groups). The style, however, is mostly ensemble-oriented (like the early Oliver band) with a few solo spots, ...
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In 1985 pianist Butch Thompson formed an octet using the same instrumentation as King Oliver's Creole Jazz Band of 1923, since it was the centennial year of the cornetist's birth. Thompson's ensemble's only recording took place three years later and it is surprising that most of the 13 selections cut by the band were not actually recorded by Oliver's band (although several were documented by Oliver with later groups). The style, however, is mostly ensemble-oriented (like the early Oliver band) with a few solo spots, particularly for Thompson's piano. The most successful element to the group is the interplay between cornetists Charlie Devore and Cuff Billett. The other musicians (trombonist Pete Dyer, clarinetist Teddy Layton, Malcolm Horne on banjo and guitar, bassist Alyn Shipton and drummer Dave Evans) fit into their roles quite well too. The unlikely but surprisingly complementary material includes "Climax Rag," "Willie the Weeper," "Sugar Blues," "You Were Only Passing Time with Me" and an exciting "Canal Street Blues." Hot music that is revivalistic without being merely derivative. ~ Scott Yanow, Rovi
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