Dixieland Way Down Yonder In New Orleans - Southland Records

Dixieland Way Down Yonder In New Orleans

1954 Southland Records SLP 214 Mono Only

Same LP was also published as "Jack Delaney & His New Orleans Jazz Babies" same catalog number, tracks and back cover and as "Way Down Yonder In New Orleans" (but not featuring Pete Fountain's picture on the cover). Both have different front covers. Southland commonly has two or three different covers for the same LP but featuring a different talent.

Side One
Jack Delaney, Trombone
Alvin Alcorn, Trumpet
Pete Fountain, Clarinet
Chink Martin, String Bass
Roy Zimmerman, Piano
Joe Capraro, Guitar
Monk Hazel, Drums-Mellophone

Playing
1. Shine
2. Sidewalks Of New York
3. Hindustan
4. Till We Meet Again

Side Two
Jack Delaney, Trombone
Raymond Burke, Clarinet
Lee Collins, Trumpet
Stan Mendelson, Piano
Abbie Brunies, Drums
Sherwood Mangiapane, Bass

Playing
1. Careless Love
2. Bucktown Drag
3. Who's Sorry Now
4. Basin Street Blues

Cover Design by Johnny Donnels

Liner Notes:

Dixieland from New Orleans: Naturally that's where it all started, back before the turn of the century. New Orleans - where the old time marching jazz came into being: Where Ragtime: Barrel House, old and present day Dixieland all originated: And the best Dixieland is still coming from this famous bend in the Mississippi.

Here's Recorded Proof.
The greatest names in jazz history were born right here in New Orleans. To name a few: Louis Armstrong, Johnny Dodds, Kid Ory, George Brunis, Paul Mares, Leon Roppolo, Irving Fazola, Eddie Miller, Monk Hazel, Santo Pecora, Lester Bouchon, Harry Shields. Every Crescent City boy hears so much music that he can't help developing a genuine interest in this Great Jazz.

There are always parades to inspire the kids. Jazz music is always with them, all year around, Dances, Parties, Celebrations. That's why so many New Orleans Jazz Men begin playing while they're still youngsters. Parents encourage the kids who show an interest in music - After all the older folks, too, have grown up in this parade-brass atmosphere.

It's little wonder that this environment must produce great jazz musicians. So here's real New Orleans-Dixieland music at its very best, and here is a veritable cavalcade of great New Orleans Jazzmen in two spectacular groups, each built around the young leader "Jack Delaney" and his unbelievable trombone. In the world of jazz a tasteful trombone is vital. Jack Delaney possesses all of the qualifications - tone, power, exceptional inventiveness. The ability to fit perfectly in the ensemble work, and a true tailgate style. We catch Jack on these sessions playing in three different styles: The Brunis Style, The Jack Teagarden Style and The Jack Delaney Style. No one enjoys playing more than Jack. He's got Dixieland in his heart. After you hear him on these sides you'll remember the name Jack Delaney, one of the next generation of great names in New Orleans Jazz. On side one you will hear the beautifully lyrical clarinet passages of Pete Fountain who will remind one of the late great Irving Fazola.

Opposite Pete Fountain we find the unique idea of the high-ranking Raymond Burke. On side one is the youthful sensation Alvin Alcorn from whose gleaming trumpet pours the whole tradition of the Crescent City, fine driving lead and exciting solos. On side two we find Lee Collins one of the jazz immortals who has been blowing the same kind of New Orleans horn for the past three decades - And better today than ever before. On piano side one we find Roy Zimmerman. Roy working freely and solid as we've rarely heard him. Onside two we find Stanley Mendelson a young man with old ideas, possessor of a truly great left hand, he has all the barrel house rock and a sincere and emotional style all his own.

Side one, Chink Martin using his string bass to perfection and lays down a big round tone. Side two we find the popular Sherwood Mangiapane; this bass-slaper deluxe would rather bleed to death than miss a beat. On side one we find Monk Hazel on drums and mellophone, Monk's name is famous where ever jazz is heard. Monk made a lot of music and still does. Monk Hazel heard on drums here, lays down a solid beat and plays more honest-to-goodness drums than you can find anywhere else in this hide beating generation. On side two we find the late Abbie Brunis on drums, drumming in good taste and his delicate handling of the rhythm is beautifully adequate. A special treat is the appearance of Joe Capraro on guitar on side one. Joe remains unchallenged in his mastery of the guitar and retains his enormous vigor and vitality after these many years. Joe maintains his position as a top Jazz Musician (after a lay off of twenty-five years) and is already for a hot session day or night.

Southland is proud of this album and proud to be able to work and record here in New Orleans, where session like this are possible and music can be made to delight the hearts of jazz lovers all over the world. After reading the multitude of wonderful reviews accorded Jack Delaney's heart warming horn on his first LP release we include these and other printed comments.

Particularly pleasurable is the full-tone expansiveness of Delaney's Tromhone." (Downbeat)

"Jack Delaney tracks are robust music played with a high degree of musicianship. His work on Southland is of high order. A big future for this boy." (Jazz Journal)

"Young Jack Delaney is improving with every week that passes. On South-land Records he can be heard playing delightful Trombone, easy swinging stuff in perfect taste, with a big tone and very original ideas. Jack is one of the most promising musicians in the states. A big future for this grand young musician." (Melody Maker: England)

"Jack Delaney's Trombone is mellow, round and big, It is very remindful of Miff Mole and Jack Teagarden combined. For such a youngster who is still learning, it is our prediction that this is the boy to watch. He's Got It, He Loves It, And he's not spoiled by the fuss that's being made over him." (Second Line - New Orleans Jazz Club)

"Jack Delaney is super extraordinary because that young man's syncopated ensemble blowing is outstanding, and this young man can really claim the singing tone. One of the finest Trombone men in the country today." (Alan C. Weber - Waterbury - Republican - Conn.)

