On this CD (described by bass player, Colin Bray, as 'relaxed) clarinettist ex-pat Brit Chris Burke joins Canadians Reide Kaiser on piano, Patrick Tevlin on trumpet and fellow ex-pat Colin Bray for a session recorded in Toronto.

Now any collector of Jazz Crusade CDs will know, Kaiser & Bray, but Chris Burke, now resident in New Orleans, and Patrick Tevlin are less know outside their own haunts.

My knowledge of Burke, I regret to say comes from the Web, where his is constantly described as 'New Orleans' most authentic old-school clarinettist'. He is also apparently self-taught, and plays both E and B flat Albert systems instruments. If you want to hear the very pleasant sound of this jazzman you need to either visit New Orleans, or scratch around for one of the very few recordings he has appeared on during his long career.

Patrick Tevlin I knew of via Kjeld Brandt of New Orleans Delight, but this is the first time I have heard him play. Originally a trumpet player, like Cliff 'Kid' Bastien he heard Kid Thomas Valentine in New Orleans and built a style around that man's sound. Later he switched to clarinet and tenor sax and joined Bastien in The Happy Pals. On Bastien's death, Tevlin reverted to trumpet and took over the lead of the band.

There are none of the hack standards here. Some of the tunes I have by other jazz bands, but I haven't heard ' I'm Sorry I Made You Cry', 'Raining In My Heart' and 'Love Nest' jazzed up before. My only real complain is the shortness of most of the tracks, as I felt they could have been 'explored' more.

That's the background; so what about the sound?

A clarinet is often called a liquorice stick. Well Burke's playing is pure liquorice in most of its forms. Sweet as Bassett's liquorice log on 'Paradise' and 'Falling In Love Again'. As tasty as a Pontefract cake on 'My Little Girl'. As strong as Dutch drop on 'All I do is dream' (though I hasten to add that Burke never gets past double salt and nowhere near the eye screwing forte salt). This man really is a master of his instrument and varies his playing to fit the mood of the tune.

I am equally impressed by trumpeter Patrick Tevlin. In addition to Kid Thomas, he says he is influenced by DeDe Pierce, Kid Howard, Percy Humphrey and, of course, Kid Bastien. He makes extensive use of mutes and, to me, he has a rather Colyeresque sound at times whilst using them, especially on Derby mute. However, Tevlin's sound is much punchier than The Guv'nor's and distinctly his own man. Tevlin gives several solo breaks and, on the early part of 'Paradise', counters the sweet clarinet with a rasping horn to great effect.

The two frontsmen are ably backed by Kaiser and Bray and together they have laid down an album that I have no hesitation in recommending.

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