Personnel: Pat Hawes [pn/v], Alan Elsdon [tp], Goff Dubber [rd], Mike Pointon [tb], John Rodber [sbs], Rex Bennett [dm]

Songs: Lazy Piano Man, Salty Dog, It Had to be You, Farewell to Storyville, Sweet Patootie, Wild Man Blues, Down in Jungle Town, The Glory of Love, Oh! Peter, Shine, Minnie the Moocher, My Gal Sal, See See Rider, C-Jam Blues.

Jazz Gazzette - Belgium

The music we find on Jazz Crusade is usually played in what we call the New Orleans revival style, if there ever as such a thing. After all, what started there in New Orleans in the early forties was not so much a revival of the music in the City but more a revival of the interest in this music from the rest of the world. Anyway, the music on this CD, although containing more than a little bit of New Orleans spirit, belongs to what I would like to call classic jazz", the music played by people like Louis Armstrong, Sidney Bechet, Red Allen, Muggsy Spanier etc. No matter what we call it, it is again one of Bill Bissonnette's wonderful productions.
All the musicians on this CD are experienced players and masters on their instruments. Add to this a relaxed atmosphere (very few second takes!) and a lovely bunch of tunes and the results show. Pat Hawes, the leader of this pick-up group, is a marvelous band player and a great soloist as well. After his successful vocal work on a previous Jazz Crusade CD (Geoff Cole's Tribute to Fats Waller, also reviewed in this magazine) Big Bill insisted on a repeat performance and Pat obliged. I'm especially fond of his vocals on "Farewell To Storyville" (also known as "Good Time Flat blues") and on the lovely ballad "The Glory Of Love".
Alan Elsdon is obviously very much influenced by Louis Armstrong and by Henry "Red" Allen. He plays a strong lead in the ensembles and solos very well. His muted work on "Salty Dog" - Percy Humphrey would have called this a "whispering chorus" - is beautiful. Mike Pointon, whom we usually associate with New Orleans revival style - he was one of the original founders of the first Barry Martyn band and is also a staunch researcher in the field of New Orleans music - shows here again that he is also a master in other early jazz styles. His great solo on "The Glory Of Love" reminds me somewhat of both Vic Dickenson and Booty Wood. I also love the bits of "talking trombone" at the end of "Minnie The Moocher"! Goff Dubber, who works regularly with pianist Neville Dickie and with Brian White's "Muggsy Remembered Band" is equally adept on the three tenor sax solo on "C-Jam Blues" swings like hell! The rhythm section is on the same level, with John Rodber on bass, who according to Pat Hawes plays all the right notes, and with almost eighty years old drummer Rex Bennett, who learned to play drums and guitar while he was a prisoner of war in occupied France during World war II.
One of the main ingredients of jazz is the blues. One's capability for playing jazz can be measured from the way one plays the blues. From the first number on, "Lazy Piano Man" a medium slow blues, we know that this band passes the test with flying colors. The same can be said of their version of the perennial "See See Rider". "Wild Man Blues" (Armstrong-Morton) is a relaxed and very personal rendition of this old classic. "Oh! Peter" is a tune made famous in 1932 by The Rhythm Makers (aka Billy Banks and his Orchestra) with Henry "Red" Allen and Pee Wee Russell; good solos and another fine vocal from the leader of this session. It's good to hear "Sweet Patootie" again, a lovely song by Clarence Williams, made immortal by Sidney Bechet's version with Noble Sissle's Swingsters in 1938.
I love the melody of "Farewell To Storyville" which was used in the 1947 film - mediocre as a movie but with great music! - "New Orleans" in the scene where the musicians, the whores and the pimps leave the red light district Storyville. The soundtrack of this movie (featuring a.o. others Louis Armstrong, Billie Holiday, Kid Ory, Bud Scott) containing a lot of music not used in the film, is also on Jazz Crusade an the issue number is JCCD-3043. "Shine" is played here in a much slower tempo than usual, which makes it sound like a new and better meolody. Do I really need to tell you more about this CD? I don't think so. If your taste in jazz goes a little bit beyond revival New Orleans, you will love this beautifully recorded session that offers you more than 71minutes of excellent classic jazz music.
- Marcel Joly

Jazzreview.com - U.S.A.

Here's a fine new offering from England featuring the pianist, Pat Hawes. Some of you will recognize Pat from his appearance on Geoff Cole's "Tribute to Fats Waller" on the same label. From my limited knowledge of British trad bands, most seem to follow the New Orleans style. This band differs considerably, leaning toward the
Chicago and New York styles popularized by Eddie Condon, Muggsy Spanier, Red Nichols and Bud Freeman. I'm truly impressed by the Spanier - like trumpet of Alan Elsdon. Alan has been a major figure in England for decades. This is a group of veteran players and a glance at the photographs reveals a lot of gray hair and bald spots. For this reviewer, it's a bit like looking in the mirror.
The band is "hot" and knows their music inside out. Pat Hawes even throws in some fine boogie-woogie on Sweet Patootie. Elsdon's horn just knocks me out as do the reed solos by Goff Dobber. Trombonist, Mike Pointon really shines on Wild Man Blues and the rhythm section gives a top quality consistent performance throughout the fourteen selections. I'll mention a few tunes to give you a general idea of the content. We are treated to Salty Dog, Minnie the Moocher, Lazy Piano Man, C-Jam Blues, Oh! Peter, See See Rider, Down in Jungle Town, and The Glory of Love. I was unable to find a track where the band didn't play their hearts out. There is a plethora of great talent on this session. Pat Hawes is a fine player in a multitude of styles including his beloved "stride." His vocals are somewhat reminiscent of the late Clancy Hayes and that says a lot in my book. I recommend this CD to those of you who love the sizzling sound of "hot jazz."
- Richard Bourcier

