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Comment: A nice clean 2 CD set of the 2010 Off the Record edition (OTR-MM10-C1, as pictured). Jewel case lightly scuffed, booklet, insert, and discs all fine. Ready to ship.
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Cabaret Echoes: New Orleans Jazzers at Work, 1918-1927

4.2 out of 5 stars 5 customer reviews

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Audio CD, May 25, 2010
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$26.08 & FREE Shipping on orders over $49. Details Temporarily out of stock. Order now and we'll deliver when available. We'll e-mail you with an estimated delivery date as soon as we have more information. Your account will only be charged when we ship the item. Ships from and sold by Amazon.com. Gift-wrap available.


Editorial Reviews

Product Description

New Orleans holds a special allure like that of no other city, and its most famous music has cast its spell on the world for more than a century. New Orleans jazz has been discussed and written about nearly as much as it has been performed, and its recordings have been issued and reissued constantly since 1917. Many of the earliest seminal recordings are muddy and indistinct due to the primitive equipment used. Many reissues of this material have clouded the sound even further.

Off The Record, the label that brought us the startling restorations of the 1923 King Oliver Creole Jazz Band, now offers the six legendary Kid Ory Sunshine/Nordskog sides in remarkable fidelity (even Ed Garland's faint string bass can be heard!), along with 34 other early recordings of actual working New Orleans bands. Once again, master restoration engineer Doug Benson and jazz historian David Sager bring you the earliest and scarcest of New Orleans jazz. Cabaret Echoes brings together 40 rare recordings by actual working New Orleans groups, restored with unprecedented clarity. They are presented alongside 23 spoken introductions by the musicians themselves, taken from rare one-of-a-kind interviews.

David Sager's detailed essay is a fine follow-up to his Grammy-nominated notes for King Oliver, Off The Record. The essay is written from the point of view of someone who not only lived in New Orleans for many years but actively performs classic New Orleans-style jazz. The words are carefully selected to complement the music.

Also included are numerous illustrations: photographs and ads culled from rare trade journals and vintage newspapers, rare record labels, and sheet music covers. Many of these have not been seen since first published in now-defunct trade journals and New Orleans newspapers. Included are photos taken inside OKeh's makeshift New Orleans studio, a previously unpublished photograph of the Original New Orleans Jazz Band (with Jimmy Durante and Achille Baquet) and a rare photo of the Original Tuxedo Jazz Orchestra from Talking Machine World.

The essay and illustrations are handsomely presented in a 60-page booklet—beautifully designed by Richard Martin and Meagan Hennessey of Archeophone Records. Known for their outstanding artistic endeavors, this booklet presents the words, pictures, and music with the finest style and highest class.

Review

The great duo has done it again! This is like hearing the music really hearing it for the first time, and the interviews add another dimension. Excellent notes as well. Congratulations! --Dan Morgenstern, Director, Institute of Jazz Studies, Rutgers University

WOW! A great job of transfers the Ory Nordskogs never sounded this good, and that goes down the line . . . for the first time I can enjoy hearing these early instrumentals. An important addition to the historic library. --George Avakian, legendary jazz record producer

For anyone interested in achieving depth on the early development and variegation of jazz (and understanding New Orleans musicians' role in it), this double CD package is a blessing. --Bruce Boyd Raeburn, Curator, Hogan Jazz Archive, Tulane University

Track Listings

Disc: 1

  1. Interview (Kid Ory)
  2. Ory's Creole Trombone (Ory's Sunshine Orchestra)
  3. Society Blues (Ory's Sunshine Orchestra)
  4. Interview (Babette Ory, daughter of Kid Ory)
  5. When You're Alone (Ory's Sunshine Orchestra with Roberta Dudley)
  6. Krooked Blues (Ory's Sunshine Orchestra with Roberta Dudley)
  7. Interviews (Kid Ory, Babette Ory)
  8. That Sweet Something Dear (Ory's Sunshine Orchestra with Ruth Lee)
  9. Maybe Someday (Ory's Sunshine Orchestra with Ruth Lee)
  10. Interview (Johnny De Droit, part 1)
  11. Panama (Johnny De Droit and his New Orleans Orchestra)
  12. Nobody Knows Blues (Johnny De Droit and his New Orleans Orchestra)
  13. New Orleans Blues (Johnny De Droit and his New Orleans Orchestra)
  14. Interview (Johnny De Droit, part 2)
  15. The Swing (Johnny De Droit and his New Orleans Orchestra)
  16. Brown Eyes (Johnny De Droit and his New Orleans Orchestra)
  17. Interview (Johnny De Droit, part 3)
  18. Number Two Blues (Johnny De Droit and his New Orleans Orchestra)
  19. Interview (Amos White)
  20. Frankie and Johnny (Fate Marable's Society Syncopators)
  21. Pianoflage (Fate Marable's Society Syncopators)
  22. Interview (Yvonne Powers Gass, daughter of saxophonist Eddie Powers)
  23. Sensation (Original Crescent City Jazzers)
  24. Christine (Original Crescent City Jazzers)
  25. Interview (Johnny De Droit discusses Johnny Bayersdorffer)
  26. I Wonder Where My Easy Rider's Riding Now (Johnny Bayersdorffer and his Jazzola Novelty Orchestra)
  27. The Waffle Man's Call (Johnny Bayersdorffer and his Jazzola Novelty Orchestra)
  28. Interview (Willie Hightower)
  29. Boar Hog Blues (Hightower's Night Hawks)
  30. Squeeze Me (Hightower's Night Hawks)

