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34-840: The Dutch Swing College Band ( DSCB ) is a traditional dixieland band founded on 5 May 1945 by bandleader and clarinettist / saxophonist Peter Schilperoort . Highly successful in their native home of the Netherlands , the band quickly found an international following. It has featured such musicians as Huub Janssen (drums), Henk Bosch van Drakestein (double bass), Kees van Dorser (trumpet), Dim Kesber (saxes), Jan Morks (clarinet), Wout Steenhuis (guitar), Arie Ligthart (banjo/guitar), Jaap van Kempen (banjo/guitar), Oscar Klein (trumpet), Dick Kaart (trombone), Ray Kaart (trumpet), Bert de Kort (cornet), Bert Boeren (trombone), Rod Mason , Rob Agerbeek (piano), and Emmericus Geuze ( saxophone ) - among many others. The band provided

68-550: A washboard . There are several active periodicals devoted to traditional jazz: the Jazz Rambler , a quarterly newsletter distributed by San Diego's America's Finest City Dixieland Jazz Society; The Syncopated Times , which covers traditional jazz, ragtime, and swing; Just Jazz and The Jazz Rag in the UK; and, to an extent, Jazz Journal , an online-only publication based in Europe covering

102-406: A "front line" of trumpet (or cornet ), trombone, and clarinet, with a " rhythm section " of at least two of the following instruments: guitar or banjo , string bass or tuba, piano, and drums. The Dixieland sound is created when one instrument (usually the trumpet) plays the melody or a variation on it, and the other instruments improvise around that melody. This creates a more polyphonic sound than

136-594: A New Baby ", " Royal Garden Blues " and many others. All of these tunes were widely played by jazz bands of the pre- WWII era, especially Louis Armstrong. They came to be grouped as Dixieland standards beginning in the 1950s. Largely occurring at the same time as the "New Orleans Traditional" revival movement in the United States, traditional jazz music made a comeback in the Low Countries . However, most Dutch jazz bands (such as The Ramblers ) had long since evolved into

170-493: A new form of jazz ensemble generally referred to "Oude Stijl" ("Old Style") jazz in Dutch . Influenced by the instrumentation of the two principal orchestral forms of the wind band in the Netherlands and Belgium , the "harmonie " and the " fanfare ", traditional Dutch jazz bands do not feature a piano and contain no stringed instruments apart from the banjo . They include multiple trumpets, trombones and saxophones accompanied by

204-411: A recording history from 1945 to the present day in 2012 many albums and singles have been recorded. Recording media from 78 rpm discs, 33 and 45 rpm records and CDs and DVDs on variety of labels, including Philips and the band's own DSC production label. As well as recording on its own, recordings were made with a number of notable US solo artists beginning in 1951 with Sidney Bechet and continuing into

238-432: A single clarinet, sousaphone and a section of marching percussion usually including a washboard . The music played by Dutch jazz bands includes both the original New Orleans tunes and the songs of the revival era. In terms of playing style, Dutch jazz bands occupy a position between revivalist and original New Orleans jazz, with more solos than the latter but without abandoning the principle of ensemble playing. With

272-416: A variety of jazz styles. Arguably the happiest of all music is Dixieland jazz. The sound of several horns all improvising together on fairly simple chord changes with definite roles for each instrument but a large amount of freedom, cannot help but sound consistently joyful. By the mid-1930s the word 'Dixieland' was being applied freely to certain circles of white musicians. First by the trade press, then by

306-540: Is sometimes called "Dixie-bop". Lacy went on to apply that approach to the music of Thelonious Monk , Charles Mingus , Duke Ellington , and Herbie Nichols . The word " Dixie " is the nickname of the Southern United States, wherein New Orleans – the birthplace of Dixieland Jazz – is located. Dixieland largely evolved into Chicago style in the late 1910s and the new style was popularly called that name by

340-467: The Dutch Swing College Band from 1946 to 1955, then from 1960 to 1990, his style was Dixieland , a style popular at the start of the twentieth century. His band became widely popular across Europe, Australia, Asia and South America in 1960, known as a Dixieland revival band. [REDACTED] Media related to Peter Schilperoort at Wikimedia Commons This article about a jazz musician

374-585: The Rebirth Brass Band , have combined traditional New Orleans brass band jazz with such influences as contemporary jazz, funk , hip hop , and rap. The M-Base (Multi-Basic Array of Synchronous Extemporization) improvisational concept used by ensembles including Cassandra Wilson , Geri Allen , Greg Osby , Steve Coleman , Graham Haynes , Kevin Eubanks and others is an extension of the polyphonic improvisation of New Orleans jazz. The Dixieland revival renewed

