Same LP was also published as "Dixieland Way Down Yonder In New Orleans" same catalog number, tracks and similar back cover, but has a different front cover. Southland commonly had two or three different covers for the same LP.
Jack Delaney, Trombone
Alvin Alcorn, Trumpet
Pete Fountain, Clarinet
Chink Martin, String Bass
Roy Zimmerman, Piano
Joe Capraro, Guitar
Monk Hazel, Drums-Mellophone
2. Sidewalks Of New York
4. Till We Meet Again
Jack Delaney, Trombone
Raymond Burke, Clarinet
Lee Collins, Trumpet
Stan Mendelson, Piano
Abbie Brunies, Drums
Sherwood Mangiapane, Bass
1. Careless Love
2. Bucktown Drag
3. Who's Sorry Now
4. Basin Street Blues
Cover Design by Johnny Donnels
Dixieland from New Orleans: Naturally that's where it all started, back before the turn of the century. New Orleans - where the old time marching jazz came into being: Where Ragtime: Barrel House, old and present day Dixieland all originated: And the best Dixieland is still coming from this famous bend in the Mississippi. Here's Recorded Proof.
The greatest names in jazz history were born right here in New Orleans. To name a few: Louis Armstrong, Johnny Dodds, Kid Ory, George Brunis, Paul Mares, Leon Roppolo, Irving Fazola, Eddie Miller, Monk Hazel, Santo Pecora, Lester Bouchon, Harry Shields. Every Crescent City boy hears so much music that he can't help developing a genuine interest in this Great Jazz.
There are always parades to inspire the kids. Jazz music is always with them, all year around, Dances, Parties, Celebrations. That's why so many New Orleans Jazz Men begin playing while they're still youngsters. Parents encourage the kids who show an interest in music - After all the older folks, too, have grown up in this parade-brass atmosphere.
It's little wonder that this environment must produce great jazz musicians. So here's real New Orleans-Dixieland music at its very best, and here is a veritable cavalcade of great New Orleans Jazzmen in two spectacular groups, each built around the young leader "Jack Delaney" and his unbelievable trombone. In the world of jazz a tasteful trombone is vital. Jack Delaney possesses all of the qualifications - tone, power, exceptional inventiveness. The ability to fit perfectly in the ensemble work, and a true tailgate style. We catch Jack on these sessions playing in three different styles: The Brunis Style, The Jack Teagarden Style and The Jack Delaney Style. No one enjoys playing more than Jack. He's got Dixieland in his heart. After you hear him on these sides you'll remember the name Jack Delaney, one of the next generation of great names in New Orleans Jazz. On side one you will hear the beautifully lyrical clarinet passages of Pete Fountain who will remind one of the late great Irving Fazola.
Opposite Pete Fountain we find the unique idea of the high-ranking Raymond Burke. On side one is the youthful sensation Alvin Alcorn from whose gleaming trumpet pours the whole tradition of the Crescent City, fine driving lead and exciting solos. On side two we find Lee Collins one of the jazz immortals who has been blowing the same kind of New Orleans horn for the past three decades - And better today than ever before. On piano side one we find Roy Zimmerman. Roy working freely and solid as we've rarely heard him. Onside two we find Stanley Mendelson a young man with old ideas, possessor of a truly great left hand, he has all the barrel house rock and a sincere and emotional style all his own.
Side one, Chink Martin using his string bass to perfection and lays down a big round tone. Side two we find the popular Sherwood Mangiapane; this bass-slaper deluxe would rather bleed to death than miss a beat. On side one we find Monk Hazel on drums and mellophone, Monk's name is famous where ever jazz is heard. Monk made a lot of music and still does. Monk Hazel heard on drums here, lays down a solid beat and plays more honest-to-goodness drums than you can find anywhere else in this hide beating generation. On side two we find the late Abbie Brunis on drums, drumming in good taste and his delicate handling of the rhythm is beautifully adequate. A special treat is the appearance of Joe Capraro on guitar on side one. Joe remains unchallenged in his mastery of the guitar and retains his enormous vigor and vitality after these many years. Joe maintains his position as a top Jazz Musician (after a lay off of twenty-five years) and is already for a hot session day or night.
Southland is proud of this album and proud to be able to work and record here in New Orleans, where session like this are possible and music can be made to delight the hearts of jazz lovers all over the world. After reading the multitude of wonderful reviews accorded Jack Delaney's heart warming horn on his first LP release we include these and other printed comments.
Particularly pleasurable is the full-tone expansiveness of Delaney's Tromhone." (Downbeat)
"Jack Delaney tracks are robust music played with a high degree of musicianship. His work on Southland is of high order. A big future for this boy." (Jazz Journal)
"Young Jack Delaney is improving with every week that passes. On South-land Records he can be heard playing delightful Trombone, easy swinging stuff in perfect taste, with a big tone and very original ideas. Jack is one of the most promising musicians in the states. A big future for this grand young musician." (Melody Maker: England)
"Jack Delaney's Trombone is mellow, round and big, It is very remindful of Miff Mole and Jack Teagarden combined. For such a youngster who is still learning, it is our prediction that this is the boy to watch. He's Got It, He Loves It, And he's not spoiled by the fuss that's being made over him." (Second Line - New Orleans Jazz Club)
"Jack Delaney is super extraordinary because that young man's syncopated ensemble blowing is outstanding, and this young man can really claim the singing tone. One of the finest Trombone men in the country today." (Alan C. Weber - Waterbury - Republican - Conn.)
- Joe Mares, Jr.