- Joe Mares, Jr.

Monk Hazel And His New Orleans Jazz Kings - Southland Records

Monk Hazel And His New Orleans Jazz Kings

Featuring Pete Fountain

1955 Southland Records S-LP 217 Mono Only

Side 1
1. Panama
2. All The Wrongs You Done To Me
3. Long Way To Tipperary
4. I Use T0 Love You

Personnel:
Al Hirt - Trumpet
Jack Delaney - Trombone
Pete Fountain - Clarinet
Joe Capraro- Guitar
Roy Zimmerman- Piano
Phil Darois - String Bass
Monk Hazel - Drums - Mellophone
Rita St Claire - Vocal


Side 2
1. Let Me Call You Sweetheart
2. When You're Smiling
3. Angry
4. Basin Street Blues

Personnel:
Dutch Andrus - Trumpet
Jack Delaney - Trombone
Harry Shields - Clarinet
Roy Zimmerman - Piano
Chink Martin - Bass - Tuba
Monk Hazel - Drums
Jackie Blaine - Vocal

Previously release with different cover, same catalog number and title: Monk Hazel and His New Orleans Jazz Kings.

Liner Notes:

Certain types of musicians are born to be legends. People like Buddy Bolden, Bix Beiderbecke, Paul Mares, Leon Roppolo, Larry Shields and Monk Hazel are the stuff that jazz dreams are made of. But of the quintet names above, Little Monk is the only one left on this sphere, still sparking great jazz combinations. Always insufficiently recorded in years gone by in fact his last recording session fronting his own band dates back to December 1928 when he waxed four sides under the name of "Monk Hazel and his Bienville Roof Garden". Monk's work is mainly remembered by those fortunate enough to see him in person here or on his occasional sensational forays into New York, Chicago, or Hollywood.

If you're one of those unfortunates who have been told so many times, "You should have been here last night! Monk Hazel was on the stand" you'll welcome these nine sides, because they're just the way he played the night you missed him. Principally famed as the greatest of Dixieland drummers, Monk is also celebrated for his work on cornet and e-flat valve trombone plus his great mellophone solo's one which you will hear on the tune "It's A Long Way To Tipperary."

You'll be knocked out, nevertheless, by the unique Hazel beat as present herein, occupying the spotlight in the rhythm section that includes not only the tuba work on side two by Chink Martin, Sr. but the string bass of Phil Darois with that fabulous beat which has become identified with music generating in this Crescent City.

On both sessions you hear Roy Zimmerman the veteran New Orleans piano man stressing sustained improvisation in middle and upper register and extracting rich tones from the piano bass. On clarinet side two fresh from the critical acclaim heaped on his melodious horn in all of the jazz periodical, following his first Southland appearance with the Johnny Wiggs Group (S-LP 200), you'll hear Harry Shields even more carefully recorded, and full of the quiet fire that made for him an overnight world-wide reputation. You'll never get his solo on the verse to "Let Me Call You Sweetheart" out of your mind.

On Side One the big tone of Pete Fountain clarinet who reminds one of the late and great Irving Fazola, and it is a rare privilege to be able to present him now surrounded by men of his own caliber in his finest recorded performance. Jack Delaney's fluent trombone (heard on both sides) which has in the past year captured the fancies and hearts of all of New Orleans, alternates flexibly between "Tailgate" and "High Register" in a manner that confounds so many of the older heads here and then tosses in solos full of freshness and facility rivalling Brunis and Teagarden.

The driving trumpet you'll hear on Side One is a rare treat. Al Hirt has been a outstanding "job" musician around New Orleans for many a year. Obviously for no good reason, he's never been recorded with a Dixieland band before. You'll be shocked, when you hear this wonderful horn to realize that a jazzman of this caliber can get lost in any city. Southland apologizes for the whole record industry, but offers Al Hirt here in his highly successful disc debut. On Side Two you hear Dutch Andrus on trumpet, a current start in his own right carries this session along in masterly fashion. Dutch has established himself already as one of New Orleans outstanding jazzmen. He sat regularly with the town's finest, and they love to play with his typically New Orleans lead horn. On Side One you hear the top man in his field today on guitar "Joe Capraro" with his big full tone and stimulated rhythm.

Southland was so impressed with the fine singing of Rita St Claire that we took this opportunity to offer her to you. On Side One you will hear Rita St Claire backed by this exciting Dixieland ensemble in "All The Wrongs You Done To Me" and "It's A Long Way To Tipperary" - you hear this gorgeous voice. She is a natural, her singing is effortless, her pitch true, her tone full and thrilling.

On Side Two you hear the great blues singer Jackie Blaine giving Spencer Williams great blues "Basin Street Blues" a grand treatment.

Joe Mares, Jr.