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408-431: The swing era while the few remaining traditional jazz bands (such as the Dutch Swing College Band ) did not partake in the broader traditional revival movement, and continued to play ragtime and early jazz, greatly limiting the number of bands aspiring jazz musicians could join or (as they were using instruments unavailable to most Dutch musicians such as double basses and the piano) were forced to improvise, resulting in

442-411: The "standard" band consists of a "front line" of trumpet (or cornet ), trombone, and clarinet, with a " rhythm section " of at least two of the following instruments: guitar or banjo , string bass or tuba, piano, and drums. Louis Armstrong 's All-Stars was the band most popularly identified with Dixieland during the 1940s, although Armstrong's own influence during the 1920s was to move the music beyond

476-421: The 1930s and 1940s, the earlier group-improvisation style fell out of favor with the majority of younger black players, while some older players of both races continued on in the older style. Though younger musicians developed new forms, many beboppers revered Armstrong and quoted fragments of his recorded music in their own improvisations. The Dixieland revival in the late 1940s and 1950s was formed in reaction to

510-518: The 1970s with the likes of Jimmy Witherspoon in 1970, Joe Venuti in 1971, Teddy Wilson in 1972 and 1973, Billy Butterfield in 1973, Bud Freeman in 1975 and Wild Bill Davison in 1976. Tracks recorded over the history of the band include amongst many others " Tin Roof Blues ", "Apex Blues", "Panama", "Shake Rag", "Everything's Wrong, Ain't Nothing Right", "Freeze n' Melt", "Strange Peach", Royal Garden Blues , Jazz Me Blues, High Society , Out of

544-522: The Gallion, At the Jazzband Ball, That's a Plenty , Nobody Knows When You Are Down and Out , Annie Street Rock, Figety Feet, " Margie ". Note: Decca 846 761-2 The Singles Collection Volume 1, other CDs are available Dixieland The Original Dixieland Jazz Band , recording its first disc in 1917, was the first instance of jazz music being called "Dixieland", though at the time, the term referred to

578-583: The R&;B style of James Brown . Soprano saxophonist Steve Lacy combined New Orleans style polyphonic improvisation with bebop . Bassist Charles Mingus paid homage to traditional jazz styles with compositions such as "Eat Dat Chicken" and "My Jellyroll Soul". The contemporary New Orleans brass band styles, such as the Dirty Dozen Brass Band , The Primate Fiasco, the Hot Tamale Brass Band and

612-635: The West Coast style use banjo and tuba in the rhythm sections, which play in a two-to-the-bar rhythmic style. Much performed traditional Dixieland tunes include: " When the Saints Go Marching In ", " Muskrat Ramble ", " Struttin' with Some Barbecue ", " Tiger Rag ", " Dippermouth Blues ", " Milenberg Joys ", " Basin Street Blues ", " Tin Roof Blues ", " At the Jazz Band Ball ", " Panama ", " I Found

646-468: The audience for musicians who had continued to play in traditional jazz styles and revived the careers of New Orleans musicians who had become lost in the shuffle of musical styles that had occurred over the preceding years. Younger black musicians shunned the revival, largely because of a distaste for tailoring their music to what they saw as nostalgia entertainment for white audiences with whom they did not share such nostalgia. The Jim Crow associations of

680-498: The average band containing up to 15 players, Dutch jazz bands tend to be the largest ensembles to play traditional jazz music. Musical styles showing influences from traditional jazz include later styles of jazz, rhythm and blues , and early rock and roll . Traditional New Orleans second-line drumming and piano playing are prominent in the music of Fats Domino . The New Orleans drummer Idris Muhammad adapted second-line drumming to modern jazz styles and gained crossover influence on

