The Marcel Joly liner notes give a full, comprehensive narrative of important elements in the lives of jazz artists Cliff "Kid" Bastien and George Berry, inclusive of New Orleans Delight, and, a review of the eleven songs in the album.

Tenor saxophonist George Berry whose first visit to New Orleans was in 1969, and on hearing Emanuel Paul with the Kid Thomas Band there bought his first tenor sax on his return to Toronto, having been a member of the Cliff Kid Bastien Camelia Jazz Band in the early 70s that had a Saturday residency at Grossman’s Tavern, Toronto, Canada, so when he, Kid Bastien, heard that George would also be a member of the proposed Scandinavian tour that Kjeld Brandt, leader of the Danish/Swedish Jazz Band, New Orleans Delight was undertaking, it was that, that put a strong influence on Cliff to overcome his dislike of air flight, and so the Brandt invite was accepted, which in my view, the event turned out to have promoted one of the greatest recording albums of New Orleans music this epoch - that is to say, it is reference to this one, and the Gospel Church Concert in Sorgenfri Kirke sequel to it, recorded the day following on the 1st of December 2002, reviewed by Kings Jazz Review among others.

The Emanuel Paul association with Kid Thomas Valentine started around 1942 lasting into the 1980s producing notable recordings such as Picayune Kid1 1983 with the Thomas Algiers Stompers, Lugano.

Live at SeaSide Jazzklub - Denmark

Here is a brief curriculum vitae as, as came to my ears on listening to the songs on this album being played in New Orleans music theme. At a dance quick-step time the CD opens on Algiers Strut by the trumpeter playing Kid Thomas style, followed by the trombonist, drum-sticks rim shots intro into slapsticks, tenor, clarinet, banjo prominent in the background, and given a solo, winding up in ensemble all with unique beautiful tempi.

Deep in the heart of Texas as San Antonio Rose steady as she goes go, the tune has haunting musical sounds.

All of the ten and a quarter minutes of Winin’ Boy Blues the Kid comes in with his first of seven vocals, followed with a call and response trumpet/clarinet voice with the tenor in line. There is a wonderfully even rhythm beat to it throughout. In 1939 Jelly Roll Morton recorded this number. Wining Boy was the name given to Morton when working at Hilma Burt’s sporting-house next to Tom Anderson’s Saloon. Ferdinand "Jelly Roll" Morton did not deny the name, a name given by women to a young man with whom they got satisfaction. This rendition of the tune by the Bastien-Berry group, to a great extent gives great beauty to it, suffices that is to all of human delight.

"Highways Are Happy Ways has in speciality, nice vocals by a master trumpeter. During the clarinet melody of the tune, a neat offbeat slapstick movement prevails, and by the time the ensemble comes into force the SeaSide Jazzklub dancers must have if present all have been in an in-heaven element.

With the rhythm section creating a steady Cuban rumba beat John B Calypso takes on a special place in the album - a long jazz club applause supports that statement.

It’s hallelujah in the way this very fine eight-piece handles the Gloryland number.

I’ve got a soft spot for Blueberry Hill on hearing the mode operand that the jazz artists are giving to it, in which as I expect, you’ll have a thrill over it too - meadows.

The nine and a third minutes of the Last Mile Of The Way is definitely not to be missed as they contain as per throughout the CD, that is, the Bastien - sui generis - (the only type of its kind) vocals. The clarinet playing interpretation of this tune is truly breathtakingly wonderful to listen to; indeed, praise of the highest echelon can be meted out all along to each of the group’s very fine musicians.

This CD twin set is a perfect candidate for a BBC Radio 2 jazz presenter like Mike P. to create a four half-hour series programme on it - really.