Cover Design By Johnny Dohnels
Photo By John Kuhlman

Southland Records - Made in New Orleans S-LP 217

Monk Hazel And His New Orleans Jazz Kings - Southland Records

Monk Hazel And His New Orleans Jazz Kings

Featuring Pete Fountain

1955 Southland Records S-LP 217 Mono Only

Side One:
1. Panama
2. All The Wrongs You Done To Me
3. Long Way To Tipperary
4. I Use To Love You

Personnel:
Al Hirt - Trumpet
Jack Delaney - Trombone
Pete Fountain - Clarinet
Joe Capraro- Guitar
Roy Zimmerman - Piano
Phil Darois - String Bass
Monk Hazel - Drums/Mellophone
Rita St Claire - Vocal

Side Two:
1. Let Me Call You Sweetheart
2. When You're Smiling
3. Angry
4. Basin Street Blues

Personnel:
Dutch Andrus - Trumpet
Jack Delaney - Trombone
Harry Shields - Clarinet
Roy Zimmerman - Piano
Chink Martin - Bass/Tuba
Monk Hazel - Drums
Jackie Blaine - Vocal

Cover Design By ANDY LANG

Also released with different cover, same catalog number and title: Monk Hazel and His New Orleans Jazz Kings.

Liner Notes:

Certain types of musicians are born to be legends. People like Buddy Bolden, Bix Beiderbecke, Paul Mares, Leon Roppolo, Larry Shields and Monk Hazel are the stuff that jazz dreams are made of. But of the quintet names above, Little Monk is the only one left on this sphere, still sparking great jazz combinations. Always insufficiently recorded in years gone by in fact his last recording session fronting his own band dates back to December 1928 when he waxed four sides under the name of "Monk Hazel and his Bienville Roof Garden". Monk's work is mainly remembered by those fortunate enough to see him in person here or on his occasional sensational forays into New York, Chicago, or Hollywood.

If you're one of those unfortunates who have been told so many times, "You should have been here last night! Monk Hazel was on the stand" you'll welcome these nine sides, because they're just the way he played the night you missed him. Principally famed as the greatest of Dixieland drummers, Monk is also celebrated for his work on cornet and e-flat valve trombone plus his great mellophone solo's one which you will hear on the tune "It's A Long Way To Tipperary."

You'll be knocked out, nevertheless, by the unique Hazel beat as present herein, occupying the spotlight in the rhythm section that includes not only the tuba work on side two by Chink Martin, Sr. but the string bass of Phil Darois with that fabulous beat which has become identified with music generating in this Crescent City.

On both sessions you hear Roy Zimmerman the veteran New Orleans piano man stressing sustained improvisation in middle and upper register and extracting rich tones from the piano bass. On clarinet side two fresh from the critical acclaim heaped on his melodious horn in all of the jazz periodical, following his first Southland appearance with the Johnny Wiggs Group (S-LP 200), you'll hear Harry Shields even more carefully recorded, and full of the quiet fire that made for him an overnight world-wide reputation. You'll never get his solo on the verse to "Let Me Call You Sweetheart" out of your mind.

On Side One the big tone of Pete Fountain clarinet who reminds one of the late and great Irving Fazola, and it is a rare privilege to be able to present him now surrounded by men of his own caliber in his finest recorded performance. Jack Delaney's fluent trombone (heard on both sides) which has in the past year captured the fancies and hearts of all of New Orleans, alternates flexibly between "Tailgate" and "High Register" in a manner that confounds so many of the older heads here and then tosses in solos full of freshness and facility rivalling Brunis and Teagarden.

The driving trumpet you'll hear on Side One is a rare treat. Al Hirt has been a outstanding "job" musician around New Orleans for many a year. Obviously for no good reason, he's never been recorded with a Dixieland band before. You'll be shocked, when you hear this wonderful horn to realize that a jazzman of this caliber can get lost in any city. Southland apologizes for the whole record industry, but offers Al Hirt here in his highly successful disc debut. On Side Two you hear Dutch Andrus on trumpet, a current start in his own right carries this session along in masterly fashion. Dutch has established himself already as one of New Orleans outstanding jazzmen. He sat regularly with the town's finest, and they love to play with his typically New Orleans lead horn. On Side One you hear the top man in his field today on guitar "Joe Capraro" with his big full tone and stimulated rhythm.

Southland was so impressed with the fine singing of Rita St Claire that we took this opportunity to offer her to you. On Side One you will hear Rita St Claire backed by this exciting Dixieland ensemble in "All The Wrongs You Done To Me" and "It's A Long Way To Tipperary" - you hear this gorgeous voice. She is a natural, her singing is effortless, her pitch true, her tone full and thrilling.

On Side Two you hear the great blues singer Jackie Blaine giving Spencer Williams great blues "Basin Street Blues" a grand treatment.

Joe Mares, Jr.
Southland Records

Made in New Orleans S-LP 217

Jack Delaney And His New Orleans Jazz Babies - Southland Records

Jack Delaney And His New Orleans Jazz Babies

featuring Pete Fountain

Second version of the front cover

1954 Southland Records SLP 214 Mono Only

Same LP was also published as "Dixieland Way Down Yonder In New Orleans" same catalog number, tracks and similar back cover, but has a different front cover. Southland commonly had two or three different covers for the same LP.

Side One
Jack Delaney, Trombone
Alvin Alcorn, Trumpet
Pete Fountain, Clarinet
Chink Martin, String Bass
Roy Zimmerman, Piano
Joe Capraro, Guitar
Monk Hazel, Drums-Mellophone

Playing
1. Shine
2. Sidewalks Of New York
3. Hindustan
4. Till We Meet Again

Side Two
Jack Delaney, Trombone
Raymond Burke, Clarinet
Lee Collins, Trumpet
Stan Mendelson, Piano
Abbie Brunies, Drums
Sherwood Mangiapane, Bass

Playing
1. Careless Love
2. Bucktown Drag
3. Who's Sorry Now
4. Basin Street Blues

Cover Design by Johnny Donnels

Liner Notes:

Dixieland from New Orleans: Naturally that's where it all started, back before the turn of the century. New Orleans - where the old time marching jazz came into being: Where Ragtime: Barrel House, old and present day Dixieland all originated: And the best Dixieland is still coming from this famous bend in the Mississippi. Here's Recorded Proof.

