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Marching Along With
The Phenomenal Dukes of Dixeland
Volume 3

Dukes of Dixieland

Marching Along With The Dukes of Dixeland Volume 3Marching Along With The Dukes of Dixeland Volume 3

33GDukes3

Audio Fidelity...AFLP 1851 A/B...1957...33 1/3 LP...Hi-Fidelity

Side 1
1) Tromboneum - Buel/Withrow...2:59
2) Lassus Trombone - Arr: Assunto/Frey...2:25
3)
My Home Town - Paul Ferrara/Assunto...3:09
4) Scobey Strut - Kaye...2:29
5) Dukes of Dixieland March - Kaye...2:38
6) McDonough Let The Trombones Blow - (Arr: Assunto - Frey)...2:22

Side 2
1) Bourbon Street Parade - Paul Barbarin...2:36
2) When Johnny Reb Comes Marching Home - (Arr: Assunto - Frey)...5:00
3) Eyes of Texas - (Arr: Assunto - Frey)...3:03
4) Glory to Old Georgia - (Arr: Assunto - Frey)...2:45 (2:43)
5) With A Pack On My Back - Dupre/Leonard...2:52
6) Just A Closer Walk With Thee - Arr: Assunto - Frey...2:46

Marching Along With The Dukes of Dixeland Volume 3Marching Along With The Dukes of Dixeland Volume 3

ON THE BACK OF THE JACKET

Frank Assunto - trumpet
Fred Assunto - trumbone
Jac Assunto - trombone and bango
Harold Cooper - clarinet
Stanley Mendelson - piano
Paul Ferrara - drums
Bill Porter - tuba and string bass

March Along With The Dukes of Dixeland Volume 3

Bienvenue! Welcome to happy New Orleans, city of the river show boats and gateway to the world of Dixieland. It´s Mardi Gras time, and the city is blooming with every color in the rainbow. Picturesque New Orleans with its startling cornbination of the new and the old, its perennial youth set in a mosaic of mouldering antiquity. Historic New Orleans with its rich tradition of southland customs inherited from France and Africa and a dozen other crossroads of the world. Sophisticated New Orleans with its shady ladies and shameless gentlemem.

Now you´re on Basin Street, home of the blues. Now your on Bourbon Street, home of the boozer. Now you´re at the Famous Door, the popular night club where they still talk about The Dukes of Dixieland and how this remarkable jazz combo packed the crowds in night after night for fourty-four months. You inquire as to the secret of The Dukes’ success, and they tell you the combo´s art lies not in the “what” but in the “how”. They talk about The Dukes’ capacity for starkling wit, and rare imagination in everything they play, about their flawless technique and solid musicianship. They explain how once these dynamos begin generating music they unleash an intensity of power that can only be described as atomic – southern style, that is. They insist that The Dukes “comers” who must be heared in order to be believed.

The Dukes of Dixieland draw their basice inspiration from the famous original Dixieland Band., which prospered during the first part of the twentieth century. Here, however, all similarity ends. While Dixieland in its earliest form was fairly easy going in every respect, its modern counterpart - especially as practiced by The Dukes - has more galvanic quality. Even when the the Dukes tackle a slow, lazy kind of tune, their playing has a kind of dynamism identified only with the twentieth century.

The Dukes have a genius taking any piece, however antique, and transforming it into something tailored for the modern era. This comes about mainly though their impression of a musical free-for-all or jam session. With the Dukes this impression is tempered by a refinement achieved by a group in which every member is a first class virtuoso while at the same time playing the roll of an equal partner.

The Dukes play special arrangements which are discussed and planned in detail but not committed to paper. Instrumental lines and harmonies are worked out with maximum freedom of design in order to achieve the most stiking tonal color combinations and effects. Since each of the instrumental lines has a considerable amount of independence, the combo succeeds in creatng the effect of improvising, one of the most diffcult feats in jazz performance. This is highly apparent in pieces like "When Johnny Reb Comes Marching Home," "Glory, Glory to old Georgia" and "Lassus Trombone."

Although modern, self-styled experts on Dixieland like to talk about "polyphony" in this style, the notion that New orleans jazz contained natural counterpoint has little basis of fact. Most authorities agree that New Orleans jass was both conceived and carried out harmonically. Furthermore, they contend that whatever promicence melodic line had in New Orleans jazz was incidental. Harmonic color in present day Dixieland is scondary to melodic line.

