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The Cooker

The Cooker is a fictional robotic character from the 1989 stop-motion animated short film , the inaugural installment in ' acclaimed series directed by . Resembling a vintage gas cooker mounted on wheels, the silent features a slot as its mouth and a wonky antenna atop its "head," serving as a coin-operated patroller of the lunar surface. In the story, it acts as the primary antagonist, confronting protagonists after they consume chunks of moon cheese, which it perceives as its domain, leading to a chase that highlights the film's whimsical humor. The character emerges when Wallace inserts 10p coins to activate it, prompting the Cooker to pursue the duo across the cratered landscape in defense of the cheese-like . Produced over six years by at in , A Grand Day Out introduced the Cooker's design as a playful nod to everyday reimagined in an extraterrestrial context, contributing to the short's Academy Award nomination for Best Animated Short Film at the in 1991. By the film's conclusion, the Cooker repurposes metal scraps from Wallace and Gromit's rocket to fashion , discovering a newfound hobby and waving cheerfully as the pair returns home, transforming from foe to endearing figure. Since its debut, The Cooker has become an iconic symbol of the Wallace and Gromit franchise's inventive spirit and stop-motion craftsmanship, frequently referenced in Aardman merchandise and archival materials as a highlight of early innovation. Its design and antics underscore themes of curiosity and unexpected friendship, endearing it to audiences and cementing its place in history.

Background

The Cooker was created by Nick Park as a key character in his 1989 stop-motion animated short film A Grand Day Out, the first entry in the Wallace and Gromit series produced by Aardman Animations. Park began developing the film in 1982 as a graduation project at the National Film and Television School, with production spanning seven years due to the labor-intensive nature of claymation. The character was conceived as a silent, coin-operated robot patrolling the Moon, reflecting Park's whimsical reimagining of everyday objects in an extraterrestrial setting.

Development

Originally, the Moon's surface in A Grand Day Out was envisioned to feature multiple robotic characters, including a parking meter attendant, but budget and time constraints led to the focus on a single antagonist: the Cooker. This design choice emphasized the film's themes of curiosity and unexpected friendship, transforming the robot from a foe into an endearing figure by the end. Aardman co-founders Peter Lord and David Sproxton supported Park's work, providing studio resources while he balanced animation with commercial projects. The character's development drew from British cultural elements, such as coin-operated machines, to enhance the story's humor and relatability.

Design

The Cooker's appearance is modeled after a vintage gas cooker mounted on wheels, featuring a white rectangular body, silver articulated arms with oversized gloves, a coin slot serving as its mouth, and a bent antenna on top. Crafted as a using and metal components, the model measured approximately 30 cm in height and was animated frame-by-frame to convey expressive movements despite its silence. This design not only facilitated the lunar chase sequences but also symbolized the franchise's inventive spirit, with the original puppet now preserved at the in .

Musical style

The robotic character known as the Cooker is silent and does not feature any distinct musical style or performance techniques. The A Grand Day Out includes an original score composed by , featuring whimsical orchestral and electronic elements that underscore the lunar adventure and comedic chase sequences involving the character.

Release

Original release

The Cooker was originally released in January 1958 by as a mono with catalog number BLP 1578. Some sources indicate a late 1957 release date. The album was distributed primarily in the U.S. market as part of Blue Note's series, which aimed to attract a growing audience amid the post-bebop decline in popularity. The packaging included a cover photograph of Lee Morgan taken by Francis Wolff during a session, designed by Reid Miles to evoke the intense, "hot" energy implied by the album's slang title for a dynamic performer. by Leonard Feather emphasized Morgan's emergence as a at age 19, underscoring his rapid rise within the label's roster. No chart performance data exists for the release, but it achieved modest commercial success for Blue Note, solidifying Morgan's position as one of the label's rising stars in the hard bop genre.