The greatest names in jazz history were born right here in New Orleans. To name a few: Louis Armstrong, Johnny Dodds, Kid Ory, George Brunis, Paul Mares, Leon Roppolo, Irving Fazola, Eddie Miller, Monk Hazel, Santo Pecora, Lester Bouchon, Harry Shields. Every Crescent City boy hears so much music that he can't help developing a genuine interest in this Great Jazz.

There are always parades to inspire the kids. Jazz music is always with them, all year around, Dances, Parties, Celebrations. That's why so many New Orleans Jazz Men begin playing while they're still youngsters. Parents encourage the kids who show an interest in music - After all the older folks, too, have grown up in this parade-brass atmosphere.

It's little wonder that this environment must produce great jazz musicians. So here's real New Orleans-Dixieland music at its very best, and here is a veritable cavalcade of great New Orleans Jazzmen in two spectacular groups, each built around the young leader "Jack Delaney" and his unbelievable trombone. In the world of jazz a tasteful trombone is vital. Jack Delaney possesses all of the qualifications - tone, power, exceptional inventiveness. The ability to fit perfectly in the ensemble work, and a true tailgate style. We catch Jack on these sessions playing in three different styles: The Brunis Style, The Jack Teagarden Style and The Jack Delaney Style. No one enjoys playing more than Jack. He's got Dixieland in his heart. After you hear him on these sides you'll remember the name Jack Delaney, one of the next generation of great names in New Orleans Jazz. On side one you will hear the beautifully lyrical clarinet passages of Pete Fountain who will remind one of the late great Irving Fazola.

Opposite Pete Fountain we find the unique idea of the high-ranking Raymond Burke. On side one is the youthful sensation Alvin Alcorn from whose gleaming trumpet pours the whole tradition of the Crescent City, fine driving lead and exciting solos. On side two we find Lee Collins one of the jazz immortals who has been blowing the same kind of New Orleans horn for the past three decades - And better today than ever before. On piano side one we find Roy Zimmerman. Roy working freely and solid as we've rarely heard him. Onside two we find Stanley Mendelson a young man with old ideas, possessor of a truly great left hand, he has all the barrel house rock and a sincere and emotional style all his own.

Side one, Chink Martin using his string bass to perfection and lays down a big round tone. Side two we find the popular Sherwood Mangiapane; this bass-slaper deluxe would rather bleed to death than miss a beat. On side one we find Monk Hazel on drums and mellophone, Monk's name is famous where ever jazz is heard. Monk made a lot of music and still does. Monk Hazel heard on drums here, lays down a solid beat and plays more honest-to-goodness drums than you can find anywhere else in this hide beating generation. On side two we find the late Abbie Brunis on drums, drumming in good taste and his delicate handling of the rhythm is beautifully adequate. A special treat is the appearance of Joe Capraro on guitar on side one. Joe remains unchallenged in his mastery of the guitar and retains his enormous vigor and vitality after these many years. Joe maintains his position as a top Jazz Musician (after a lay off of twenty-five years) and is already for a hot session day or night.

Southland is proud of this album and proud to be able to work and record here in New Orleans, where session like this are possible and music can be made to delight the hearts of jazz lovers all over the world. After reading the multitude of wonderful reviews accorded Jack Delaney's heart warming horn on his first LP release we include these and other printed comments.

Particularly pleasurable is the full-tone expansiveness of Delaney's Tromhone." (Downbeat)

"Jack Delaney tracks are robust music played with a high degree of musicianship. His work on Southland is of high order. A big future for this boy." (Jazz Journal)

"Young Jack Delaney is improving with every week that passes. On South-land Records he can be heard playing delightful Trombone, easy swinging stuff in perfect taste, with a big tone and very original ideas. Jack is one of the most promising musicians in the states. A big future for this grand young musician." (Melody Maker: England)

"Jack Delaney's Trombone is mellow, round and big, It is very remindful of Miff Mole and Jack Teagarden combined. For such a youngster who is still learning, it is our prediction that this is the boy to watch. He's Got It, He Loves It, And he's not spoiled by the fuss that's being made over him." (Second Line - New Orleans Jazz Club)

"Jack Delaney is super extraordinary because that young man's syncopated ensemble blowing is outstanding, and this young man can really claim the singing tone. One of the finest Trombone men in the country today." (Alan C. Weber - Waterbury - Republican - Conn.)

- Joe Mares, Jr.

Santo And His New Orleans Rhythm Kings - Southland Records

Santo And His New Orleans Rhythm Kings

1954 Southland Records S-LP 213 Stereo / LP-213 Mono

Side One:
1. Saints Come Marching In
2. Fidgety Feet
3. Bucket Has A Hole In It
4. Some Day You Be Sorry

Side Two:
1. Bourbon Street Parade
2. Bill Bailey Come Home
3. Rose Room
4. Breeze

Liner Notes:

Personnel:
Santo Pecora - Trombone
Lester Bouchon - Bass Sax - Clarinet
Harry Shields - Clarinet
Thomas Jefferson - Trumpet
Roy Zimmerman - Piano
Johnny Edwards - Drums
Phil Darois - String Bass
Jo Linn - Vocal

If ever an LP needed no notes, this is it - because it's the kind of great New Orleans jazz that needs no explaining. But a few words appear to be in order to explain why a musician of the stature of Santo doesn't, for example, ever win the Downbeat award. It doesn't take a critical expert to separate the rich, full trombone tone in these sides from the swamp of hurried mosquito buzzings currently endorsed by the more widely circulated music publications. Great actors don't win the Photoplay award, either. The fact is, that Santo Pecora plays JAZZ, not the sick little rhapsodies the modern reviewer gives 5 stars today and can't remember the name of tomorrow, but living, beating jazz.