714-3959: The band again officially on 1 January 1960. As of January 2022, the line-up is: As of January 2012, the line-up is: As of the end of 1945, the line-up was: Peter Schilperoort leader, clarinet, alto saxophone, baritone saxophone; Kees van Dorsser trumpet; Wim Kolstee trombone; Dim Kesber clarinet; Joop Schrier piano; Dick Bakker banjo; Chris Bender double bass; Arie Merkt drums. Peter Schilperoort leader, clarinet, alto saxophone, baritone saxophone; Wybe Buma trumpet; Wim Kolstee trombone; Dim Kesber clarinet; Joop Schrier piano; Arie Ligthart banjo, guitar; Bob van Oven double bass; Andre Westendorp drums, trumpet. Joop Schrier leader, piano; Wybe Buma trumpet; Wim Kolstee trombone; Dim Kesber clarinet, soprano sax; Jan Morks clarinet; Arie Ligthart banjo, guitar; Bob van Oven double bass; Martin Beenen drums. Peter Schilperoort leader, clarinet, alto saxophone, baritone saxophone; Oscar Klein cornet, trumpet; Dick Kaart trombone; Jan Morks clarinet; Arie Ligthart banjo, guitar; Bob van Oven double bass; Martin Beenen drums. Louis de Lussanet replaces Martin Beenen on drums and Jan Morks departs) Peter Schilperoort leader, clarinet, alto saxophone, baritone saxophone; Ray Kaart trumpet; Dick Kaart trombone; Arie Ligthart banjo, guitar; Koos Serierse double bass; Louis de Lussanet drums. Peter Schilperoort leader, clarinet, alto saxophone, baritone saxophone; Ray Kaart trumpet; Dick Kaart trombone; Arie Ligthart banjo, guitar; Bob van Oven double bass; Peter Ypma drums. Peter Schilperoort leader, clarinet, alto saxophone, baritone saxophone; Bert de Kort cornet; Dick Kaart trombone; Arie Ligthart banjo, guitar; Chris Smildiger double bass; Huub Janssen drums. Peter Schilperoort leader, clarinet, alto saxophone, baritone saxophone; Bert de Kort cornet; Dick Kaart trombone; Bob Kaper clarinet; Arie Ligthart banjo, guitar; Henk Bosch van Drakestein double bass; Huub Janssen drums. Peter Schilperoort leader, clarinet, alto saxophone, baritone saxophone; Bert de Kort cornet; Dick Kaart trombone; Bob Kaper clarinet; Jaap van Kempen banjo, guitar; Henk Bosch van Drakestein double bass; Huub Janssen drums. Peter Schilperoort leader, clarinet, alto saxophone, tenor saxophone; Ray Kaart trumpet; Dick Kaart trombone; Bob Kaper clarinet; Jaap van Kempen banjo, guitar; Henk Bosch van Drakestein double bass; Huub Janssen drums. Peter Schilperoort leader, clarinet, alto saxophone, baritone saxophone; Rod Mason trumpet, sousaphone; Dick Kaart trombone, B-horn; Bob Kaper clarinet, alto saxophone; Fred McMurray piano; Henk Bosch van Drakestein double bass; Huub Janssen drums. Peter Schilperoort leader, clarinet, alto saxophone, baritone saxophone; Sytze van Duin trumpet; Bob Kaper clarinet, alto saxophone; Bert Boeren trombone; Fred McMurray piano; Adrie Braat double bass; Huub Janssen drums. Bob Kaper – leader, clarinet, alto saxophone; Klaas Wit trumpet, Flugelhorn; Bert Boeren trombone; Fred McMurray piano; Adrie Braat double bass; Bob Dekker drums. Bob Kaper leader, clarinet, alto saxophone; Michael Varekamp trumpet; Bert Boeren trombone; Fred McMurray piano; Adrie Braat double bass; Bob Dekker drums. Bob Kaper leader, clarinet, alto saxophone; Bert de Kort cornet; Frits Kaatee clarinet, baritone saxophone, soprano saxophone; George Kaatee trombone; Rob Agerbeek piano; Ton van Bergeijk banjo, guitar; Adrie Braat double bass; Bob Dekker drums. Bob Kaper leader, clarinet, alto saxophone; Bert de Kort cornet; Frits Kaatee clarinet, baritone saxophone, soprano saxophone; George Kaatee trombone; Marcel Hendriks piano; Ton van Bergeijk banjo, guitar; Adrie Braat double bass; Han Brink drums. With

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748-487: The band, not the genre. The band's sound was a combination of African American/New Orleans ragtime and Sicilian music . The music of Sicily was one of the many genres in the New Orleans music scene during the 1910s, alongside sanctified church music, brass band music and blues. Much later, the term "Dixieland" was applied to early jazz by traditional jazz revivalists, starting in the 1940s and 1950s. In his book Jazz ,

782-471: The critic Rex Harris defined Dixieland as "Jazz played in a quasi-New Orleans manner by white musicians." The name is a reference to the "Old South", specifically anything south of the Mason-Dixon line . The term encompasses earlier brass band marches, French Quadrilles , beguine , ragtime , and blues with collective, polyphonic improvisation . While instrumentation and size of bands can be very flexible,

