This is the band's third album, I believe, for Bob Koester's prestigious Delmark label and captures well the atmosphere of a relaxed concert played before friends by musicians who have the un-selfconscious approach of longtime colleagues. Nothing adventurous here perhaps, but as William Carter's notes state -- "We might well imagine ourselves sitting on the floor in front of the occupants of those straight backed wooden chairs of Preservation Hall in its heyday" -- and that's a compliment to these musicians, none of whom are New Orleanians. They are all, however, jazzmen who have devoted considerable time to absorbing the music they love and it certainly can be felt here. No 'racehorse Dixieland' in sight on this occasion.

I was particularly interested to hear Norrie Cox again since I had the luck to work with him and benefit from his knowledge of New Orleans music when he still lived in his native England in the late 1950s and ran the San Jacinto Jazz Band. Nowadays, apart from leading this authentic line up, he plays a significant part in teaching young musicians about genuine New Orleans jazz -- a service we dearly need in the UK these days. His old mentor George Lewis is still well in evidence in his playing as well as hints of other favourites like Albert Burbank. Charlie DeVore's restrained lead a'la Percy Humphrey and Jim Klippert's gruff tailgaiting sit well alongside Norrie in the front line. Match this with a sympathetic rhythm section, boosted on this occasion by the stylish Butch Thompson, and you can't go far wrong.

The band numbers are mainly ensemble with plenty of dynamics and Butch features on three pieces including a delicate version of "The Crave" that almost takes one back to Storyville, and a pensive "Krooked Blues". Perhaps the highlight as a band number is "Waery Blues" which has touches of Wooden Joe from DeVore sparking things off nicely, but the whole album is well worth a listen.