Dixieland Bandwagon

Manhattan recording studios last week were rocking to the loose-jointed two-beat tempo of slap bass and honkytonk piano, the syncopated blast of gutbucket trumpet, tailgate trombone and high-flying clarinet. The record industry, with a gleaming eye on a trend, was climbing back aboard the Dixieland bandwagon.

The wagon began to roll last fall when Jimmy Dorsey played hooky from his big dance band long enough to record Johnson Rag and a Dixieland version of Charley My Boy with an easygoing eight-piece group called the Original "Dorseyland" Jazz Band. The relaxed, free-wheeling music caught the public's ear, and the Dorseylanders quickly followed with an album including such old standards as Jazz Me Blues, South Rampart Street Parade, and High Society. The album soon hit Variety's list of the top-five bestsellers, has stayed there for six weeks.

Other bandleaders decided to take a ride too. Phil Harris cut in with Muskrat Ramble and Walk with a Wiggle, planned also to make his next album with a New Orleans beat. Tommy Dorsey hastily reassembled his old Clambake Seven to record Way Down Yonder in New Orleans and Tiger Rag. Gene Krupa parked his successful 16-piece band, picked up a six-man crew in & around Greenwich Village and recorded his first oldtime jazz in more than ten years. Exchanging his tux for shirt sleeves and slacks, Drummer Krupa, who had his first taste of jazz from Louis Armstrong and the New Orleans Rhythm Kings back in the '20s, said with a big grin, "It's my first love. It's kicks for me."

Even Dixielander Bob Crosby, who had given up his loud brass and fast beat after the war because "guys are sick and tired of jump stuff," was back on board. Last week he and his Bobcats were together again to record Dixieland versions of Sousa's The Stars and Stripes Forever and Washington Post, which would have sounded almost natural coming over the tail gate of an oldtime New Orleans jazz wagon. "People are tired of love songs and weepy ballads," said Bob. "They want happy music."

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