The fifteen Tracks/Songs/Tunes are virtually all classics from the 1920s – 1930s Classic Jazz Age period.

The sound clarity of this CD album is excellent. Either, trombonist, leader Pat Strachan, and, cornetist Tom Taylor, that is, has individually arranged all of the tunes, apart from three of them, which the whole group took on that role.

Unlike playing at a club, or whilst on a gig date where musicians like to enjoy themselves so imparting that musical experience to their audiences, a great deal of study and attention to detail must have gone into creating a CD such as this one – a thorough masterful performance.

The title Monster Jazz of the CD Label stunned me at first sight, but having gone on a Jacobite tour on the loch, I expect it has come from the World Wide commentary broadcastings about that nearby loch, Loch Ness monster, which I unfortunately was unable to see during my tour.

Weary Blues – a very nice version of this number featuring clarinet and tuba, the latter creating a nice beat to the melody so setting the scene of the album with saxophone and banjo breaks comes the trombone and cornet playing in exquisite fashion round up. Dropping the use of the drums has given flavour to the way this tune has been played, where in larger Traditional jazzbands, their use lends for a separate special attraction often being given over to them.

I wish I could Shimmy Like My Sister Kate - raises the tempo up a bit, with attractive Louis Armstrong-like vocals coming from the cornetist, staccato guitar, the song moves into the chalumeau register of the clarinet, all great stuff.

Oriental Strut is a slowly measured movement number that has a very good banjo sound entering into it with pointedly strutting trombone in command. Superb ensemble playing as is the norm throughout the album.

Sweet Emmalina - there’s a tuba introduction and commanding beat, which keeps the music moving nicely along mastered by a well-articulated cornet, which adds lift following the leader vocals jazzingly versed. Nice timely riffs.

In Riverside Blues the sextet continues to show their expertise in individual play and timing. A slower pronounced tempo starting with a solo spot cleared for piano. There’s a great deal of jazz musicality going on before the tune finishes – more riff movements.

Savoy Blues - the mood changes with guitar to the fore and, the unique Kid Ory trombone voice set by the leader presents a beautiful tone that comes from his horn that speaks wonders for this CD album group’s expertise in their field. Noteworthy jazz dance beats here.

Dans les Rues d’Antibes, muskets are at slope-arms ready for the off – marching down along the main streets and others in Antibes, a town next to Cannes on the Cote d’Azur, France, situated on the banks of the Mediterranean Sea is the scene, surely having been set by reeds player Sydney Bechet originator of the tune, perhaps in 1948 the year of the first Traditional jazz festival which was held in Nice. Notwithstanding that the group has worked this number extremely well, using a drummer for this tune can be an asset for any jazzbands featuring this track.

Close Fit Blues - Wah Wah, that’s it, Wah Wah, stamps off, followed by an articulated banjo, which spells out a kind of Blues in perfect picture form highlighting and supporting the ramification and intricacies of our kind of jazz music.

Cakewalkin’ Babies Back Home – cuts a fast pace set by the banjo, not as so much as in the 1920s violin swinging orchestras a musical timing to keep say the Model-T- Ford car workers up to par on the production line. This goes to say too for songs Whip Me featuring kazoo but not a string bass, and, the scintillatingly articulated brass instruments on Candy Lips, the latter incorporating a quote “Alice” about her blue gown who perhaps would not say no and not mean it – much to adore – a select tune for a medley number, which also has a great solo, break spot for piano. The melody of the tune on tube comes over well.

If I Could Be With You - I can’t think of any other current band of this type venturing to play this tune let alone record it. In its own way the cornet the leader’s vocals on it, the saxophone and guitar and piano, all tell us without saying so, so with such capabilities coming from Nat Gonella’s Georgians, an Ambrose dance band and, the Pollock and Redman orchestras, the McKinney’s Cotton Pickers, not overlooking to mention the early singer Ruth Etting. Well! What more does one say.

The Head Hunter’s Dream – this is a unique number carrying a well-known Arabian quote in it, which is not a choice one of Tiny Parham.

Winin’ Boy Blues- it’s the longest tune with just a bit over five minutes, and, it’s a real beauty. The number is played with special treatment. The two front-line brass instruments are in shouting non-contestant harmony. If Jelly Roll Morton the creator of it had heard this Ness River Rhythm Kings version he would have been impressed by it – for it is a treat. However, the Ian Leitch piano is well under recorded, which Morton, as a pianist himself would have taken a more than strong dislike to this failing. Clarinettist Albert Nicholas and pianist Henri Chaix with the latter named trio, drums and string bass is an example for making a comparison, thus, all credit to the song’s arranger who sings beautifully the chorus, therefore, undoubtedly praise on this point from Jelly Roll.

Red River Blues – Tuba low-down, high-spirited clarinet with a reassuring cornet this title tune is echoed clearly in any one of my descriptions of the Blues in my jazz at The Glen Mhor Hotel review sent separately to The Inverness Courier.

This album is truly a real speciality of Traditional jazz music.

Kings Jazz Review
Thursday the 20th of July 2006