It’s Trad, Dad! Those of you of a certain age will remember when tra-ditional jazz (Trad) swept the UK. Suddenly, everybody was a fan.
Wikipedia sums up the trend as: Trad jazz, short for “traditional jazz,” refers to the Dixieland and Ragtime jazz styles of the early 20th century, which typically used a front line of trumpet, clarinet and trombone in contrast to more modern styles which usually include saxophones, and the revival of these styles in mid 20th-century Britain before the emer-gence of Beat music. Wiki adds the following: A Dixieland revival began in the United States on the West Coast in the late 1930s as a backlash to the Chicago style, which was close to swing. Lu Watters and the Yerba Buena Jazz Band, and trombonist Turk Murphy, adopted the repertoire of Joe “King” Oliver, Jelly Roll Morton, Louis Armstrong and W.C. Handy: bands included banjo and tuba in the rhythm sections. A New Orleans-based traditional revival began with the later re-cordings of Jelly-Roll Morton and the rediscovery of Bunk Johnson in 1942, leading to the founding of Preservation Hall in the French Quar-ter during the 1960s. Early King Oliver pieces exemplify this style of hot jazz; however, as individual performers began stepping to the front as soloists, a new form of music emerged. One of the ensemble players in King Oliver’s Creole Jazz Band, Louis Armstrong, was by far the most influential of the soloists, creating in his wake, a demand for this “new” style of jazz, in the late 1920s and early 1930s. Other influential stylists who are still revered in traditional jazz circles today include Sidney Bechet, Bix Beiderbecke, Wingy Manone and Muggsy Spanier. Many artists of the Big Band era, including Glenn Miller, Gene Krupa and Benny Goodman, had their beginnings in trad jazz.
Trad_jazz. The Classic Jazz Masters (CJM) appear to be the only band offering this style of jazz in South Africa, In the 1960s there were simi-lar bands in SA: The Jazz Aces, The Riverside Hot Six, and Brian Penny’s Golden City Jazz Band, now all no more, so bravely the CJM soldier on. As with most New Orleans’ style bands, the personnel make for interesting character studies (listed in the order they appear in the liner notes): Zbigniev (Speedy) Kobak from Poland (trombone), he studied classical music before going in to show music and then trad.
Bob Wade UK (trumpet, clarinet), played in jazz bands in the UK before heading to South Africa.
Cecil Ferreira RSA (double bass) has been involved in music in the RSA and the UK for many years.
Page 8 CD Review: The Classic Jazz Masters – Jazz Roots