COMPARE & CONTRAST
If you find any new 'uns, let us have 'em!
'The Victor Meldrew of avant-garde jazz and, more recently,blues...'
- METRO Newspaper 11.11.06
'Possessed by the souls of Robert Johnson, Jimi Hendrix
and John Fahey' - Termite Club Website 5.3.04
'Sounding like some undiscovered John Oswald plunderphonics
reinterpretation of Harry Smith's Anthology of American Folk Music' - Termite
Club Website 5.3.04
'Looking like a dishevelled cross between Freddie Starr
and Father Jack' - Wakefield Express 8.1.1.02
'Think of Billy as being like the Fool in Shakespearian
drama'. Blues In Britain Sept 2002
'...like David Johansen' Sunday Times 15.9.02
'..the most affecting workaday lament since Keith Moons
'Bellboy' from the Who's Quadrophenia' The Tablet 4.10.02
'a hoe-down shuffle worthy of Swamptrash' (BJ Webzine
08/02
'The rhythm could be the Brain of Morbius doing a Mud
cover and the guitars go off like two Zal Cleminsons playing in Lynryd
Skynyrd.' (BJ Webzine 08/02
'Billy Jenkins is the Leo Baxandall of Free Improvisation'
(Royal College of Art gig poster 12.2.02)
'The P.T.Barnum of the out galaxies' (The Guardian
23.08.97)
'a combination of Woody Allen, Tony Hancock and Keith
Floyd' (Blueprint 10.01)
'The Beano' (Wire 11.00)
'funnier than anything Carla Bley has created for the
last 20 years at least' (Cadence 12.99)
'calls to mind Willem Breuker's Kollektief' (Cadence
12.99)
'the Blues Brothers' (Birmingham Post 29.8.01)
'Talking James Carter up a storm' (Wire 11.00)
'a counter to Gil Evans's impressionism' (New Statesman
31.1.00)
'Sid James..' (Wire 11.00)
'a concerto of Sugarcane Harris proportions' (Wire
11.01)
'reminiscant of Alexis Korner' (Blueprint 1.98)
'maybe Steve Marriott' (Wire 11.00)
'reminds you of Johnny Mars' (Blueprint 10.01)
'next to Jenkins, Pulp seem like feckless dilettanti'
(New Statesman 31.1.00)
'true Oliver Reed style' (Rhythm 9.01)
'Billy's voice took a tonal slide from Louis Armstrong
pitch to Barry White territory. ' (BJ Webzine 12/99)
'Like that weird little sod in Sparks' (Blueprint 10.01)
'will remind you of Tom Waits' (Blueprint 10.01)
'Howlin' Wolf on steriods' (Guardian 23.11.01)
'His solos and fills are kind of, er, Tiny Grimes as
imagined by Vernon Reid of Living Colour.' (Blues & Rhythm - June 2001)
'In fine Alec Guinness form' (Blues Matters! - June
2001)
'Could have been Randy Newman singing this one' (Blues
Matters! - June 2001)
'A six-string cross between Thelonious Monk, Mose Allison
and Dr. John' (Jazz Review - December 2000)
'One of those strange people, like Elvis Costello'
(Birmingham Post 04.11.00)
'He is, along with the Princess Royal and Walthamstow
Dog Stadium, one of our national treasures' (Penguin Guide to Jazz, 2000).
'Plays guitar like Kafka in one of his nightmares'
(The Mercury 18.10.00)
'File alongside JJ Cale, Keb Mo and Tom Waits' (Huddersfield
Daily Examiner 13.10.00)
'Like fellow intellectual Jean-Paul Sartre...' (London
Evening Standard 28.9.00)
'Louis Armstrong, Jimi Hendrix and Billy Connolly rolled
together' (The Stage 7.10.93);
'The Rowan Atkinson of jazz' (City Limits 1.88);
'The world of Derek Bailey'(Guardian 11.7.97);
'Keith Rowe's technique makes B.J. look like George
Benson' (Glasgow Herald 30.1.97);
'I'd plump for Steve Beresford vs Blue Gene Tyranny
with Fats Waller as ref!' (City Limits 8.2.84);
'Bonzo Dog Doo Dah Band' (Jazz Nu 4.93);
'S.E. London's answer to Victor Borge (with a dash
of Spike Jones thrown in)' (The Times 6.3.96);
In the manner of Jean Paul Bourrelly or Joe Morris'
(The Wire 4.91);
'The thinking man's Billy Bragg' (Sounds 22.6.85)
'A William Breuker figure the UK jazz scene badly needs
(Guiness Enc. of Popular Music 1992);
'Could be a distant relative of Casper Broetzmann'