The sound of Santo as he recorded in 1925 with Paul Mares and the New Orleans Rhythm Kings had its impact on the music world - but right here in this jacket is the full flowering of Mr. Tailgate. This is the sound of Jazz, to get your feet 'a marching and charge up your batteries. You'll not hear the self-pitying whinnies critics excuse by calling them "modern", "experimental", "progressive". This is the clear, forthright musical statement of one of the titans of jazz, recorded with intelligence and under-standing by Joe Mares, and played by superior JAZZ musicians.

The superb pair of clarinets offer enough contrast to demonstrate the enormous range of interpretation possible within the idiom of real jazz. Harry Shields on side 1, (note the impeccable ensemble work on "Fidgety Feet" and the solo on "Saints") more than lives up to the superlatives heaped on his horn by European jazz papers. Lester Bouchon on side 2 plays with a thoroughly satisfying "indoor" sound. But it's the same Lester, recording his bass sax for the first time on records, that gives you some-thing new and modern and still makes musical sense. His treatment of "Bucket's Got a Hole In It" is unique in recorded Jazz. And his bass sax solos on Saints and Fidgety Feet are masterpieces. The same "Bucket" is a showcase displaying the clean cut talent of young Thomas Jefferson who brings back to New Orleans jazz its singing voice for this one. It's a fresh voice, reminiscent of the Armstrong of the late twenties. Jefferson's street-parade trained trumpet is muted for a fine solo, here.

It's comforting to hear a rhythm section that knows what it is. Drummer Johnny Edwards maintains a beat! He tosses no petulant bombs in the middle of a jazzman's solo and sets up no distracting clatter of cymbals to bestir morons to shrill screams of "Go! Go! Go!"

Phil Darois is a true jazz brass man who plays his instrument with studio perfection, but does not become mechanical. Roy Zimmerman, of course, is one of the. leading lights of the New Orleans jazz scene, bringing a feeling of flashing excitement to each solo and blending back to ensemble-stimulating chords when called for.

It's not easy for a young lady to sing with a real New Orleans jazz band. Especially, a young lady who's only been in this country a few years. But young Jo Linn, of the British Isles, in her four vocals on this LP, blends naturally with this great band. That's because she. hasn't merely been added to the record to satisfy some assumed need for vocals - but because she just happens to he Santo's regular band vocalist who works on the job nightly and has a big following among the cash customers.

Santo comes up with a jazz bonanza. Because it's jazz, it is played with the required instruments. It seems not to need a bank of fiddles, other stringed contraptions that are useless where there's no 110 Volt AC outlet available. The trumpet is not bent amidships to point its bell skyward.

The results of this recording session is jazz which is thoroughly in the grand old New Orleans tradition. There's a remarkable amount of fine dixieland jazz on this long-playing record - and it's all New Orleans.

- AL ROSE

Dixieland Way Down Yonder In New Orleans - Southland Records

Dixieland Way Down Yonder In New Orleans

1954 Southland Records SLP 214 Mono Only

Same LP was also published as "Jack Delaney & His New Orleans Jazz Babies" same catalog number, tracks and back cover, but has a different front cover. Southland commonly has two or three different covers for the same LP.

Side One
Jack Delaney, Trombone
Alvin Alcorn, Trumpet
Pete Fountain, Clarinet
Chink Martin, String Bass
Roy Zimmerman, Piano
Joe Capraro, Guitar
Monk Hazel, Drums-Mellophone

Playing
1. Shine
2. Sidewalks Of New York
3. Hindustan
4. Till We Meet Again

Side Two
Jack Delaney, Trombone
Raymond Burke, Clarinet
Lee Collins, Trumpet
Stan Mendelson, Piano
Abbie Brunies, Drums
Sherwood Mangiapane, Bass

Playing
1. Careless Love
2. Bucktown Drag
3. Who's Sorry Now
4. Basin Street Blues

Cover Design by Johnny Donnels

Liner Notes:

Dixieland from New Orleans: Naturally that's where it all started, back before the turn of the century. New Orleans - where the old time marching jazz came into being: Where Ragtime: Barrel House, old and present day Dixieland all originated: And the best Dixieland is still coming from this famous bend in the Mississippi.

Here's Recorded Proof.
The greatest names in jazz history were born right here in New Orleans. To name a few: Louis Armstrong, Johnny Dodds, Kid Ory, George Brunis, Paul Mares, Leon Roppolo, Irving Fazola, Eddie Miller, Monk Hazel, Santo Pecora, Lester Bouchon, Harry Shields. Every Crescent City boy hears so much music that he can't help developing a genuine interest in this Great Jazz.

There are always parades to inspire the kids. Jazz music is always with them, all year around, Dances, Parties, Celebrations. That's why so many New Orleans Jazz Men begin playing while they're still youngsters. Parents encourage the kids who show an interest in music - After all the older folks, too, have grown up in this parade-brass atmosphere.

