Despite being basically a quintet, the overall feeling I get from my first listen is of those 1940 recordings by the Bechet-Spanier Big Four. On soprano, Alexander has that wide vibrato associated with Bechet although Kellso is a more assertive figure than Muggsy was which makes for more of a level playing field. The illusion is particularly compounded on those tracks where Ernst provides a link between the two just as Carmen Mastren did on the Bechet-Spanier dates.
People Will Say We're in Love, is taken at a much faster tempo than in the film (Oklahoma) and it works, setting the scene for 45 minutes of small group swing.
Sweet Lorraine. A Rhapsody in Blue(ish) intro from Ridenhour leads into a distinctive vocal from Gould. Alexander adds some vocal harmony. Bechet-Spanier also did a 'job' on Lorraine.
King Porter Stomp - and stomp it does! A Lindy Hopper's dream tempo with solos to drive them on to terpsichorean madness.
Promenade, composed by Alexander, has a lovely relaxed tempo.
Gould returns for a bouncy It Had to be You. A suggestion of Pearl Bailey in her phrasing and there's nothing wrong with that. More fine solos from horns and piano.
Just One of Those Things is much more than it says on the tin. Cole Porter may not have visualised his song being treated in this way but the up-tempo rhythm and the solos don't do it any harm at all.
High Society - with a difference! It was strutting merrily along, as versions of this hoary old New Orleans march invariably do and I waited without a lot of enthusiasm for the traditional, obligatory, clarinet solo - I've heard it so many times I could probably sing it backwards - if I could sing that is! Here it comes, but, hang about, he's playing soprano and not only that but Kellso's joined in and the pair of them are trading, duetting, counter-punching. They've taken this society even higher and if that wasn't enough Thomas' piano solo gives it yet another lift.
Fine and Dandy and another vocal by Gould which is fine and dandy with me. Alexander on clarinet is also fine and Kellso's solo is just dandy.
Don't Blame Me has Alexander exercising his vocal chords, Kellso blows, Alexander growls à la Pee Wee, piano strides and the leader has another go at singing. Maybe not as good as Frank but better than Nancy.
Spring is Here, a sensitive take by Gould on the Rodgers and Hart classic.
The Touch of Your Lips, a gentle swinger with the two horns working well together with piano soloing over a fast shuffling rhythm.
Rubber Plant Rag, seemingly, is an old clarinet showpiece composed by George L.Cobb in 1909 and described on the sheet music as a 'stretcherette' - the mind boggles! Alexander, Ridenhour and the rhythm boys prove they can stretcherette with the best.
Highly recommended for those who like to party to classic jazz. Lance
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