The Rampart Street Paraders

The Rampart Road Paraders were an organization organized by Matty Matlock on the behest of producer Paul Weston to get a one-off recording project, however they proved so successful that they enjoyed a four-year run among the better studio Dixieland outfits from the mid-’50s. In past due 1953, Columbia Information decided to execute a 12″ LP — after that an ambitious format that allowed for expanded tracks and jamming — entitled Jam Session Coastline to Coast; the theory, commensurate with the name, was to set off musically suitable periods by two different rings on opposite coasts of america. As this is to be always a Dixieland-themed jazz record, Eddie Condon’s group was to record in NEW YORK under maker George Avakian, while Weston was to provide a documenting of equal well worth and stature from LA. Weston put together the music group he needed mainly using the veteran players who packed the studio room music department rates and program logs, and offered them the name from a road in LA that experienced become connected with Dixieland jazz over the prior 30 years roughly. The lineup was constructed around Matty Matlock and Eddie Miller, ex-members of Bob Crosby’s Bobcats, on clarinets and, in Miller’s case, tenor sax aswell. Matlock and Miller have been operating together for a long time, and with each of them as the starting place, there is also Stan Wrightsman in the piano, Phil Stevens on bass and tuba, Abe Lincoln on trombone, Clyde Hurley around the trumpet, Nick Fatool on drums, and guitarist George Vehicle Eps. The producing recording was so effective that they continued employed in the studio room beneath the name, with the help of Crimson Nichols alumnus Joe Rushton on bass saxophone. They possessed another two LPs they do — there is no posting with some other music group on Rampart and Vine or Dixieland My Dixieland. Those two LPs, released in 1954 and 1956, respectively, didn’t break any product sales records, but had been sufficiently popular allowing them still even more studio room time collectively. In 1955, with Charlie Teagarden changing Hurley, and Al Hendrickson changing Vehicle Eps, they slice another program in tandem with tin whistle soloist Randy Hall. In 1957 they produced one last documenting with Hurley back the collapse and were became a member of by fellow trumpet guy John Best. The effect was your final full-length LP with an unusual western taste to it, entitled Tx! U.S.A., that demonstrated them away handily within this offbeat musical environment. By the finish from the ’50s, the eye in Dixieland jazz was slackening — as was industrial interest generally in most types of jazz — which proclaimed their swan tune. But a four-year background as a studio room ensemble wasn’t harmful to a group tossed together for that which was said to be a single task, and it’s unexpected their work hasn’t produced a free-standing reissue of its.