King Jazz Review - England

Here we have a medley of well known classic jazz tunes played by a half dozen of England's finest Traditional jazz jazzmen in their fields.
Pianist Pat Hawes with unique cultivated vocals, customized with brimstone and fire, with the flight of the butterfly, creates the character and ambiance of the album. All the musicians create a spontaneous feeling of improvised jazz. With clarity of recording sound the album swings to an infectious, warm sounding, lilting like beat. With New Orleans cabaret styled music inherent, the CD is choice for a wide palette of today's listeners. I extend appreciation to the American producer of this "That Salty Dog" album for enabling us to learn how professionally these musicians this side of "The Pond" have projected to great heights his country's eminent jazz giants' musical artwork of yesteryear.
- Ian King

Boxell's Jazz Website - New Zealand

This CD is special - buy it. Do I need to say more? Oh, all right then.
Mr Piano man, Pat Hawes, says that, apart from working out a routine for each number, the music is unrehearsed as he wanted to preserve the spontaneous feel of improvised jazz. The first tune is ' Lazy Piano Man', but rather than being lazy I think that Pat is relaxed. So are the rest of the fine line-up of jazzmen who make up the 2000 Band. Alan Elsdon is a particular favourite of mine, especially on muted trumpet, Goff Dubber is an outstandling skilled reedsman, Mike Pointon who plays a very individualistic style of trombone, and John Rodber on bass and Rex Bennett on drums laying down the ever present, but discrete rhythm line. This is laid back jazz that is beautiful to listen to, even Pat's singing! This may not be the best album of the Millennium, but it could well be the best of the year 2000.
- Geoff Boxell

Cadence Magazine - U.S.A. - January 2001

Pianist Hawes and his British band play early 20th Century music as a new century dawns. His brand of New Orleans music is very casual and easy going. Featuring a three horn front line of Elsdon, Dubber and Pointon, the music focuses on both well-known and lesser-known tunes of the past. All three horn players are featured soloists who take a spin around a chorus or two of the songs while Hawes directs the way with his piano-roll style of playing. Dubber smoothly takes his cuts on clarinet, Elsdon uses the trumpet mute to good advantage, and Pointon maintains a semi-gruff posture on trombone. Their ensemble sound is toned down in keeping with the less than boisterous approach of the band, but they still create the joyous atmosphere indicative of these period songs.
Hawes adds his near-talking style of vocalizing to several of the cuts, which are always followed by rounds of solo by the hornmen. The bass and drum rhythms by Rodber and Bennett keep the one-two beat on track as the sextet sails through the 14 selections. The solo spots are not lengthy, although Hawes takes enough time on his to develop them into springboards for the others to jump in and play. All of these musicians are seasoned professionals who have been playing for countless years. It still manages to capture the authentic sound of New Orleans in fine style.
- Frank Rubolino

Jazz Rag - British Jazz Magazine

This March 2000 recording for Bill Bissonette's American Jazz ' Crusade label, combines many j names which will be familiar to followers of the British jazz scene. Both the leader, pianist Pat Hawes, and the trumpet and bandleader Alan Elsdon, the doyens here, currently are to be heard together, along with the bassist on this date, John Rodber, in the Brian White/Geoff Cole Tribute To Kid Ory band. Reedman Goff Dubber also works with the Brian White/Alan Gresty Ragtimers; trombonist Mike Pointon doubles as a BBC music researcher and programme producer, while drummer Rex Bennett is a proverbial man for all sessions. The material combines old favourites, such as Wild Man Blues, Shine, C Jam Blues, not forgetting Salty Dog. with others, such as The Glory Of Love and My Gal Sal, which adapt well to a jazz setting. The Welsh born pianist, the late Dill Jones once defined his style as being "barrelhouse with poetry", a description which could apply equally well to Pat Hawes. His style carries echoes of the great blues stylists such as Art Modes and Joe Sullivan, combined with the harmonic subtlety and finesse associated with Jess Stacy and Teddy Wilson, all of which are blended into Pat's distinctive style.
The other horns also enjoy generous solo space, during which the pianist proves himself to be a sympathetic accompanist. Also, unlike many musicians-cum-wannabe-singers, Pat at least has a personable vocal presence. Even if he is the wrong gender to carry off Oh! Peter, at least he is following a tradition established by both Red Alien and Billy Banks, on the Rhythmakers' versions. The mellow piano introduction to the opener, Floyd Bean's Lazy Piano Man, sets the tone for the rest of this relaxed and informal session. The band immediately achieves a apport, creating an atmosphere conducive to some impressive solo features. Captured mainly on muted horn, Alan Elsdon sounds especially effective on Farewell To Storyville, originally performed so memorably by Billie Holiday and Louis Armstrong in the film New Orleans. The versatile Goff Dubber contributes some pleasing clarinet and tenor saxophone work, in addition to his feathery light soprano sound, heard to good advantage on The Glory Of Love, which also features Mike Pointon's slightly raffish/Tricky Sam Nanton flavoured muted work. The ultra slow tempo chosen for Shine does not really come off, but this is a relatively minor flaw on a session with the after hours ambience of a team of musical friends with nothing to prove, getting together for an informal blow.
- Sally-Ann Worsfold

Want to place an order? Click here for info.