1. Way Down Yonder in New Orleans
2. Sensation Rag
3. Riverside Blues
4. At a Georgia Camp Meeting
5. Peter's Swayin's
7. Weary Blues
8. Basin Street Blues
10. Lazy River
11. Kitty's Dream
12 The World is Waiting for the Sunrise
13. Savoy Blues
14. Lulu's Back In Town
15. There'll Be Some Changes Made
16. Shortwave Shuffle
17. Working Man Blues
18. Steamboat Stomp
19. When the Saints Go Marching In
20. Bill Bailey
21. Trouble In Mind
22. La Java
23. Mon Homme
Wybe Buma – Trumpet
Wim Kolstee – Trombone, piano
Peter Schilperoort – Clarinet, soprano sax, drums
Dim Kesber – Clarinet, soprano sax
Jan Morks – Clarinet (track 7)
Joop Schrier – Piano
Arie Ligthart – Banjo, guitar
Bob van Oven – Bass
André Westendorp – Drums, cornet
Neva Raphaelo – Vocals (tracks 19-21)
It often happens that people converted to a cause are more enthusiastic than those who have grown up with it. This is certainly the case with the Dutch Swing College Band, a group formed in 1945 and (as far as I know) still going strong. It has been kept going not only by such people as its co-founder, Peter Schilperoort, but also by the enthusiasm of its musicians, whose spirit is well exemplified in this excellent collection, which catches the band in 1955 at one of its many peaks of creativity.
The repertoire is typical of what the band enjoyed playing, looking back to the golden days of New Orleans and also the swinging style of Chicago jazz. Take Basin Street Blues as an example, with Schilperoort’s soprano saxophone paying homage to Sidney Bechet and trumpeter Wybe Buma showing that he must have been listening to Louis Armstrong. Or sample Weary Blues, which steams along with the superb power of a well-oiled locomotive. Savour the tight ensemble playing in The World is Waiting for the Sunrise, where Schilperoort and Dim Kesber play two clarinets with enviable unity.
Many bands playing this type of material are sadly lacking in technique but these musicians know what they are doing. Schilperoort is an impressive multi-instrumentalist; Dim Kesber is equally eloquent on clarinet and soprano sax; and Arie Ligthart contributes some respectable banjo solos.
I have only two complaints about this CD. One is that the drummer uses the woodblock too often. Drummers started using it in the early days of recording as it was one of the few ways for the drummer to make himself heard, but it should only be used sparingly. On the inevitable When the Saints Go Marching In, its clatter sounds like coconut shells imitating a horse’s hooves.
My other grouse is with the audience on the live tracks. They somehow feel obliged to applaud after nearly every solo: a habit which breaks the continuity of a performance and indicates that they don’t care about missing the first four bars of the following solo. Some while ago, I proposed starting a pressure group called SOUSA (Stamp Out Unnecessary Silly Applause) and it still seems a desirable campaign.
The recording quality is generally OK, although there is too much echo on South. With a generous playing time of 78 minutes and 23 tracks which never outstay their welcome, this CD is a keepable souvenir of the Dutch Swing College Band in its heyday.