As it was practiced by originators of the style, New Orleans jazz did not achieve recognition at first. One reason for his is that musicians wee too much concerned with achieving humorous and even farce-like effects in order to impress auciences, rather than with making the most of the music they played. Modern Dixieland has not only outgrown such superficial devices but has become refined to the point where it involves a basic instrumentation of trombone, clarinet, string bass, tube, drums, piano, and banjo or guitar. There are, of course; variations on serveral of these instruments.

Some magnificent effects are achieved in the selections in this recording. One, for example, is the striking contrast in tone color of trombone and clarinet alternatin with percussion in "Tromboneum." Then tere´s the breathtaking mixture of sound achieved in "With a Pack on My Back," where the clarinet actually sounds as though it is floating above the percussion. For sheer suspence "When Johnny Rab Comes Marching Home carries off top honors. It opens with a quiet drum roll that increases in intensity as trombone, trumpet and percussion take up the melodic design until a terrific climax is reached. There´s a wonderful duet between bass drum and trumpet that has no parallel in recorded jazz.


TFRR*


TECHNICAL DATA (RIAA)

This recording was made on an Ampex Tape Recorder Model 300 with Telefunken and RCA Micrphones. The Masters were cut on an Automatic Scully Record Lathe with Grampion Feedback Cutter Heads driven by specialy desiged 200 Watt Amplifiers.
Mastering was done at the studios of B & C Recording in New York with maximum stylus velocity consistent with munimum distortion realizing the ultimate in signal to noise ratio.
While the total frequency range of 16CPS to 25,000 CPS on the record may not be within the range of ordinary human hearing, nevertheless inspection with a microscope with show the etchings of the upper dynamic frequencies.
However, it is the opinion of the manufacturer that if these frequencies were omitted from this record a certain warmth of tone that is felt and sensed rather than heard would be lost. For that reason and to achieve the ultimate in our "studies in HI-FIDELITY sound" we have gone to these extreme electronic lengths.
Although any 33 1/3 RPM record playing equipment may be used in playing this recording, it is recommended that playback equipment of extreme wide range and fidelity be used so that the recordings may be enjoyed to their utmost.

Low Frequency Limit.......................16 CPS
High Frequency Limit...............25,000 CPS
Crossover.......................................500 CPS
Rolloff.............................13.75 DB at 10KC

*Total Frequency Range Recording


The Dukes of Dixieland were launched on the career as a jazz combo in 1947, when two brothers named Frank and Fred Assunto formed a small high school band to play Dixieland in their native New Orleans. They took the name Basin Street Four, Five, Six, etc., depending on the number of players they could round up whenever they able to gether for music making session. The band rehearsed after school, and on week-ends played in a restaurant on the outskirts of the city.

The turning piont in the fledgling jazzmen´s careers came when bandleader Horace Heidt took his weekly radio show to New Orleans, combining the visit with a talent hunting expedition. Learning of his coming, the Assunto brothers rounded up a seven piece band and prepared several numbers. Their playing on the Heidt show drew rave notices and earned them an invitation to appear with the Hiedt organization on tour. They changed their name to the Junior Dixie Band went on tour for five or six weeks. Conspicuous success led them to turn professional.

Taking the money earned through touring with the Heidt band, the Assuntos returned to New Orleans, became professional musicians and bought themselves uniforms. They also changed their name again to The Dukes of Dixieland, and were in business. Since then their career has been marked by one triumph after another at top night spots all over the country.

Frank and Fred Assunto are mighty proud to their father, Jac, who uses the name Papa Jac in the combo. The possessor, but concealer, of a degree in business administraton for Tulane University and looking more like an investment banker than a jazzman, Jac has been an inspirational force with The Dukes. The pride of his life is his two sons, Frank and Fred, brass virtuosi of the combo; also Betty Owens, know in the combo as The Duchess, and in private life Mrs. Fred Assunto.

This recorded prduction is Volume III of a series entitled The Dukes of Dixieland (You Have to Hear It to Believe It!).

PRINTED IN U. S. A. COPYINGRIGHT BY AUDIO FIDELITY INC. 1957.

A Stereophonic (Binaural) tape recording of this production is available. For information write to Audio Fidelity, 770 Eleventh Avenue, New York 19, N. Y.


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