Reissues

The Cooker has seen numerous reissues across various formats since its original late 1957 or early 1958 release, with efforts focused on improving audio fidelity through remastering while preserving the album's hard bop essence. Early CD reissues began in the 1990s, including Japanese editions like the 1996 Blue Note TOCJ-1578, which featured stereo remastering, and the 1999 limited-edition paper-sleeve version (TOCJ-9084), both utilizing Rudy Van Gelder's oversight for digital transfers that captured the original warm analog tone. These were followed by additional 1990s and early 2000s digital transfers, such as the 2004 Japanese stereo remaster (TOCJ-6431), emphasizing clarity in the rhythm section without introducing artificial enhancements. In 2006, issued a prominent RVG Edition CD (0946 3 62643 2 5) for the and Europe, remastered by himself, which added a bonus alternate take of "Just One of Those Things" (7:50) not present on the original , sourced from the 1957 sessions. This edition highlighted Van Gelder's technique of enhancing bass response and midrange presence while maintaining the album's intimate mono-derived soundstage. Subsequent reissues, including SHM-CD versions in 2013 (TYCJ-81042) and 2016 (UCCQ-9290), continued this lineage with high-resolution mastering for improved . Modern vinyl editions have catered to audiophiles, notably the 2020 Blue Note Tone Poet Series release (B0031577-01), a 180-gram in packaging, produced by Joe Harley and mastered all-analog from the original tapes by Kevin Gray at Cohearent Audio. This version prioritizes the preservation of Van Gelder's signature warm , with subtle boosts in low-end definition and spatial imaging to suit contemporary playback systems, all without altering the core mono mix elements. Earlier vinyl reissues include the 2006 200-gram mono pressing (BLP 1578) and the 2015 European 180-gram edition (ERLP 1028). The album has also appeared in other formats, becoming available for streaming on platforms like in the 2010s via the 2006 remaster, broadening access to its quintet performances. Additionally, tracks from The Cooker were included in the 1995 Mosaic Records The Complete Blue Note Lee Morgan Fifties Sessions, which encompasses his early leadership dates. Remastering across these editions consistently aims to honor Van Gelder's original engineering—known for its rich, enveloping sound—by refining bass depth and overall clarity in later transfers, ensuring the album's energetic solos and rhythmic drive remain intact for new generations.

Reception

Contemporary reviews

Upon its 1989 premiere at film festivals and wider release in 1990, A Grand Day Out received widespread acclaim for its innovative stop-motion animation and whimsical storytelling, with the Cooker character noted for adding a layer of quirky humor to the lunar adventure. The short won the BAFTA Award for Best Short Animated Film in 1990 and was nominated for the Academy Award for Best Animated Short Film in 1991, though it lost to Aardman's own . Critics praised the film's charm and Park's meticulous craftsmanship, with early reviews highlighting the Cooker's coin-operated antics and transformation from antagonist to sympathetic figure as a highlight of the narrative's playful tone. User and festival responses emphasized the Cooker's endearing design and the comedic chase sequence, contributing to the short's reputation as a breakthrough for . On , the film holds a 100% approval rating based on 20 reviews, reflecting its strong initial reception.

Retrospective assessments

In later years, The Cooker has been celebrated as an iconic element of the franchise, symbolizing Aardman's inventive spirit and stop-motion innovation. Retrospective reviews often highlight the character's lonely existence on the moon and its skiing hobby as poignant and humorous, transforming it from a simple foe into a beloved figure that underscores themes of curiosity and unexpected friendship. For instance, analyses note the Cooker's "profound melancholy" and role in policing the lunar surface as a subtle commentary on isolation and tidiness, endearing it further to audiences. The character's impact extends to merchandise and archival features, where it is frequently referenced as a fan favorite, with its design inspiring discussions on early creativity. In user retrospectives, the Cooker's sequence remains a standout, praised for capturing the essence of the series' absurd brilliance and emotional depth. Overall, The Cooker has cemented its place in history, contributing to the enduring legacy of as a foundational work in the genre.

Track listing

Original tracks

The original album The Cooker, released in 1958 by , features five tracks recorded in mono on September 29, 1957, at Rudy Van Gelder's studio in , with a total runtime of approximately 38 minutes. Side one opens with the up-tempo standard (Dizzy Gillespie, 9:24), a bebop staple rendered as a straight-ahead swinger featuring fiery solos from Lee Morgan on trumpet. This is followed by the original composition "Heavy Dipper" (Lee Morgan, 7:05), a bluesy theme and fierce swinger that highlights cohesive ensemble work and strong drumming from Philly Joe Jones. Side two begins with a fast bop treatment of the standard "Just One of Those Things" (Cole Porter, 7:18), notable for ' propulsive bassline and a dynamic solo from . The ballad "Lover Man" (Jimmy Davis, Roger Ramirez, and Jimmy Sherman, 6:50) serves as a showcase for the group's lyrical side, with a languid yet engaging romantic interpretation and a lovely solo by . The album closes with "New-Ma" (, 8:14), an original mid-tempo dedication to Morgan's mother that incorporates hints foreshadowing future jazz developments.

