The Easy Riders Jazz Band started recording its distinctive interpretations of classic New Orleans jazz back in 1962. The group recorded fairly regularly between that year and 1966, and then went on hiatus for more than 25 years before again appearing on record, still with its original Jazz Crusade label. The Easy Riders continue to be headed by trombonist Big Bill Bissonnette and original pianist Bill Sinclair is also hanging in. Sammy Rimington, who came on board in 1964, is still wailing away with his exuberant New Orleans-style clarinet. In addition to the new members, this album has a guest: trumpeter and vocalist Gregg Stafford. New members and guests notwithstanding, the band hasn't changed its inventive, enthusiastic response to the music and the way it's played, both of which are so unique to the Crescent City sound.The play list primarily consists of familiar pieces from the traditional jazz repertoire, with a couple of non-traditional jazz ringers thrown in like "Caldonia" and "What a Wonderful World." These two tunes feature Stafford's gravelly voice, so perhaps they were on the agenda to accommodate him. In addition to these, the program is filled with other gems.
The fortuitous selection of the Kid Ory arrangement of "Aunt Hagar's Blues" makes this one of the preeminent tracks on the CD.
Among other things, it has some well-placed shouts by Paul Boehmke. Kid Ory's "Savoy Blues," one of the classic tunes that has attracted clarinet players over the years, is a fine vehicle for Rimington. He gets help from Stafford, but it's mainly his show.
The highly syncopated "Climax Rag" is something one would be sure to hear in a Bourbon Street bar during the street's heyday as the wellhead of jazz. But the album really comes together in W.C. Handy's "Yellow Dog Blues," where the group is in ensemble (or as close to ensemble as traditional jazz ever gets) for more than 6 minutes; as individual performers, they let it all hang out for a rousing version of one of the favorite tunes of this jazz genre.It's good to have this group back in the studio once more, even though the Easy Riders have to go to Connecticut to record New Orleans music.
After a self-released cassette that alluded to songwriter/producer Richard Rebarber's visionary musical talents, his Floating Opera project returned in late 1996 with this full-length album for -ismist Recordings. Not that much has changed for Rebarber in those years; he's still a craftsman focused on near orchestral pop/rock that is slightly challenging and always poetic. Yet here he enlists Lori Allison (Millions) and Heidi Ore (Mercy Rule) to handle the vocal duties, a choice that propels his songs into ethereal territory -- these are two exceptionally talented vocalists with an absolutely heavenly grasp of the material's literate lyrics. In addition to these stunning vocals, the somewhat subdued ensemble musicianship complements perfectly, serving as an inspired foundation for the two ladies to sing over. Not too accessible, even if it is genius songwriting, this album should impress anyone looking for sophisticated pop music with a near orchestral sense of instrumentation (for an example, look to the inventive cover of Hüsker Dü's "Makes No Sense at All").
If Rebarber was a New York or Los Angeles resident rather than a Nebraskan, there's a good chance you'd be much more familiar with his name than you are now. Furthermore, due to the infrequency of the Floating Opera releases, this album takes on a much greater value in retrospect.