The Brass Check

A superb documentary on Chris Morris written by Lucian Randall. No book so far has examined and discussed the career of british TV's most hated satirist, Chris Morris. Thankfully, this book does his career justice. Written with what appears to be consent but not input from Morris himself, Randall interviews many comedians and producers/directors who have worked with Morris throughout his career, putting together a story of a man who began as a bassist in a band, moving through antagonising the public in local radio (he was eventually fired from Radio Bristol for"talking over the news bulletins and making silly noises") to creating perhaps one of the UK's most polarising programs in Brasseye.

In New Orleans in 1977, the Original Sixth Ward Dirty Dozen band was born in the city's Treme neighborhood. Coming out of the 100-plus-year tradition of the local social club scene – in this case, the Dirty Dozen Social and Pleasure Club – they started rehearsing with no other goal than playing in the club. Eventually renaming themselves the Dirty Dozen Brass Band, they played for years before they began performing steady gigs at a Seventh Ward night spot and later at another uptown club. The DDBB built an enormous repertoire, and in the process innovated on the brass brand tradition, which was flagging very badly at the time. They incorporated funk, bebop, and more into their sound. The DDBB started a renaissance; they influenced every brass band that came after them. Twenty Dozen, produced by Scott Billington, is their twelfth album.

Originally recorded in stereo in 1978 and 1979 and released on two separate LPs, these performances of Bach's Orchestral Suites (also known as the Overtures) with Trevor Pinnock leading his English Consort were as good as it got at the time for period instrument performances. And this 2007 single-disc re-release does not change that assessment. The Consort's strings are dry but warm – check out the Air from the Third Suite – the winds are colorful and quirky – check out the Forlane from the First Suite – the brass is controlled but cutting – check out the Ouverture from the Fourth Suite – and the timpani is vivacious but thankfully not overwhelming – check out the Réjouissance, also from the Fourth Suite.