Disc: 2

  1. Interview (Abbie Brunies)
  2. Pussy Cat Rag (Half-Way House Orchestra)
  3. Interview (Joe Loyacano)
  4. Barataria (Half-Way House Orchestra)
  5. Interview (Tony Parenti)
  6. That s A Plenty (Anthony Parenti's Famous Melody Boys)
  7. Cabaret Echoes (Anthony Parenti's Famous Melody Boys)
  8. Interview (Billy and Mary McBrides)
  9. My Heart Breakin Gal (Billy Mack and Mary Mack)
  10. Interview (Babette Ory)
  11. Black But Sweet, Oh God! (Billy Mack and Mary Mack)
  12. Interview (Norman Brownlee, part 1)
  13. Peculiar (Brownlee's Orchestra of New Orleans)
  14. Dirty Rag (Brownlee's Orchestra of New Orleans)
  15. Interview (Norman Brownlee, part 2)
  16. I'm Afraid to Care for You (John Tobin's Midnight Serenaders)
  17. Interview (William "Baba" Ridgley, part 1)
  18. Original Tuxedo Rag (Original Tuxedo Jazz Orchestra)
  19. Interview (William "Baba" Ridgley, part 2)
  20. Careless Love (Original Tuxedo Jazz Orchestra)
  21. Interview (Abby "Chinee" Foster)
  22. Black Rag (Original Tuxedo Jazz Orchestra)
  23. Interview (Frank Christian)
  24. Ole Miss (New Orleans Jazz Band)
  25. Ja Da (Introducing (You ll Find Old Dixieland in France) (New Orleans Jazz Band)
  26. He's Had No Lovin for a Long, Long Time (Original New Orleans Jazz Band)
  27. Ja Da Medley (Original New Orleans Jazz Band)
  28. Interview (Arnold Loyacano, part 1)
  29. Why Cry Blues (Jimmy Durante's Jazz Band)
  30. Interview (Arnold Loyacano, part 2)
  31. Ja Da Medley (Original New Orleans Jazz Band)
  32. Ja Da Medley (Original New Orleans Jazz Band)
  33. He's Had No Lovin for a Long, Long Time (Original New Orleans Jazz Band)


Product Details

  • Audio CD (May 25, 2010)
  • Number of Discs: 2
  • Label: Off The Record (distributed by Archeophone Records)
  • ASIN: B003M1PSW4
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #308,574 in Music (See Top 100 in Music)

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Top Customer Reviews

Anyone interested in early New Orleans music must have this 2-CD set on their shelf without delay. Bands like Fate Marable, Norman Brownlee, the Halfway House Orchestra, Johnny DeDroit, Kid Ory, Tony Parenti, and the Original Tuxedo Jazz Orchestra display the swing and virtuosity that characterized New Orleans music in the acoustic period.

The 40 tunes are excellently transferred and clean, without losing any of the dynamic range. I own many of these on 78, vinyl, and CD already, but have never heard the music so clearly as on this set. But if that's not enough, the producers ("Off the Record," the same people that brought you the fantastic King Oliver set a few years ago) have included some rare interview clips with the original musicians, courtesy of the Hogan Jazz Archive at Tulane University.

Well worth the price of the whole set are the 60 pages of liner notes, well-researched and interestingly presented, with many rare photos. Technical buffs will appreciate the discography and notes on the quality and speed of each of the original 78s used for the transfers. David Sager and Doug Benson deserve a double "thumbs up" for this collection; keep an eye out for their future releases!
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This set is produced by David Sager and Doug Benson - the same duo who gave us the Grammy-nominated King Oliver reissue a few years back. Cabaret Echoes: New Orleans Jazzers at Work, 1918-27 is an audio history course on an often overlooked period and, like its predecessor, contains some amazing audio transfers of extremely rare discs. The 42 music tracks - grouped by artists - are enhanced by 21 brief interview clips (many recorded by Sager) with either the performer or a family member. These interviews help flesh out the stories of the recordings and give us a feeling for the time. Most names will not be familiar to the casual collector (though Kid Ory is well-known.). But you've certainly heard of the piano player for the Original New Orleans Jazz Band. He later went on to a major career in TV and radio, His name: Jimmy Durante! The recordings used were done in New York and Santa Monica, as well as New Orleans. The lavish 60-page booklet of detailed liner notes by Sager provides all the info you need to understand the rarity of, and the importance of, these recordings. Looks like another Grammy nom for Sager and Benson. HIGHLY recommended.
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I bought this because it featured some of Bert Bailey's work. Bert (pictured with the tenor sax) was my sax teacher in Milwaukee from 1961 thru 1966. He was a great teacher, but unfortunately I wasn't a very good student.
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Phenomenal music, beautifully presented.
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Undoubtedly great music. But no matter how many copies they sell, sad fact is very few of them will actually be played with any regularity. The spoken word segments are cool once, but get more and more irritating with every play. What were they thinking? Could've put 'em at the end. Looks good on paper; doesn't work.
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