The first volume of Digby’s career retrospective was reviewed in Jazzwise 251 (May 2020); now comes Volume Two. Again it’s his selection of recordings that matter to him, his booklet notes filling in the whys and wherefores in his usual cheery fashion.

Given that Digby has already published his autobiography and a book devoted to his time touring with the louche vocalist George Melly, it could be thought that we already know plenty about him. Happily, his choices withstand the additional scrutiny, their range and variety reflecting his restless jazz spirit.

He says he’s a cornetist who ‘hovers stylistically between Dixie and Swing’ and this pretty much covers what we hear here. His 1998 First Class Sounds band sets the scene, reminiscent of the Alex Welsh band with ex-Welshman Williams in the kind of form that made him an international star, Shepherd decisive and Fairweather himself busily ebullient, with the still-active Douglas typically terse in solo and Lemon unhurriedly perfect, the late Len Skeat spot-on for time. Len is heard again in Velvet, Digby’s two-guitar and bass quartet, chamber-ish in style and successful. Thereafter, Digby’s groups might be tagged as Friends and later on as his Half-Dozen but the intention was always crystal clear.

Swing foremost, hot attack and unfussy ensemble cohesion a given, compatible companions alongside, good charts and distinctive solos, Digby’s always alert, fresh-sounding cornet front and centre.

Happy to test himself in out-of-the-way situations, he’s also heard in duos with Supersynth accordionist Compton or pianist Barker, the latter an obvious soul-mate, and supporting the delightful close-harmony group Sweet Substitute as well as the nearly-indestructible Melly. So, at 75, Digby can look back on a jazz life of genuine consequence, with a packed discography and a multiplicity of satisfying roles as writer, broadcaster and curatorial activist. Many of these fine musicians may be gone, but Digby plays on. Thankfully.