The names of Peter Bocage and Emilé Barnes are not as well known as those of others who figured more prominently in the New Orleans jazz revival of the 40s through the 60s, such as Bunk Johnson, George Lewis, Kid Ory, et al. Theirs was a different kind of jazz, one which was driving, which was “hot,” while Bocage, especially, and Barnes opted for a more restrained—but no less passionate—approach.
Bocage, a Creole, leaned as did many other Creoles toward the “downtown” style rather than the “uptown” one of Bunk Johnson, George Lewis, and the others. Barnes, while not a Creole, still complemented Bocage perfectly, as we can hear on this CD. This combo plays music strictly for dancing, which means that it is mainly ensemble playing, the one playing lead always keeping the melody to the fore. Bocage’s playing is largely devoid of vibrato, and he is content to play a lead which stays close to the melody and does not rely on much improvisation, the others being left to provide that. His playing is never loud but is marked with a quiet intensity.
Barnes’ playing has a blues tinge to it and a warm, soft vibrato, particularly when he is playing in the lower register. But he is not averse to the other registers, soaring from one to another effortlessly. He weaves all around the trumpet lead, playing nice obbligatos and counterpoint to Bocage, taking the lead and soloing h
