Anyone who likes turn-of-the century New Orleans jazz done up in its Sunday-go-to-meeting best will dig this one in the biggest kind of way. And even if you're not enamored by the plunk-a-plunk beat that is the undergirding of early New Orleans jazz still will much to admire about the musicianship. And who's to credit? Norrie Cox, an English clarinetist, who rounded up a quality cast of American counterparts for the recording session. Revivalists like trombonist Jim Klippert, cornetist Charlie DeVore, bassist Bill Evans, drummer Donald Berg and Mike Carrell, who doubles on banjo and guitar. Note the absence of a piano, which is in keeping with English customs.

(The instrumentation and blend reminds you a great deal of the sound produced by the Grand Dominion Jazz Band, also a revivalist band but which, unlike the Cox crew, offers a pianist in the person of Bob Peliand.)

The program is just about what you might expect of a group dedicated to music from a specific era, although instead of hashing over old scores, the sextet digs into the music with inventive vigor.

Therefore, with DeVore leading the way, "San Jacinto Stomp" takes on a new life and Cox's plaintive clarinet colors "Franklin Street Blues" a deep shade of indigo. And it's Klippert's tasty tailgate that provides new-found riches in "One Sweet Letter" while DeVore's distinctive voice adds to the robust flavor of "Royal Telephone."

Other worthwhile entries include a laidback "Atlanta Blues" that gives DeVore, mute in hand, and Klippert, playing open, plenty of open space; "City Of A Million Dreams," a very pretty melody heard all too infrequently that showcases DeVore's rich tone, and a romping reading of the title track features another DeVore vocal that also lets all the others have their innings, too.