Timeless Records CDTTD655 - www.timeless-records.com - Minutes 62.44. - www.dscband.nl

This is an album for class jazz musicians among other group types of people by top class Dutch traditional jazz musicians of eight members.

Although the band has visited the UK on several occasions over the years currently with a date at London’s 100 Club during their October tour, they are due with the Chris Barber band at Colston Hall, Bristol on the 10th of December this year, 2004, which should see both bands inspiring each other - more is the pity that I’ve only heard the Swing College band play once live, and that was at their famous 1989 "Jazz From A Swinging Era", Fairfield Hall, Croydon concert with trumpeter Kenny Baker as guest artist replacing Canadian vibraphonist Peter Appleyard of English birth - both no longer I believe with us.

Formed out of the 1944 amateur college combo in May 1945, becoming professional in 1960, accompanying visiting American jazz artists to Holland "The Hague School" in name, so that, next year, 2005, will see them celebrating their 60th year as the great, famous Dutch Swing College Band.

Notable alumni being Frans Vink jr 1945-46; Joop Schrier 1955-60 and Peter Schilperoot 1946-53 and 1960-90 stints. The band has had well known jazz artists pass through it over the years including banjoist Arie Ligthart, clocking up many recordings cut to their names.

This current group has had a number of Timeless CDs recorded, prior to the banjoist Bergeijk’s instrument being recalled by popular demand, this album being their latest, was produced this year over January 6-8 2004, by Paul Power and Bas Meijer at Power Sound Studio, Amsterdam, Holland.

Opening on string bass with the cornet signalling pointedly We Double Dare You sets off the album in good form with all instruments setting the high standard of musicianship for which the Dutch Swing Collage Band has become renowned.

The two vocals in unison are an intricate asset heard on the title track and Ballin’ The Jack, but with the single vocalist on A Song Was Born, had the track not been included, the album would have still covered the hour of playing time.

The album is attractive to a wide spectrum of jazz enthusiasts in the Traditional and Dixieland styles, much so for the in house arrangements on such classic tunes included, exampled by the two Bob Kaper ones Blue Mystery and Website Stomp featuring alto and baritone respectively, the former being a beautifully expressed track.

For fast tempi tunes, they are on, one Bugle Call Rag which test musicians’ skills to great extent. There is a nice guitar break in it stringing runs together. On two is the pianist Henry Ragas and clarinettist Larry Shields both of the ODJB number Clarinet Marmalade/Bluin’ The Blues with the Dutch Swing taking it on, their style to good effect, and three Buddy’s Habits which carries an unique styled drum solo.

On W. C. Handy, Father of the Blues, St Louis Blues track, the banjoist is given prominence and is also heard nicely together with baritone saxophone on the temperance styled Georgia Swing - great stuff.

Harmonica and piano are featured on the Boogie Woogie tune, saxes, and in particular the clarinet do shine bright on Basin Street Rag (with my imagination directed on Ruby Braff that’s not taking anything away from what is voiced on cornet in the opening tune), and, can (the clarinet) be heard varying the volume on At A Georgia Camp Meeting - my heart's desire.

The Duke Ellington and King Oliver influenced Bubber Miley number Black & Tan Fantasy shows to full extent the musical professionalism of the Dutch Swing College Band, whereupon, one can find themselves doing a - ballin’ the jack - type dance of modern ilk based on the early Ballroom dance floor styles.

Can you pick out for yourself - a best track?

Ian King
Kings Jazz Review
Friday the 15th of October 2004