“New Orleans Blues” is a sheer delight, digging deep into unhurried variations that speak to the abundance in this musical tradition (and it’s also got Stewart’s most righteous playing on this record). The B side is made up of two additional Morton tunes. And “Pua Mae’Ole” is a gentle transitional piece of sorts, stately and just a touch hymnal in places. “I Am His Brother” opens with a glorious dirge, all swirling chords, then follows a brief march before sputtering to a noisy end. “Popolo Paniolo” is a study in brisk, headlong momentum, with Stewart and Burrell racing through tightly overlapping lines. Burrell hits these marks on his own tunes, too, three of which close out the A side. The pair have a great instinct for contrast, too, and are especially fond of juxtaposing bright lyricism with outright hollers. ![]() He dials up some gloriously whooping solos, loads of portamento phrases, and some bumpnoxious rhythms. Stewart plays way more than a supporting role here. Just listen to them dig lovingly into Morton’s “The Crave” to start things off there’s an orneriness to Stewart’s pedals and lines, and Burrell’s own marvelous elaborations on tempo and melody. This isn’t to say that they play without any fidelity to the sources. It’s always a treat to listen to Burrell engage canonical materials such as these Jelly Roll Morton tunes, though most folks reading this will know that this is no conventional tuba and ivories reverential romp. But thanks to the good folks at No Business, we can now enjoy this superb duet (if you’re lucky enough to grab one of the 400 copies). Goodness knows why this 1994 date hasn’t seen the light of day previously. ![]() ![]()
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