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Reviewers: Tony Augarde [Editor], Steve Arloff, Nick Barnard, Pierre Giroux, Don Mather, Glyn Pursglove, George Stacy, Bert Thompson, Sam Webster, Jonathan Woolf

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Jump JCD 12-35




1. I'm Sorry I Made You Cry
Bobby Gordon - Clarinet
John Sheridan - Piano
Wayne Jones - Drums
2. Tishomingo Blues
Tom Baker - Trumpet
Dan Barrett - Trombone
Bob Reitmeier - Clarinet
John Sheridan - Piano
Howard Alden - Guitar
Vince Giordano - Bass sax
Hal Smith - Drums
3. Rose of the Rio Grande
Marty Grosz - Guitar
Peter Ecklund - Trumpet
Bob Havens - Trombone
Bobby Gordon - Clarinet
Keith Ingham - Piano
4. Mandy, Make Up Your Mind
Bob Wilber - Clarinet
Ruby Braff - Cornet
Wayne Wright - Guitar
5. Down In Honky Tonk Town
Jon-Erik Kellso - Trumpet
Ken Peplowski - Clarinet
Marty Grosz - Guitar
Vince Giordano - Bass
6. After Awhile
7. Wolverine Blues
8. Dancing With Tears in My Eyes
Marty Grosz - Guitar
Jon-Erik Kellso - Trumpet
Ken Peplowski - Tenor sax, clarinet
Bob Havens - Trombone
Andy Stein- Violin
John Sheridan - Piano
Vince Giordano - Bass
Arnie Kinsella - Drums
9. The Man I Love
Scott Hamilton - Tenor sax
Joe Wilder - Trumpet
Dan Barrett - Trombone
Ross Tompkins - Piano
Howard Alden - Guitar
Michael Moore - Bass
Gene Estes - Drums
10. I Cover the Waterfront
Bud Freeman - Tenor sax
Dick Hyman - Piano
Bob Haggart - Bass
Hal Smith - Drums
11. Lady Be Good
Tom Baker - Trumpet
Dan Barrett - Trombone
Bob Reitmeier - Clarinet
John Sheridan - Piano
Howard Alden - Guitar
Vince Giordano - Bass sax
Hal Smith - Drums
12. Indiana
13. Old Folks
Lee Wiley - Vocals
Bud Wilson - Trombone
Frank Chace - Clarinet
Bill Priestley - Guitar


The Jump label has started to release some recordings taken from the Allegheny Jazz Concerts, an American series organised for people who like their music somewhere between traditional and mainstream. This CD might be called a sampler, as it illustrates the wide choice of music at these concerts over many years - from the 1950s to 2000.

For some years I attended the late-lamented Blackpool Jazz Parties, which had a remarkably similar line-up of artists, often appearing in various aggregations. In general the standard was high and the Allegheny and Blackpool concerts produced some worthwhile listening.

The Allegheny concerts tended to use small groups, and the album opens with clarinettist Bobby Gordon playing I'm Sorry I Made You Cry, recorded in 1992. The track is reminiscent of the Benny Goodman Trio, with the drummer keeping up a sturdy four-in-a-bar beat on the bass drum. A larger group, also recorded in 1992, plays the Tishomingo Blues slowly, with emotive trumpet from Tom Baker and a deep solo from Vince Giordano on the bass saxophone.

Marty Grosz introduces Rose of the Rio Grande in his usual rambling comic style and the strange line-up of trumpet, trombone, piano and guitar performs it with jam session gusto. Another unusual line-up of clarinet, trumpet and guitar tackles the old warhorse Mandy, Make Up Your Mind, although Bob Wilber changes to soprano sax (or is it the sarrusophone?) halfway through. Jon-Erik Kellso and Ken Peplowski interweave telepathically in joint solos on Down in Honky Tonk Town, and Marty Grosz does one of his acoustic guitar solos which may take the listener back to the era of Ed Lang.

The next three tracks (recorded in 2000) are by a group whose personnel is doubtful, as Marty Grosz's lengthy introduction suggests a different line-up from that listed on the sleeve. The band starts with After Awhile a nice bouncy tune performed by Benny Goodman and Bud Freeman in 1940. Wolverine Blues is played with Condonesque relish. Drummer Arnie Kinsella accents the right parts and does some neat fills. Marty Grosz encourages his companions to play Dancing With Tears in My Eyes with plenty of schmaltz and they comply.

The Man I Love is taken at a fast tempo by a septet whose star is Scott Hamilton with his smooth tenor sax. Bud Freeman shows off his equally smooth tenor in I Cover the Waterfront and Dick Hyman proves what a consummate pianist he is. Lady Be Good takes us back to the band that played Tishomingo Blues for a rather ragged jam.

The album ends with two tracks by singer Lee Wiley, recorded in Bill Priestley's living room in the 1950s. Again, the group's line-up is unusual, with clarinet, trombone and guitar accompanying Wiley's friendly vocals. The sound quality is fairly respectable, given the circumstances. There seems to be a drummer using brushes in the background.

Although this is a double album, both CDs last for less than 50 minutes, so you only get about 93 minutes of music. And it must be admitted that the recording quality is variable, although in general this disc conveys a true picture of informal sessions warmed by jazz musicians enjoying one another's company.

Tony Augarde

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