Announcing a load of goodness knows what.

**Alyn_Shipton** · 20-08-21, 09:26

Well at least you spelt Whirimako correctly... I suspect Gerry would not be amused. We featured Dave Holdsworth's New Brew on JRR in August 2020. Be interesting to hear if this is new material or more from the Wodgi album.

**Serial_Apologist** · 20-08-21, 13:13

Originally posted by Alyn_Shipton View Post

Well at least you spelt Whirimako correctly... I suspect Gerry would not be amused. We featured Dave Holdsworth's New Brew on JRR in August 2020. Be interesting to hear if this is new material or more from the Wodgi album.

The Merry Gulligan title I half-inched from an early 1960s LP titled "JUNK - Jazz University's New Kicks" - a satire by some actually leading West Coast musicians who undoubtedly knew their stuff on then-current jazz trends, with punned and spoonerised names, others including Ruddy Bitch, Bet Taker, The loneliest Plunk. My cousin, who had bought it, tried returning it to the record shop as "faulty"; they refused a refund, saying there was nothing wrong with it. I remember it got mentioned on the old Bored - Trevor Cooper pitched in. The myths of teenage purchasing power in the 1960s, eh?!

**BLUESNIK'S REVOX** · 20-08-21, 17:16

Originally posted by Serial_Apologist View Post

The Merry Gulligan title I half-inched from an early 1960s LP titled "JUNK - Jazz University's New Kicks" - a satire by some actually leading West Coast musicians who undoubtedly knew their stuff on then-current jazz trends, with punned and spoonerised names, others including Ruddy Bitch, Bet Taker, The loneliest Plunk. My cousin, who had bought it, tried returning it to the record shop as "faulty"; they refused a refund, saying there was nothing wrong with it. I remember it got mentioned on the old Bored - Trevor Cooper pitched in. The myths of teenage purchasing power in the 1960s, eh?!

There were more of these ...

"The posthumously celebrated boogie-woogie pianist Buck Hammer was legendary, and the reason he was legendary is that he had four hands! When his debut and swan song, The Discovery of Buck Hammer, came out in 1959, critics heard something vital in these technically impossible performances: the authentic sound of the blues.

Like Mary Anne Jackson, Hammer was an invention of the comedian, composer, pianist, writer, and original host of the Tonight Show, Steve Allen. It got 3.5 stars in Downbeat before it was rumbled." Allen had double tracked the piano.

**BLUESNIK'S REVOX** · 20-08-21, 17:39

This is the introductory track from "Junk, Jazz University etc" album, "Jumping with Symphony Sid". With all the "lads". It's not that funny but .... I've seen elsewhere that the alto player may be Bunky Green, but who knows...

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http://youtube.com/playlist?list=OLAK5uy_kaiFzcpCQuQGwcxJk58PF8J7nfxE4N9_4

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**Serial_Apologist** · 20-08-21, 21:51

Originally posted by BLUESNIK'S REVOX View Post

This is the introductory track from "Junk, Jazz University etc" album, "Jumping with Symphony Sid". With all the "lads". It's not that funny but .... I've seen elsewhere that the alto player may be Bunky Green, but who knows...
http://youtube.com/playlist?list=OLA...PF8J7nfxE4N9_4

And the rest follows! Thanks ever so much for finding this. I remember now attempting to copy the Brubeck solo on one of our school pianos. At that very early stage in listening I wouldn't have got the jokes.

**Ian Thumwood** · 21-08-21, 09:59

I found Meslissa Aldana's appearance on the recent Emmet Cohen record the most positive aspect of the disc. For my part, Cohen has bags of technique but the stride element is only one component of his playing which seems to cover all bases without really "buying in" to the older styles in the way that someone like Jason Moran really invests in this music. I liked Aldana's playing but would have been interested to hear her in a more adventurous setting. Cohen is somone I would expect to become more interesting as he found his own identity. The last album was a bit too tasteful.

There was a common thread on the older board about younger musicians starting to sound very much like college products and I am beginning to feel that the marketability of many younger jazz musicians is dictating the kind of music that is receiving attention. Returning to some of the stuff i was listeneing to in the mid1980s, I am starting to feel jazz is losing it's edge. Lots of players with plenty of technique but not many with mcuh to say. The decent stuff is out there but am i alone in thinking that if you want innovation you either have to look towards those players who can really right or musicians coming out of the more "traditional" avant garde route? The really interesting jazz these days seems to be produced by very small record labels. Whatever "shock value" jazz has had since 1917 now seems to have almost totally diminshed. Rollin's "Sound of surprise" now seems to have translated itself in to the quirky and whimsical. You have to search harder these days for anything that has any real bite.

**Serial_Apologist** · 21-08-21, 16:05

Originally posted by Ian Thumwood View Post

I found Meslissa Aldana's appearance on the recent Emmet Cohen record the most positive aspect of the disc. For my part, Cohen has bags of technique but the stride element is only one component of his playing which seems to cover all bases without really "buying in" to the older styles in the way that someone like Jason Moran really invests in this music. I liked Aldana's playing but would have been interested to hear her in a more adventurous setting. Cohen is somone I would expect to become more interesting as he found his own identity. The last album was a bit too tasteful.

There was a common thread on the older board about younger musicians starting to sound very much like college products and I am beginning to feel that the marketability of many younger jazz musicians is dictating the kind of music that is receiving attention. Returning to some of the stuff i was listeneing to in the mid1980s, I am starting to feel jazz is losing it's edge. Lots of players with plenty of technique but not many with mcuh to say. The decent stuff is out there but am i alone in thinking that if you want innovation you either have to look towards those players who can really right or musicians coming out of the more "traditional" avant garde route? The really interesting jazz these days seems to be produced by very small record labels. Whatever "shock value" jazz has had since 1917 now seems to have almost totally diminshed. Rollin's "Sound of surprise" now seems to have translated itself in to the quirky and whimsical. You have to search harder these days for anything that has any real bite.

Watching on telly last night I really enjoyed parts of Nubya's Prom - as a player she is fulfilling the promise I detected a year or 2 ago with Nérija, and the present band, with a pianist who really gets stuck in, was excitingly interactive and boundary-stretching in its best moments, though I got the impression the good if rather underpowered trumpet player (billed as guesting) was having to familiarise with the charts. There is nothing "posy" about Nubya - I think she was genuinely slightly overawed in the Albert Hall - near the start hinting that this was not the ideal sort of venue for her act. Only one major criticism - the opening number cried out for bass guitar: reggae and reggae-related just does not work with acoustic bass. And that's from a jazzer!

Announcing a load of goodness knows what.

Announcing a load of goodness knows what.

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