LOUIS NELSON
WITH 'KID' MARTYN'S BAND

LOUIS NELSON, tbn.
Dan Pawson, tpt, vln.
Bill Greenow, alt, clt.
Richard Simmons, pno.
Brian Turnock, sbs.
BARRY 'KID' MARTYN, drms.

 

 

Side A
When My Dreamboat Comes Home
September in the Rain
Moonlite Bay
Sweet Adeline (Schottische)
Side B
Peg O' My Heart
Deep Purple
Lara's Song
Darktown Strutters Ball

If the GEORGE LEWIS sides for Esquire, Delmar, Columbia, H.M.V., Verve, (and so on ad infinitum) are NEW ORLEANS Jazz epitomised. LA CROIX will joyously commiit suicide tomorrow.

Such is not the case. The music of NEW ORLEANS besides being balls, sincerity, and truth personified is primarily functional. Functional that is, not in the context of the auditoriums of the world, but within the confines of the City itself.

"It's Dance Music," said BUNK JOHNSON in 1942. "It's Dance Music," says THOMAS VALENTINE in 1967. LA CROIX will repeat the message until the Second Coming. Who knows? Someday the anti-life critics may repent and see the folly of their ways.

That much said, the raison d'etre of LA CROIX becomes apparent. LA CROIX is NEW ORLEANS on wax, in diametrical opposition to the Concert Hall abortion-the truth's impostor.

And so to the men ...
LOUIS NELSON, JIM ROBINSON, ED SUMMERS and a handful of others constitute the last of the 'old-style' NEW ORLEANS trombonemen. LOUIS is perhaps the finest.

Musical integrity superseded racial integrity with KEN COLYER in 1953. The white MARTYN BAND go one further and prove the transubstantiation doctrine. Body and soul these are N.O. men.

Cover photo: John Mousley
Recording: Reg Hall
Mastering: John R. T. Davies
Fidei def': Crescent City Stompers

LA CROIX RECORDS
6, Rotton Park Road, Birmingham, 16, England