Jeff Barnhart: Hal, this month we’re listening to and discussing the music of a really hot, and polished, band from New Orleans. The New Orleans Owls
Dan Barrett’s excellent article “Thoughts on the South Frisco Jazz Band” (TST, February, 2023) is a vivid description of the South Frisco’s sound and the
Jeff Barnhart: Welcome back, hot music enthusiasts! This month, we offer the sequel to our exploration of trombonist Edward “Kid” Ory. On July 14th, 1926,
Jeff Barnhart: Hal, we’re beginning 2023 with a look at one of the most influential, colorful and exciting musicians in Jazz history; trombonist Edward “Kid”
Jeff Barnhart: We return this month to conclude our exploration of the remaining sides by the New Orleans-based Halfway House Orchestra, recorded between October 1927
From 1960 to 1970, “Dixieland at Disneyland” was an annual event at the park. Walt Disney was a great fan of Traditional Jazz and Dixieland
Jeff Barnhart: Hal, this month we’re examining the output of the remarkably polished Halfway House Orchestra, a white dance band that had a residency at
It has been said that when Count Basie played full, two-handed stride with his later bands, some of his younger musicians would say “Yeah! I
Jeff Barnhart: Hal, after our in-depth exploration of a single tune, it’s time to broaden our scope to the music of the immortal Joe “King”
On April 30, 2022, we mourned the loss of Jim Maihack—one of the best traditional jazz performers of recent times. Jim was also one of
Working with the late Richard “Butch” Thompson was always a memorable experience. The Butch Thompson Trio—with himself on piano, bassist Bill Evans and drummer George
The 1930s Jeff Barnhart: Hal, last month we explored the tune “Copenhagen” from the first recording by Bix in 1924 to versions essayed through 1929.
Jeff Barnhart: Hal, we’ve wanted to return to an in-depth exploration of a single tune, and this one is the Mt. Everest of the classic
Hal Smith: Recently, fellow columnist Jeff Barnhart suggested the idea of an article about Verna Burrichter. Verna was a volunteer at the Bix Jazz Fest;
In 1966, while visiting a friend in San Diego, our conversation turned to my obsession with traditional jazz. My friend said, “I think my dad
Jeff Barnhart: Hal, last month I mentioned we’d continue with an exploration of the seminal early jazz classic, “Copenhagen.” Let’s postpone that for a month
Jeff Barnhart: This month, we conclude our exploration of the Firehouse Five Story, with plans to revisit the band and examine their many themed albums
In the music business, it is easy to focus on the negative: problematic gigs, cancellations, difficulty getting paid and of course the ever-present “Musical Politics.”
JB: For this installment, we turn to the wild and wonderful world of the Firehouse Five Plus Two. I am happy to welcome Hal Smith
Jeff Barnhart: Hal, we’re taking a month break from our exploration of Moten to concentrate on the music of the band we compared to early
JB: When one thinks of large hot jazz outfits predating the swing era that would bring—to name a few—Goodman, the Dorseys and Miller to prominence,
Hal Smith: In 1965 I obtained the Good Time Jazz LP Kid Ory’s Creole Jazz Band—1954. Besides Ory’s righteous tailgate trombone and the fantastic rhythm
Jeff Barnhart: Hal, after our brief, but wonderful, foray into the musical world of little-known trumpet man Benny Strickler, let’s talk about the Post-War version
Hal Smith: One of the greatest musicians of the New Orleans Revival was a trumpet man from Arkansas named Benny Strickler. During his too-brief career