It's little wonder that this environment must produce great jazz musicians. So here's real New Orleans-Dixieland music at its very best, and here is a veritable cavalcade of great New Orleans Jazzmen in two spectacular groups, each built around the young leader "Jack Delaney" and his unbelievable trombone. In the world of jazz a tasteful trombone is vital. Jack Delaney possesses all of the qualifications - tone, power, exceptional inventiveness. The ability to fit perfectly in the ensemble work, and a true tailgate style. We catch Jack on these sessions playing in three different styles: The Brunis Style, The Jack Teagarden Style and The Jack Delaney Style. No one enjoys playing more than Jack. He's got Dixieland in his heart. After you hear him on these sides you'll remember the name Jack Delaney, one of the next generation of great names in New Orleans Jazz. On side one you will hear the beautifully lyrical clarinet passages of Pete Fountain who will remind one of the late great Irving Fazola.

Opposite Pete Fountain we find the unique idea of the high-ranking Raymond Burke. On side one is the youthful sensation Alvin Alcorn from whose gleaming trumpet pours the whole tradition of the Crescent City, fine driving lead and exciting solos. On side two we find Lee Collins one of the jazz immortals who has been blowing the same kind of New Orleans horn for the past three decades - And better today than ever before. On piano side one we find Roy Zimmerman. Roy working freely and solid as we've rarely heard him. Onside two we find Stanley Mendelson a young man with old ideas, possessor of a truly great left hand, he has all the barrel house rock and a sincere and emotional style all his own.

Side one, Chink Martin using his string bass to perfection and lays down a big round tone. Side two we find the popular Sherwood Mangiapane; this bass-slaper deluxe would rather bleed to death than miss a beat. On side one we find Monk Hazel on drums and mellophone, Monk's name is famous where ever jazz is heard. Monk made a lot of music and still does. Monk Hazel heard on drums here, lays down a solid beat and plays more honest-to-goodness drums than you can find anywhere else in this hide beating generation. On side two we find the late Abbie Brunis on drums, drumming in good taste and his delicate handling of the rhythm is beautifully adequate. A special treat is the appearance of Joe Capraro on guitar on side one. Joe remains unchallenged in his mastery of the guitar and retains his enormous vigor and vitality after these many years. Joe maintains his position as a top Jazz Musician (after a lay off of twenty-five years) and is already for a hot session day or night.

Southland is proud of this album and proud to be able to work and record here in New Orleans, where session like this are possible and music can be made to delight the hearts of jazz lovers all over the world. After reading the multitude of wonderful reviews accorded Jack Delaney's heart warming horn on his first LP release we include these and other printed comments.

Particularly pleasurable is the full-tone expansiveness of Delaney's Tromhone." (Downbeat)

"Jack Delaney tracks are robust music played with a high degree of musicianship. His work on Southland is of high order. A big future for this boy." (Jazz Journal)

"Young Jack Delaney is improving with every week that passes. On South-land Records he can be heard playing delightful Trombone, easy swinging stuff in perfect taste, with a big tone and very original ideas. Jack is one of the most promising musicians in the states. A big future for this grand young musician." (Melody Maker: England)

"Jack Delaney's Trombone is mellow, round and big, It is very remindful of Miff Mole and Jack Teagarden combined. For such a youngster who is still learning, it is our prediction that this is the boy to watch. He's Got It, He Loves It, And he's not spoiled by the fuss that's being made over him." (Second Line - New Orleans Jazz Club)

"Jack Delaney is super extraordinary because that young man's syncopated ensemble blowing is outstanding, and this young man can really claim the singing tone. One of the finest Trombone men in the country today." (Alan C. Weber - Waterbury - Republican - Conn.)

- Joe Mares, Jr.

Jazz In New Orleans - George Brunis / Pete Fountain - Southland Records

Jazz In New Orleans - George Brunis / Pete Fountain

1954 Southland Records S-LP 210 Stereo / LP-210 Mono

Side One - George Brunis And His Dixieland All-Stars
1. Bugle Rag Call
2. Closer Walk With Thee
3. Alice Blue Gown
4. Down In Jungle Town

Side Two - Pete Fountain And His Three Coins
1. Cherry
2. Struttin' With Bar-B-Q
3. Home
4. Song Of The Wanderer

Liner Notes:

George Brunis And His Dixieland All-Stars (Side One)

George Brunis Trombone
Teddy Buckner Trumpet
Matty Matlock Clarinet
Roy Zimmerman Piano
Johnny Edwards Drums
Chink Martin Tuba-String Bass
Sister Elizabeth Eustis Vocal On Closer Walk

Two great interlocking names in New Orleans Jazz are Mares and Brunies. There is always something important happening when members of these two great Jazz families get together. When George Brunies first went to Chicago to join the Rhythm Kings, he borrowed the fare from Mr. Joseph Mares. (Mr. Mares, Senior, that is - not the Southland impresario.) With the great Dixieland trumpet star, Paul Mares, George produced the great early classics of Jazz.

Little Joe Mares didn't grow up fast enough, and Paul and fabulous Rappolo passed on too soon for Joe to realize his early ambition of getting this greatest of all front lines together on waxings of his own. He didn't let this opportunity slip by, though, to capture the Brunies sound in that unique Southland manner that seems to serve up each new hot platter in incomparable home style. So this new Mares-Brunies merger, (Joe recorded the late Abbie Brunies very successfully, you'll recall ...) was destined for success the instant George walked into the studio - but what came out exceeded all expectations!

