David Ostwald - tuba, leader
Randy Sandke - trumpet
Wycliffe Gordon - trombone, vocals
Ken Peplowski - clarinet, alto sax
Mark Shane - piano
Howard Alden - banjo, guitar
Herlin Riley - drums
01 Jubilee Stomp
02 When The Day Is Done
03 Don't Forget To Mess Around
04 Lover Come Back To Me
05 Thou Swell
06 Someday Sweetheart
08 Tain't So, Honey 'Tain't So
09 Blues In My Heart
10 New Orleans Stomp
12 Who' Sit
14 Diga Diga Doo
Recorded December 1998 in New York City.
24 bit digitally re-mastered February 2007 in Hamburg.
Produced by George Avakian.
Special limited edition. 24 bit digitally remastered reissue of NHCD 051.
“Listening to Blues in Our Hear immediately makes me think of Don Byron's Bug Music and any number of Wynton Marsalis releases. My estimation is the Gully Low Jazz Band plays a more authentic brand of traditional jazz than Mr. Marsalis (as much as I admire his music) ever should. The music on this disc (and all other N-H I have heard) sounds genuine and sincere, not overly reverent or worshipful. The sure novelty of the Gully Low Jazz Band is that it only has one constant, the presence of David Ostwald. When Ostwald is asked to record, he assembles his band then under the Gully Low name. Pretty cool. Being associated with N-H helps as their stables are stocked with players totally empathetic with Ostwald and his traditional temperament. For this particular disc, he has assembled Marsalis alums Wycliffe Gordon and Herlin Riley, former Concord stablemates Howard Alden and Ken Peplowski, and fellow N-H cronies Mark Shane and Randy Sandke. This group executes as it appears – too good to be true but it is true.
Miniduos. This disc is replete with vintage performance, but what is most fun is many of these pieces have duo breaks with the Howard Alden's guitar/banjo and another instrument. Alden joins Randy Sandke in a trumpet/banjo lovefest on the opening “Jubilee Stomp”. Alden converses with Ken Peplowski on “Panama” and “Changes” and takes the helm alone on “When Day is Done”. This arrangement technique adds a tautness and excitement to these time worn classics that makes them new and exciting. Outside of the playing of the aforementioned, Mark Shane shines on piano, always being in the right place at the right time in both solos and comps.
If you, the curious listener/reader, likes the old-timey, traditional sound of Bug Music or Wynton Marsalis trying to be Joe “King” Oliver, this disc (and many other Nagel-Heyers) is for you. If you don't like this music, learn to. It is the musical Old Testament of Jazz.”
C. Michael Bailey; allaboutjazz.com