(Hessische Rundfunk 9.96)
'A Charles Brown disciple with T-Bone Walker overtones'(Jazz
Journal 5.97)
' A James Brown rip-off' (Jazz Journal 3.88);
'Is Billy our [John] Cage, our [Eric] Satie, our [Sun]
Ra, our [Eugene] Chadbourne?' (The Wire 4.91);
'Don Cherry meets Albert AylerÕ'(Jazz FM 8.7.97);
'Does what Noam Chomsky does for American foreign policy'
(Jazz At Ronnies 7.98)
'John Cleese' (Jazz Live,Austria, 4.96);
'An anarchic roller coaster ride through a musical
landscape dotted by such luminaries as Ornette Coleman, Adrian Belew, Ian
Carr, Matching Mole, Soft Machine and Gong' (Highly Strung 12.90);
'A heartfelt Albert Collins' (Birmingham Post 1.2.97)
'A speeded up Tommy Cooper' (Marxism Today 11.90);
'Almost like a Hank Crawford or Boots Randolph album'
(Rubberneck 7.95)
'Miles Davis' (Jazz Journal 3.88);
'Debussy' (The Wire 1.86);
'Like Barbara Dickson backing tracks' (Sunday Times
31.5.98);
'Delirious version of Dire Straits' (South London Press
22.7.94)
'Duane Eddy' (The Times 13.9.86);
'The post punk Duke Ellington' (Guardian 3.95);
'A virtuoso like James Emery' (The Wire 4.91);
'The harsh tone of Robert Fripp with the manual dexterity
of Fred Frith at the same time' (Bristol Evening Post 11.10.90);
'Marvin Gaye-type smoochy slinkiness'(The Times 6.3.96);
'Reminds me of Dizzy Gillespie (in conversation with
Junior Mance, NŸrnberg 19.5.96);
'Charles Ives' (The Wire 1.86);
'Compare him with his uncle David Jenkins the [now
retired] Bishop of Durham, for each is notorious' (Jazz Forum 4.92);
'The guitar itself is more Michael Karoli than Cream'
(Melody Maker 28.9.85)
'He is to guitar playing what Evil Knevil is to safe
motor bike riding' (City Limits 5.12.92);
'Comes somewhere between Hank Marvin and the Blue Ridge
Mountains (sic)' (Jazz Journal 12.93);
'The Groucho Marx of modern Music' (The Wire 11.92);
'The Marx Brothers in the department store are nothing
against Billy' (Jazz Thing 3.96);
'The Rick Mayall of Jazz' ( Birmingham Post 3.7.91);
'John McLaughlin on acid' (Guitar Techniques 11.94)
'The Denis the Menace of Music' (The Mercury 21.10.93);
'The spirit of the late Charles Mingus' (The Times
13.9.86);
'A demented Al Di Miola' (Highly Strung 4.91);
'Enrico Morricone' (Jazz Journal 3.88);
'A vocal raspy enough to be Van Morrison' (Jazz Express
11.92)
'Novelty nonsense along the lines of John Otway and
Captain Sensible' (Finetime 3.97)
'An occassional glance at Paco Pena' (Highly Strung
4.91);
'Guitarwork is like viewing a Jackson Pollock or watching
Paul Gascoyne' (Jazz At Ronnies 7.98);
'Leon Redbone style grunts' (Highly Strung 4. 91);
'More in common with Vic Reeves' (Sunday Times 31.5.98);
'Collides with The Residents' (Jazz On CD 10.94);
'Telly Savalas-style vocals' (Sunday Times 31.5.98);
'The Alexei Sayle of London Jazz' (Yorkshire Evening
Post 7.11.92);
'Sonny Sharrock' (Der Standard 7.91);
'Could be usefully compared to early Stockhausen or
recent John Zorn' (Hi-Fi News 7.93);
'Whether in Hubert Sumlin or B.B.King mode consistently
produces the goods'(The Times 24.1.97)
'Sounds like it was conducted by Carl Stalling' (Sunday
Times 31.5.98);
'Le Jacques Tati du jazz british' (La NŽbuleuse
du Hask 1.97)
'Creed TaylorÕs late nite funk' (The Wire 10.90);
'A mixture of James Blood Ulmer, and Ry Cooder' (HR2
Radio,Germany 7.89);
'A Three Stooges end to a Three Stooges set' (Mojo
3.94);
'He is more like Norman Wisdom' (The Observer 12.1.97)
' A sad, quirky spontaneity reminiscent of Robert Wyatt
and Phil Minton' (Rubberneck 7.96);
and finally,
'Unlike Frank Zappa, he is not yet dead'(Venue 6.96).
I-Spy Spotters: F. O'Donnell, O.Weindling, A.Canny,
D.Smedley, L.Spencer, D.Ward, K.Rowe, J.Steel, R.Loydell, P.Daub, B.Watson,
B.Mayfield, A.Zuper and others