Bassist and local elder statesman Walter Payton is probably best known these days as the father of the phenomenally talented young trumpeter Nicholas Payton. However, Walter Payton’s Snap Bean band has been playing on the local scene for quite some time, more often than not at private functions and Bourbon Street environs. Payton himself is fairly well known among hardcore traditional jazz fans, particularly on the European festival circuit, but his Snap Bean band is rarely heard outside New Orleans. His pedigree includes stints with Lee Dorsey, Allen Toussaint, the Preservation Hall Band and several brass bands including the Young Tuxedo.
The recording features many highly accomplished players including Adonis Rose on drums, Frederick Sheppard on tenor, and several other notable local musicians. The format of this recording relies on a rotation of four very different vocalists taking turns while the band plays some very tried and true classic tunes.
Sharon Martin takes the first vocal turn on “Mr. Bojangles” and does an even better job on “His Eye Is On The Sparrow.” The intimate sound of the Louisiana Music Factory is very apparent on this track with even the worn old upright piano sounding surprisingly good. Martin’s convincing emotion-packed gospel-inflected vocals and slightly raw edge are used to excellent effect here. Albert “Dogman” Smith has a classic soulman’s voice with a touch of Wilson Pickett and Jessie Hill just below the surface. His take on “Mustang Sally” is dead on, with long-time Fats Domino sideman Frederick Sheppard providing excellent accompaniment on tenor. Smith’s vocal on the ballad, “Always and Forever,” is deeply affecting with his raw sonorous voice, even if it is just slightly flat in a few places. Dwayne Burns takes his turn on vocals and trumpet on “Exactly Like You’ and “It Had To Be You.” Both his vocals and trumpet playing bear the unmistakable mark of the master Louis Armstrong, dripping in old time New Orleans charm. Singer Jill Monroe does “Stormy Monday” in a refreshingly understated way with a bluesy vocal that avoids all the old blues clichés with her light airy tone.
The remaining instrumental numbers include “Don’t Get Around Much Anymore,” “Georgia on My Mind,” “Red Top,” “My Guy” and “Things Ain’t What They Used To Be.” As you can see from this songlist the selection of material was hardly inspired and more than borders on cliché. You are almost surprised that you don’t hear “When the Saints Come Marching In.” While hardcore European audiences may relish yet another version of these old classics, local listeners may find it just a bit too much of the same old same old. This is too bad as the record features some excellent musicianship, particularly from the relatively obscure Louisiana Bill Williams whose understated guitar shines throughout. Mike Dine’s 504 label is based in Kent, England and like his previous CD’s, this release also features very thorough liner notes and a wealth of background information which the European listeners always appreciate.
