Texas born with UK ancestry, Hancock came to 1920s' jazz indirectly when his British grandfather bought a Bix record after hearing it played by some American GIs who were 'over here' during World War II. Later, now in Texas, 8-year-old Colin heard his dad playing his grandfather's record and became hooked himself and the rest is history. Well maybe not ...
After studying City Planning and Law at Cornell and Columbia Universities, where he'd also been musically active, he played and led a variety of bends of which the Joymakers are the most recent.
He also has a rather special relationship with the north east of England as, in 2019, he was the inaugural recipient of the Whitley Bay based Classic Jazz Party's Young Talent Award. An award that proved to be well-deserved in the eyes and ears of those who heard him in a variety of settings including the late night jam sessions that are always an outstanding feature of the CJP weekend.
On this album, although the Bixian feel is still there, the core element has switched to the territory bands such as the various Bennie Moten groups of 1923-1928.
Papa's Gone demonstrates Hancock's versatility. Not only does he sing idiomatically but also solos on cornet and baritone sax. Another musician with more than one hat is Jellema although he stays with clarinet on this track. Borghesi's also heard on tenor banjo.
I'm a Thousand Miles From Home, recorded by Rosa Henderson in 1924 as I'm a Good Girl was a big hit for her and Lauryn Gould not only captures those low-down blues but also blows some good old Texas tenor.
A driving lead by Hancock on Crazy Quilt with brief solos from piano and various instrumentalists. Perfect, says Hancock, for those nouveau riche oil and cattlemen who, back in the day (1926), would come into town to spend their earnings on good times and good music.
That's a Serious Thing, the number Jack Teagarden recorded with Eddie Condon in 1929, has Jellema doing the vocal and Hancock blowing some bluesy 'bone.
In 1925 the order of the day was Everybody Stomp and everybody did - both then and now - as solos from Dickens, Hancock on cornet, Jellema on C melody and a fine alto chorus from Lauryn made it impossible not to stomp!
Dicken has the lion's share of the solos on Moten's Goofy Dust Rag.
Down Where the Blue Bonnets Grow isn't a tune that I'm over familiar with, in fact I'm not familiar with it at all. However, the Joymakers do a job on it complete with accordion solo and a Hancock vocal that I'm sure composer Phil Baxter would have given the nod of approval to.
Tia Juana is a number I am familiar with going back to Bud Freeman's Summa Cum Laude Orchestra and, before that, The Wolverines. Lauryn and Hancock have a soprano/baritone duo chorus with Ryan Gould stepping up front on bass.
The Wolverines remain in the picture for Wolverine Blues. Solos from Hancock on baritone, alto and cornet.
A long awaited second vocal from Lauryn on I Ain't Thinkin' 'Bout You hits the spot. The 'blues mama' also delivers some hot soprano that doesn't hurt either.
Hot Aire has cornet from Hancock, alto from Lauryn, clarinet from Jellema, banjo from Borghesi and slap bass from Ryan Gould.
Kiss me Sweet - a ballad recorded by King Oliver! Lots of things happen and once again Lauryn shines on soprano.
Tiger Rag is the tear-up that it always is and is described as a 'Gould tour de force' with both Lauryn and Ryan to the fore. Hancock on trombone, Jellema on cornet, Blackthorn on accordion, Borghesi on banjo, Dickens on piano and Hancock moving from trombone to baritone. They all go out on a high helped along by Neubauer on drums who has been a tower of strength throughout.
Highly recommended for those whose tastes run to the jazz of an earlier era.
Currently available on Turtle Bay Records. Lance
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