Jazz Crusade Audio Sampler Catalog
JCCD-3013: Geoff Cole's Hot Five - Do What Ory Say
Geoff Cole [tb], Tony Pyke [cl], Pat Hawes [pn],
John Rodber [sbs], Colin Miller [dm]
JCCD-3013: Geoff Cole's Hot Five - Do What Ory Say
Jazzitude.com - Internet Publication
Trombonist Geoff Cole is a native of Exeter, England, and has been playing
since the 1950s. After moving to London, Cole landed a position with the
famous Ken Colyer Jazzman group, which he held for 10 years. He joined
Georgia Jazz, later becoming the band's leader, and toured with Brian
White's Magna Jazz Band before forming his own Hot Five. Cole's group
has recorded a number of CDs, including tributes to Jelly Roll Morton
and Fats Waller, but this set, recorded in 1995 at the Pizza Express in
Maidstone, England, is a particularly hot session by the band.
IAJRC JOURNAL - U.S.A.
Geoff Cole's Hot Five is a hot quintet, no doubt about that, and each
of the musicians, outstanding on his instrument, plays with feeling, dynamics
and splendid technique. They produce a wonderful blending of sounds. There
is outstanding counterpoint between Geoff Cole's trombone - frequently
emitting a very gutsy, robust sound - and Tony Pyke's clarinet with its
wonderful tone. The choice of tunes is exceptional and there is no attempt
to sound like a New Orleans street band in a funeral parade. Cole plays
plays a gutsy trombone and there are nice solos from Pyke's clarinet and
pianist Pat Hawes on, The White Cliff of Dover." There is some very
active counterpoint between Hawes piano, the clarinet and trombone on
the swinging "Savoy Blues." The two best renditions are those
of "Savoy Blues" and Clarence William's "Sugar Blues"
which, with its "wah-wah" trumpet has always been associated
with Clyde McCoy, of course. Cole's muted trombone takes the place of
McCoys trumpet, with very good effect. The clarinet takes the melody for
awhile and Hawes piano takes a great blusey chorus. The ensemble work
on Carmen Lombardo's "Sweethearts On Parade" is first class.
Geoff Cole's Hot Five has produced an excellent recording.
AMERICAN RAG - U.S.A.
Geoff Cole's Hot Five comes up with a 66 minute session that demonstrates
the right way to pay tribute to a great vintage jazzman. Cole's trombone,
plus the fifteen tune program, are both out of the Kid Ory bag, but the
quintet itself has its own personality, a delightful blend of relaxation,
loose-limbed flexibility and straight-ahead swing.
Rob Bamberger - Hot Jazz Radio U. S. A.
In a new series of recordings, Bill Bissonnette is indulging himself
and others in the unbridled sort of jazz that was always the Jazz Crusade
stock-in-trade. In the series, now numbering six releases, called "The
Best of the Brits" Big Bill has has been assembling some of the English
musicians active on the traditional and revival jazz landscape. While
some of the players are newcomers and were brought to Bissonnette's attention
by others, a number of the ensembles in the series feature musicians who
have a long and, by no means obscure, history in the music. Trombonist
Geoff Cole's Hot Five is an example of the later. Cole attributes his
career in the music to Ken Colyer, in whose band he worked alongside clarinetist
Tony Pyke. The two constitute the front line on this CD. Geoff Cole set
out on this date to evoke the feel of Kid Ory without being overly slavish
about it. The question at hand wasn't, "How did Ory play this?"
The question posed, in the instance of tunes Ory did play, was, "How
else might Ory have played this." And in the case of tunes Ory did
not record, "How might Ory have tackled this?"
Joe Leheny - Jazz Critic - U.S.A.
This reviewer's enthusiasm for Kid Ory has always been somewhat
restrained. I considered him to be a rather limited musician in hip later
years, coasting along on his reputation from those great recordings with
Armstrong in the Twenties. VVj^h this sort of predisposition in
Mississippi Rag [U.S.A.]
Geoff Cole's Hot Five differs from most other trombone-clarinet bands
in that the leader's trombone generally takes the melody line with clarinetist
Tony Pyke providing harmonies rather than the other way around. The
many years that Cole & Pyke played together with Ken Coi-yer's band
have resulted in close musical communication and the two often seem
to think as one. There are are many delightful ensembles to be heard on
these 15 selections, the majority of which are from the Kid Ory songbook.
Cole is excellent on Savoy Blues, Pyke is fine during his feature on Liza,
Hawes also proves to be an excellent stride soloist during his occasional
spots. The inclusion of a trumpet might very well have hurt the strong
chemistry between Geoff Cole and Tony Pyke.
AMG **** Review - U. S. Jazz Guide
Geoff Cole is a fine British trombonist whose style is heavily influenced
by Kid Ory. For this Jazz Crusade CD, he is teamed with clarinetist Tony
Pyke (both horns had played together for years with Ken Colyer) in a trumpet-less
quintet. Unlike most similar groups, in this case the trombonist rather
than the clarinetist usually plays the melodies and leads the ensembles.
With pianist Pat Hawes, bassist John Rodber and drummer Colin Miller completing
the group, Cole and Pyke sound in particularly exuberant form on such
songs as "Yaaka Hula Hickey Dula," "The White Cliffs Oof
Dover," a charming version of "The Glory of Love," the
rag "Trombonium," "Lou-Easy-An-I-A" and several Kid
Ory songs including "Savoy Blues" and "Ory's Creole Trombone."
An enjoyable set of hot New Orleans jazz.
Jazz Journal International - British Jazz Magazine
This is Vol. Five of Bill Bisson-nette's Best Of The Brits Series, which
focuses on UK musicians who play in the native New Orleans style. Cole,
a very capable and experienced trombonist, was confronted by some
challenging circumstances in fulfilling Bissonette's invitation to
record an album tribute to Kid Ory. For reasons which (unless simply financial)
elude my comprehension, Bissonette insisted on a trumpetless five-piece,
a format Ory did not use on his recordings. Geoff had therefore to incorporate
some of the trumpet's role in defining the melody line, as well as evoking
Ory-style ensemble accompaniment to a non-existent trumpet lead! Furthermore,
the session had to be completed in one short afternoon.