The Dirty Dozen Brass Band in its prime successfully mixed together R&B with the instrumentation of a New Orleans brass band. Featuring Kirk Joseph on sousaphone playing with the agility of an electric bassist, the group revitalized the brass band tradition, opening up the repertoire and inspiring some younger groups to imitate its boldness.... [+] Read More

The Dirty Dozen Brass Band in its prime successfully mixed together R&B with the instrumentation of a New Orleans brass band. Featuring Kirk Joseph on sousaphone playing with the agility of an electric bassist, the group revitalized the brass band tradition, opening up the repertoire and inspiring some younger groups to imitate its boldness. Generally featuring five horns (two trumpets, one trombone, and two saxes) along with the sousaphone, a snare drummer, and a bass drummer, the DDBB was innovative in its own way, making fine recordings for Rounder, Columbia, and the George Wein Collection (the latter released through Concord). Guest artists have included Dr. John, Dizzy Gillespie, and Danny Barker. Unfortunately, the group became much more conventional over the years, still using R&B riffs but with a standard (and less distinctive) rhythm section. The DDBB re-emerged in 1999 with John Medeski as its producer, and many called the group's Buck Jump release a return to classic form. The group then returned in 2002 with yet another surprising album, Medicated Magic. Two years later, the band made their Artemis label debut with Funeral For A Friend. ~ Scott Yanow, All Music Guide [-] Hide

Not at the same level as their debut (My Feet Can't Fail Me Now), this second outing by the Dirty Dozen Brass Band (taken from a couple sets performed at the 1985 Montreux Jazz Festival) is overly loose in spots and has some lightweight material that was better heard live than on record. The party music does have its strong moments, the mightly... [+] Read More

Not at the same level as their debut (My Feet Can't Fail Me Now), this second outing by the Dirty Dozen Brass Band (taken from a couple sets performed at the 1985 Montreux Jazz Festival) is overly loose in spots and has some lightweight material that was better heard live than on record. The party music does have its strong moments, the mightly sousaphone playing of Kirk Joseph (who simulates an electric bass) pushes the group and the joy of the band is not to be denied, but "The Flintstones Meets the President" is only worth hearing once. ~ Scott Yanow, All Music Guide [-] Hide

If you have been yearning for the original sound of the Dirty Dozen Brass Band to return, this is it. Produced by John Medeski, the ensemble returns to their roots, but with a twist. They remain the ultimate party group, but are fastened to the stage with a drummer, organist, the full complement of horns sounding funky and fresh with that deep... [+] Read More

If you have been yearning for the original sound of the Dirty Dozen Brass Band to return, this is it. Produced by John Medeski, the ensemble returns to their roots, but with a twist. They remain the ultimate party group, but are fastened to the stage with a drummer, organist, the full complement of horns sounding funky and fresh with that deep tuba and baritone sax underpinning; there's some daring improvisation rooted in counterpoint and upper-atmospheric blasts that are a familiar signature of this progressive New Orleans dance machine. Everything on the nine-song CD is saturated with, as one of the titles suggests, "Old School" style. The solos are inspired, riffs fly left and right, and they aren't afraid to moan and wail. Horn charts are tight as can be, repeated figures give the others a platform to improvise, and occasionally a calypso beat creeps in, as on the classic "Run Joe" or the Latin-inflected "Pet the Kat." It's all in the name of fun...upbeat, positive, and with nary a trace of excess. They're at their zenith on "Duff," the collective Dozen reaching out and hammering the upper registers of their instruments, and at their most soulful on "Inner City Blues," approaching it in a most unconventional way. Of course, this band needs to be heard live for full effect, but this recorded effort might be their best yet. Every cut is solid, and the high level of musicianship is clearly evident. Singular in their stance and sound, mature like never before, and bent on having a really good time, this Dirty Dozen CD sets the bar high in mixing jazz and joy -- a hard combination to beat. ~ Michael G. Nastos, All Music Guide [-] Hide

The Dirty Dozen Brass Band certainly knew how to have a good time while playing their music. Their spirited blending of New Orleans jazz parade rhythms with R&Bish horn riffs made them flexible enough to welcome guests Dr. John (who sings and play piano on "It's All Over Now"), Dizzy Gillespie ("Oop Pop A Dah") and Branford Marsalis ("Moose the... [+] Read More

The Dirty Dozen Brass Band certainly knew how to have a good time while playing their music. Their spirited blending of New Orleans jazz parade rhythms with R&Bish horn riffs made them flexible enough to welcome guests Dr. John (who sings and play piano on "It's All Over Now"), Dizzy Gillespie ("Oop Pop A Dah") and Branford Marsalis ("Moose the Mooche") to their Columbia debut without altering their music at all. With Gregory Davis and Efrem Towns playing strong trumpet in the ensembles and occasional solos, and with sousaphonist Kirk Joseph not letting up for a moment, this is a typically spirited set by the unique DDBB. ~ Scott Yanow, All Music Guide [-] Hide