Curtain Going Up - Dukes Of Dixieland

Jazz Me Blues

Curtain Going Up
The Original Duke Of Dixieland
Cover Photo: Lester Krauss
Roulette R-25029
1958

From the back cover: The Dukes of Dixieland have, more than any Dixieland combo ever to come along, been responsible for the modern, new approach to a type of music that has for too long been hidden in the passing shadows of time. They have brought a realistic and up-to-date concept to a musical style that has had nothing new added to its growth and development for some time. The Dukes have scooped up the lag in time and are today bringing a new-found adulation to the music that came out of New Orleans and once held sway over the entire land.

Just how has this group accomplished this effect? The answer lies in the individualistic musicianship of the per- sonnel and the overall teamwork they manage to exert. As they play, it seems as though it is all spontaneous; that it is all for the first time. This effect is, of course, the desired playing today.

Back in 1947, the Assunto brothers, Frank and Fred, formed a high school band in their hometown of New Orleans. They called their small group "The Basin Street Four," and when they could add more men to the band, they just changed the name to the Basin Street Five, or Six, and so on. Most of their engagements consisted of playing week- ends in and around New Orleans.

Nothing much happened for the Assunto brothers and their father, Jac (who very often plays with the band), until Horace Heidt and his "Pot O' Gold" radio show, which sought fresh, young talent, came to New Orleans. The Assunto boys rounded up a Basin Street Seven and played for the Heidt show. They won such unanimous acclaim, and so impressed Heidt, that the bandleader invited the combo to join his organization. The boys were on their way!

After completing their tour with the Horace Heidt show, the combo returned to New Orleans. They outfitted them- selves in uniforms and changed their name to "The Dukes of Dixieland." Since then, the Dukes have enjoyed success at every turn and have played to crowded audiences in almost every top night spot in the country.

In this collection, the Dukes will continually amaze you with their endless supply of vitality, imagination and unmatched technique. Frank and his brother Fred handle the trumpet and trombone chores with complete assurance. Each and every one of the remaining members of the "team" have a chance to exhibit their soloistic showmanship. On two of the numbers, "After You've Gone" and "Jazz Me Blues," the vocal performance is handled by Betty Owen. Here again, the Dukes haven't missed. Betty's vocal styling fits snugly in place with the entire instrumental aggrega- tion. Betty, by the way, is Mrs. Fred Assunto in private life.

For the Dixieland devotee, this album is a must; for the jazz novice, it's a revelation. The "curtain is going up" and after you have listened you, too, will realize that the Dukes belong higher up in the musical hierarchy, for they are truly not the "Dukes" but the "Kings" of Dixieland.

Walkin' Blues
Swanee River Session
Jazz Me Blues
Duke's Stomp
Hindustan
After You've Gone
St. James Infirmary
Sampson's Delight