Brunies is easily at the top of his form, matching the peaks of his NORK and Spanier Ragtime days. Ted Buckner and the very professional Matty Matlock on trumpet and clarinet, respectively, fill out a polished front line for George - and display some outstanding virtuosity, especially on "Down in Jungle Town".

It took this session, too, to give the youthful septuagenarian Chink Martin an opportunity to separate the men from the boys on bass and tuba. Reunited on wax with George Brunies for the first time in 30 years, Chink steps out and claims his place as the most accomplished and tasteful of all bass players anywhere. Johnny Edwards, drumming is intelligent and occasionally exciting - and that exceptional piano man, Roy Zimmerman, working freely for a change, without having to worry about covering for inferior musicians, is down to earth and solid as we've rarely heard him.

Vocal enthusiasts will find something new to be excited about in Sister Elizabeth Eustis, who's authentic New Orleans spiritual style graces the lyrics of "Just a Closer Walk with Thee" - and Chink on that tuba in the background - oh, man!

- Al Rose
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Pete Fountain And His Three Coins (Side Two)

Pete Fountain Clarinet-Tenor Sax
Roy Zimmerman Piano
Johnny Edwards Drums
Phil Darois Bass

Seldom indeed, does any musician attain such virtuosity to be rated by his audience (and other musicians) as one of the best in the business. Even more rare is it when the same man is able to qualify for top honors on two instruments. But do not let our enthusiasm influence you. Let the music within these grooves talk for itself, and Pete will prove just this point on both clarinet and sax.

Growing from the ranks of "The Junior Dixieland Band", Pete adolescently displayed his wares before a tolerant but enthusiastic N.O. Jazz Club some seven years ago. The stature of this musician has forced itself among the ranks of the all-time greats of jazz in less than a decade.

Combining the mellowness of tone and extreme good taste of Fazzola, the technical skill of Benny Goodman and the gut-bucket style of Edmond Hall, Mr. Fountain has developed a style all his own on the clarinet. Switching over to tenor saxophone, he then proceeds to demonstrate that Eddie Miller and Bud Freeman had better look to their laurels.

Joe Mares has made a particularly fine selection in professional and solemn-looking Roy Zimmerman as pianist. Roy has been perfect foil for many of the greatest lead men in the business, and lays down a solid platform upon which Pete may strut. His chording, plus the ability to embroider beautifully when his own turn comes renders Mr. Zimmerman invaluable in such a "tight" little outfit.

Phil Darios, using his string bass to perfection, enhances the sound of the band by laying down a big, round tone alongside Zim's left hand. Also an excellent tuba man, Phil sometimes employs the upward slanting chords of this wind instrument on the string bass to increase the interest and attention of the listener.

The choice of drummer Johnny Edwards (no relation to Daddy Edwards of ODJB fame) has been most fortunate. His good taste and delicate handling of the rhythm in such a small combo is beautifully adequate, yet completely unobtrusive. You "feel" the rhythm rather than concentrate on the drum beats and it all winds up as a very fine blend. Not once does he let the music lag, nor does he hurry it along.

Altogether, it is a happy combination, which is even more enhanced by one the best recording job that Joe Mares has done. Be sure to obtain at least two or more copies, so that you may play one all you want - but make certain to stash away one of the others, for you can mark it down as a "Collectors' Item" of tomorrow. Southland is proud to have been the first to record Pete Fountain fronting his own combination from Southland and New Orleans to the Jazz World.

- DR. Edmond Souchon

New Orleans to Los Angeles - Southland Records

New Orleans to Los Angeles

Pete Fountain and His Three Coins

An Earlier Version of the Front Cover (Below)

A Later Version of the Front Cover (Below)

1954 Southland Records S-LP 215 Stereo / LP-215 Mono
There are at least 4 different covers of this LP

Side One
Al Hirt's Jazz Band
Al Hirt - trumpet
Eddie Miller - Tenor Sax
Ray Bauduc - drums
Abe Lincoln - trombone
Morty Corb - bass
Stan Wrightsman - piano

playing....
1. Farewell Blues
2. Jazz Band Ball
3. March of the Bob Cats
4. Jazz Me Blues

Side Two
Pete Fountain And His Three Coins
Pete Fountain - clarinet
Roy Zimmerman - piano
Phil Darios - string bass/tuba
Johnny Edwards - drums

playing....
1. Cherry
2. Struttin' With Some Bar-B-Q
3. Home
4. Song of the Wanders

Liner Notes:

NEW ORLEANS TO LOS ANGELES

Side One

Each Fall heralds an event on the West Coast that's become known as the "World Series" of Jazz, and right-fully so, for upon opening the printed program one is immediately impressed by the "Big League" calibre of the artists appearing at these DIXIELAND JUBILEE's presented by Jazz Impresario's Frank Bull and Gene Norman.

The evening of September 29th, 1956 will be long-remembered as one of the greatest of these annual events, and also as the second time that the New Orleans Jazz shepherd Joe Mares herded eminent Crescent City musicians westward, this time bringing to the huge stage of the Shrine Auditorium the incomparable PETE FOUNTAIN, and the astounding AL HIRT; Two show-stoppers, indeed!

The Jazz World has for some time recognized that in PETE FOUNTAIN is entwined an old tradition, his clarinet-work having been rated by many critics as of times superior to the immortal Irving "FAZ" Fazola. Perhaps superior recording equipment influences such statements, but rather than compare, I would prefer to analyze, for like the music itself Pete is a "home-grown" product, raised in the environment and tradition that so bountifully flows from his mind (by way of his reed) for all of us to enjoy.

