1. National Emblem (March)
(Trad. arr. Love)
2. American Patrol
(Trad. arr. Love)
3. Rose Of Washington Square
4. Maryland My Maryland
(Trad. arr. Love)
5. The Yellow Rose Of Texas
(Trad. arr. Love)
6. Stars and Stripes Forever


1. When The Saints Go Marching In
(Trad. arr. Love)
2. Marching Through Georgia
(Trad. arr. Love)
3. Anchors Aweigh
4. Yankee Doodle Boy
5. Battle Hymn Of The Republic (John Brown's Body)
(Trad. arr. Love)
6. South Rampart Street Parade

Recorded at Abbey Road Studios, London.
Recording Engineer: Peter Bown
Second Engineer : Richard Langham
Associate Producer: Gil King
Produced by Norman Newell
(P)1976 A Supertunes Production

Long ago a bank in New Orleans issued a ten-dollar note, and as it was based in a former French colony, the French word for
ten - dix - appeared on the note. From that simple, logical occurrence stems the distinctive name for a form of jazz that has
swept around the world in a surge of popularity -Dixieland.

Originally it described the typical black music of New Orleans, played by a frontline of trumpet, trombone and clarinet
supported by a rhythm section and was largely improvised with a minimum of formal arrangement and prior planning. Later
however, it became the designation for white bands imitating the black ones and figured in the name of the first jazz
aggregation to attain international fame - the Original Dixieland Jazz Band, which visited England in 1919. This group set
the formula, in fact, for Dixieland jazz and it has remained constant ever since, retaining the basic influence of New
Orleans but acquiring a polish and cohesion and a smoothing of the rough edges facilitated by pre-conceived arrangements
allowing scope for unscored instrumental solos.

The formula has produced some famous and adept exponents. Eddie Condon and his musical associates in New York played it,
although the term itself is not in common usage now in the United States as elsewhere. Bob Crosby's band within a band the
Bob Cats - provide another excellent Dixieland prototype and in Britain names like Acker Bilk, Ken Colyer, Alex Welsh and
Terry Lightfoot have all troden the Dixieland trail. The traditional jazz boom in Britain about a dozen years ago possessed
all the Dixieland characteristics, despite the difference in nomenclature.

Geoff Love, always an imaginative innovator, has taken the essence of Dixieland as the basis of this album and translated it
in terms of a powerful, dynamic big band. The flavour and the atmosphere are the same, but reinforced instrumentally to
heighten the excitement. There are well-known Dixieland standards present such as South Rampart Street Parade and When The
Saints Go Marching In and several march specialities suggesting New Orleans processions at carnival time like National Emblem
and Marching Through Georgia. Every item is imbued with the spirit of Dixieland, which would be proud of this big band worth
many hundreds of ten-dollar notes.

Nigel Hunter

MFP 50290