I understand that The Strut is the second Grooveyard CD.
There was an unofficial middle one but this is really the second.
And you also released another record, No Messin’, with a different line-up.
Yes. That was the septet. That was the one that got the Parliamentary award. That came out in 2009 and we got the ‘Best Album’ in the Parliamentary Jazz Awards.
What is the difference between septet and Grooveyard?
Grooveyard came about first, around ten years ago actually. I first heard Alex Garnett around the time I finished music college in ’98. He’s still one of these kind of cult figures, sort of a godfather to all the young sax players in town. He’s one of those guys when I first heard him that I always wanted to get something together with him. There were a lot of things we were both into like the sixties soul jazz things – Eddie Harris, Stanley Turrentine, Les McCann – we both loved all that stuff. That was the initial thing for Grooveyard, so it was always going to be a Hammond organ-based group. Originally, it was going to be a piccolo and baritone band called ‘The Jazz Extremists’ [Laughing] We abandoned that idea. We had a number of casual blows and gigs but it ended up becoming a showcase for our own tunes. It was quite a healthy process really. We started out just playing all our favourite tunes and then writing things that were inspired by those songs and it gradually became something of its own. Continue reading