Vocalion have lately come across a cache of Radio Luxembourg 208 broadcasts that aired in 1961 and 1962, which just happen to present all the-then active traditional jazz bands operating under producer/agent Denis Preston’s management umbrella. Ever-alert to possibilities, Preston had persuaded 208 to showcase his individual productions, allowing the featured bands to play their latest releases. The tapes, as discovered by Vocalion, have been edited down to represent entire Luxembourg broadcasts, complete with the youthful-sounding regular compere George Melly’s risible announcements (and in the case of the Mulligan band set, his vocals) and the rather cheesy station themes.

The merest of glances at the personnel listed will bring a frisson of delight to those readers who can hark back to the heady days of the trad boom; even those less so inclined, should be able to pick up on key names and to recognise survivors, like the always engaging Bilk, whose “cider-drenched tones” (Melly’s words, not mine) illuminate ‘Tell ’Em About Me’. If there’s nothing too profound on offer here, there is, of course, a consistently good-time feeling, a glut of danceable tempos and above-average playing from the likes of trumpeter Smith and the recently-departed blues pianist Greig. And that’s also part of the appeal of this series, the chance to hear again the many fine players now lost to the wider UK scene.

There’s also the chance to compare the great and the good. If Bilk and Welsh counted among the former, that’s not to overlook the claims of the late Terry Lightfoot’s outfit, with the marvellously crisp trumpet of Dickie Hawdon at its centre. It’s also worth noting that there’s nothing fumbling or hesitant here, for these are all working bands, their confident command of the ensemble style and sheer instrumental verve a given. With something like 100 tracks to consider (including station idents) over these four albums, the hot attack of the Bilk band certainly scores heavily, while the still-active Ashman’s mob tackle some pretty demanding tunes, with clarinettist Layton sounding good. Mulligan’s band was looser, nearer to Chicago than New Orleans, an inclination shared with the internationally renowned Welshmen, featuring the leader’s exuberant style plus the asthmatic-sounding Semple on clarinet and Crimmins’ supple trombone. Tracks are mostly short with plenty of vocals and banjo clanking plus a degree of repetition but George’s announcements don’t pall and the music is replete with enough individual creativity to make that lucky trip to the 208 vaults seem like a bonus.