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Still love that sound - probably a big part because not only were they played a lot in our house, but my mother would take me to the London House (and/or the Plugged Nickel) to see them. I remember Jeter Thompson sitting in our recording room with my mother interviewing him. I think I have around a dozen of those albums.

This just arrived in the mail: Pierre Dørge & New Jungle Orchestra - Music from the Danish Jungle (Dacapo DK, 1996)  

I'm holding back listening to this Mingus. . . to just have a thrill in reserve for when I need it (been a hard time for me lately, my dog passed two weeks ago, tomorrow is the third anniversary of my father's passing and I miss him more and more as time goes by, and then there's 102 days of chaos etc.) I'll take the cellophane off soon. I'm a Mingus nut--can't hold back forever. Thanks for the positive impressions.

I didn't get into the trad stuff until years after I'd discovered the Art Blakeys and Lee Morgans.  A lot of general jazz histories give short shrift to the jazz that remained in NOLA after Armstrong had gone north.   James Collier's history is an exception that addresses the forties New Orleans revival in good detail.  I'm not sure a proper history of the absorption of this pure New Orleans sound by Europeans players has ever been written.  The best trad bands have little in common with New York variants like the Condon mob,  which I think are closer to swing with stings of solos.   Barry Martyn,  who I believe is still with us,  remains true to the contrapuntal sound anchored by a steady banjo and NOLA-style drumming.   Like a steam locomotive rolling down the track,  just as Jerry sang.    Look for examples of Barry Martyn's New Orleans Ragtime Band on Doug Dobell's 77 label and, if you get lucky,  any of Martyn's records on his own Dixie and Rhythm imprints.    Cuff Billet on trumpet is some of these records.   I'll recommend two: Down in Honky Tonk Town,   77 LEU 12/4  with Graham Patterson on piano,  Cuff Billett on trumpet,  Pete Dyer on trombone,  the great Bill Greenow on clarinet, John Coles on piano,  Terry Knight on bass and Barry Martyn on drums Kid Martyn New Orleans Ragtime Band,   GHB-9,  with the same lineup There are many worthy others,  some with New Orleans musicians like Emmanual Paul and Sheik Cola.      

I'm surprised that no one has discussed the Mingus.  I really like it.  the liner notes led me to expect the bass to be almost inaudible and the bass playing to be weak.  I didn't find either to be true. The ensemble playing is really tight (though I may prefer  the looseness of the old Workshop recordings) and Danny Richmond is his usual kick ass self.