This same evening offered West Coast fans the opportunity to hear in person AL HIRT the trumpet-man who has consistently thrilled them by way of his Coast-to-Coast CBS broadcasts and Southland records. Like his clarinet-partner of the evening, Al's playing captured the audience in a manner most deserved such a stirring artist.

Surrounding these two New Orleans contemporaries for the evening was an all-star group befitting the Dixieland Jubilee, and it's no wonder that after their spectacular Saturday nite performance, Joe Mares was possessed with the idea of documenting these men, so with the idea of documenting these men, so much so that they waited only until Monday to gather in the recording studio.

This all-star group included two other native New Orleans musicians, EDDIE MILLER on Tenor Sax, and RAY BAUDUC at the drums, both perhaps best known for their work with old Bob Crosby "Bobcats". Completing the "front line" the sensational trombone of ABE LINCOLN. On bass is heard MORTY CORB, one of the finest rhythm men on the West Coast today, as we might also say of STAN WRIGHTSMAN who's keyboard artistry completes the lineup.

The age-old, ever-new FAREWELL BLUES opens this session and is highlighted by the spirited trombone of Abe Lincoln, and the "infectious rhythms" of Ray Bauduc. Then too, there's solos by everyone, outstanding being the combination of Al Hirt's trumpet and Eddie Miller's tenor sax. Ever since its introduction by the Original Dixieland Jazz Band, AT THE JAZZ BAND BALL has been a "must" whenever jazzmen get together for a session, this one being no exception. Here again everyone is heard in solos, Pete Fountain and Al Hirt contributing immensely to the HOT feeling of the moment. Brief, but memorable, is the tremendous bass solo by Morty Corb. When ex-Bobcats get together you can count on hearing one of the selections they enjoyed playing so much. MARCH OF THE BOBCATS, as played here, seems to have that added something that transpires this performance above all others. So much could be said of this one track alone, of how Lincoln shines like never before, how Wrightsman's keyboard becomes a showcase of fingerwork, of Fountain's solo extraordinary, of Hirt's inspiring lead and torrid solo, of Bauduc's parade beat, and Miller's sax being heard as never before. We could go on and on, and I know you'll be playing this one over and over. Pete Fountain thrills us next with his most interpretative playing on the JAZZ ME BLUES, which also spotlights tremendous solos by Miller, Lincolns Wrightsman. A rollicking and soft-spoken ensemble soon reaches its climax which ends our listening pleasure for this session.

Words can never describe the lasting impression made on the West Coast by the creative and imaginative clarinet-work of Pete Fountain, or that of the torrid trumpet-work of Al Hirt. Although the tumultuous roar of the crowds of several nights previous had died down and the quietude of the recording studio was no compare, preserved and presented here IS "New Orleans to Los Angeles" Jazz.

ART ANDERSON
Oct. 7, 1956

**Mr. Anderson is a well-known San Diego record collector and jazz authority. His "Jazz Informal" radio programs over KFMB have attracted wide attention.

---------------------------------------------------------

PETE FOUNTAIN AND HIS THREE COINS

Side Two

Seldom indeed, does any musician attain such virtuosity to be rated by his audience (and other musicians) as one of the best in the business. Even more rare is it when the same man is able to qualify for top honors on two instruments. But do not let our enthusiasm influence you. Let the music within these grooves talk for itself, and Pete will prove just this point on both clarinet and sax.

Growing from the ranks of "The Junior Dixieland Band", Pete adolescently displayed his wares before a tolerant but enthusiastic N.O. Jazz Club some seven years ago. The stature of this musician has forced itself among the ranks of the all-time greats of jazz in less than a decade.

Combining the mellowness of tone and extreme good taste of Fazzola, the technical skill of Benny Goodman and the gut-bucket style of Edmond Hall, Mr. Fountain has developed a style all his own on the clarinet. Switching over to tenor saxophone, he then proceeds to demonstrate that Eddie Miller and Bud Freeman had better look to their laurels.

Joe Mares has made a particularly fine selection in professional and solemn-looking Roy Zimmerman as pianist. Roy has been perfect foil for many of the greatest lead men in the business, and lays down a solid platform upon which Pete may strut. His chording, plus the ability to embroider beautifully when his own turn comes renders Mr. Zimmerman invaluable in such a "tight" little outfit.

Phil Darios, using his string bass to perfection, enhances the sound of the band by laying down a big, round tone alongside Zim's left hand. Also an excellent tuba man, Phil sometimes employs the upward slanting chords of this wind instrument on the string bass to increase the interest and attention of the listener.

The choice of drummer Johnny Edwards (no relation to Daddy Edwards of ODJB fame) has been most fortunate. His good taste and delicate handling of the rhythm in such a small combo is beautifully adequate, yet completely unobtrusive. You "feel" the rhythm rather than concentrate on the drum beats and it all winds up as a very fine blend. Not once does he let the music lag, nor does he hurry it along.

Altogether, it is a happy combination, which is even more enhanced by one the best recording job that Joe Mares has done. Be sure to obtain at least two or more copies, so that you may play one all you want - but make certain to stash away one of the others, for you can mark it down as a "Collectors' Item" of tomorrow. Southland is proud to have been the first to record Pete Fountain fronting his own combination from Southland and New Orleans to the Jazz World.

DR. EDMOND SOUCHON

**Dr. Souchon is an eminent New Orleans physician Jazz scholar, and musician.
Cover design by JOHNNY DONNELS Picture by CHARLES VAGABOND