816-582: The early 1920s. "Chicago style" is often applied to the sound of Chicagoans such as Jimmy McPartland , Eddie Condon , Muggsy Spanier , and Bud Freeman . The rhythm sections of these bands substitute the string bass for the tuba and the guitar for the banjo . Musically, the Chicagoans play in more of a swing-style 4-to-the-bar manner. The New Orleanian preference for an ensemble sound is deemphasized in favor of solos. Chicago-style Dixieland also differs from its southern origin by being faster paced, resembling

850-621: The enduring popularity of traditional jazz. Country Joe McDonald 's Vietnam-era protest song " Feel Like I'm Fixin' to Die Rag " is based on tonal centers and incorporates the "B" refrain from the New Orleans standard " Muskrat Ramble ". Traditional jazz is a major tourist attraction for New Orleans to the present day. It has been an influence on the styles of more modern players such as Charles Mingus and Steve Coleman . New Orleans music combined earlier brass band marches, French quadrilles , biguine , ragtime , and blues with collective, polyphonic improvisation . The "standard" band consists of

884-465: The heavily arranged big band sound of the 1930s or the straight melodies (with or without harmonizing) of bebop in the 1940s. The "West Coast revival", which used banjo and tuba, began in the late 1930s in San Francisco. The Dutch "old-style jazz" was played with trumpets, trombones and saxophones accompanied by a single clarinet, sousaphone and a section of Marching percussion usually including

918-537: The hustle-bustle of city life. Chicago-style bands play a wide variety of tunes, including most of those of the more traditional bands plus many of the Great American Songbook selections from the 1930s by George Gershwin , Jerome Kern , Cole Porter , and Irving Berlin . Non-Chicagoans such as Pee Wee Russell and Bobby Hackett are often thought of as playing in this style. This modernized style came to be called Nicksieland , after Nick's Tavern, where it

952-554: The interval act for the Eurovision Song Contest 1976 presented live from Den Haag. The band continues to tour extensively, mainly in Europe and Scandinavia, and record directed by Bob Kaper , himself a member since 1967, following the former leader, Peter Schilperoort 's death on 17 November 1990. Schilperoort had led the band for more than 45 years, albeit with a five-year sabbatical from 13 September 1955, when he left to pursue an engineering career before returning to lead

986-479: The jazz circuit after years of not playing (such as Kid Ory and Red Nichols ). Many Dixieland groups of the revival era consciously imitated the recordings and bands of decades earlier. Other musicians continued to create fresh performances and new tunes. For example, in the 1950s a style called "Progressive Dixieland" sought to blend polyphonic improvisation with bebop -style rhythm . Spike Jones & His New Band and Steve Lacy played with such bands. This style

1020-494: The name "Dixieland" also did little to attract younger black musicians to the revival. The Dixieland revival music during the 1940s and 1950s gained a broad audience that established traditional jazz as an enduring part of the American cultural landscape, and spawned revival movements in Europe. Well-known jazz standard tunes such as " Basin Street Blues " and " When the Saints Go Marching In " are known even to non-jazz fans thanks to

1054-474: The orchestrated sounds of the swing era and the perceived chaos of the new bebop sounds (called "Chinese music" by Cab Calloway ). Led by the Assunto brothers' original Dukes of Dixieland , a band known for its virtuoso improvisation and recording history's first stereo record , the movement brought many semi-retired musicians a measure of fame late in their lives, as well as bringing retired musicians back onto

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1088-417: The public. By the end of the decade it all but lost any direct 'Southern' association. Peter Schilperoort Peter Schilperoort (1919 – 1990), also known as Pat Bronx , was a Dutch musician, famous for his work with the Dutch Swing College Band , and projects with other well-known musicians. He is most recognised as a saxophone and clarinet player, but also played the guitar and the banjo . Leading

1122-411: The traditional New Orleans style. The definitive Dixieland sound is created when one instrument (usually the trumpet) plays the melody or a recognizable paraphrase or variation on it, and the other instruments of the "front line" improvise around that melody. This creates a more polyphonic sound than the arranged ensemble playing of the big band sound or the straight "head" melodies of bebop . During

1156-540: Was popular, though the term was not limited to that club. The "West Coast revival" is a movement that was begun in the late 1930s by Lu Watters and his Yerba Buena Jazz Band in San Francisco and extended by trombonist Turk Murphy . It started out as a backlash to the Chicago style , which is closer in development towards swing . The repertoire of these bands is based on the music of Joe "King" Oliver , Jelly Roll Morton , Louis Armstrong , and W.C. Handy . Bands playing in

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