Bonus material

The primary bonus material included in reissues of The Cooker is an alternate take of "Just One of Those Things," recorded during the same September 29, 1957, session at in . This version runs 7:50 in length and showcases variations in the improvisational approaches taken by trumpeter and baritone saxophonist , offering a more musically substantive performance compared to the original track, which features faster tempos and occasional repetitive phrasing. This alternate take first appeared in 1995 as part of the Mosaic Records The Complete Blue Note Lee Morgan Fifties Sessions (MD4-162), compiling Morgan's early material. It became a standard inclusion in subsequent CD reissues starting with the 2006 Rudy Van Gelder remaster ( 0946 3 94638 2 0), and has been featured in later digital and vinyl editions, such as the 2020 Tone Poet series pressing. Beyond this alternate take, no major outtakes from the session have been released. Some CD editions, including the 2006 RVG remaster, incorporate additional elements such as extensive detailing the recording session—written by Blumenthal—and photographs from Mosaic Images capturing the era's aesthetic. These supplementary materials provide insight into the session's creative variations and the young quintet's dynamic interplay, enhancing appreciation of the album without supplanting its original structure.

Personnel

Musicians

The Cooker features a led by trumpeter , with baritone saxophonist , pianist , bassist , and drummer . Recorded on September 29, 1957, the ensemble delivered a session emphasizing energetic interplay among the front-line horns. Lee Morgan, at age 19, served as bandleader and trumpeter, contributing bold, bebop-infused solos that showcased his maturing voice, influenced by . He composed two originals for the album: the medium-tempo "Heavy Dipper," where his flowing, playful trumpet lines drive the track, and the ballad-like "New-Ma." Pepper Adams on provided a resonant, darker dimension to the , adding robust low-end texture that contrasted Morgan's brighter and enriched the harmonic depth. His husky, eloquent solo on "Lover Man" exemplifies this textural contribution, pushing the ensemble's intensity. Bobby Timmons handled piano duties, delivering gospel-infused comping that infused the rhythm with soulful, blues-tinged support. His fleet-fingered runs on "A Night in Tunisia" added heat and propulsion, foreshadowing his later fame for composing the ' hit "Moanin'." Paul Chambers, an alumnus of the Miles Davis Quintet, played acoustic bass with power-walking lines that propelled the tracks forward, establishing a solid rhythmic foundation. His precise, driving bass on "Just One of Those Things" exemplifies this role in maintaining momentum. Philly Joe Jones, also from the Davis Quintet, supplied drums with a swinging pulse that energized the session, including notable solo passages on "Heavy Dipper" and tempo control on "A Night in Tunisia." His intricate rhythmic interplay with Chambers and Timmons created an unrelenting drive without overpowering the horns. The quintet's dynamics highlighted a front-line of and for bold, conversational horn work, diverging from larger ensemble formats by fostering an intimate, informal blowing session vibe. This configuration allowed Adams to challenge directly, while provided energetic yet supportive backing.

Production staff

The production of The Cooker was overseen by , the founder of , who selected the tracks and assembled the musicians to capture the emerging style of the late 1950s. Lion's hands-on approach emphasized authentic jazz expression, drawing from his experience producing over 1,000 sessions since founding the label in 1939. Recording and mastering were handled by engineer at his studio in , on September 29, 1957, where he applied his innovative techniques to achieve the warm, detailed "RVG sound" that became a hallmark of albums. Van Gelder's work on The Cooker included precise microphone placement and real-time mixing, contributing to the album's dynamic clarity and presence. The original album's liner notes were written by jazz critic Leonard Feather, who provided an introductory essay highlighting Lee Morgan's prodigious talent at age 19 and his potential as a major voice in . Cover design was credited to , Blue Note's longtime art director, whose minimalist photography-based layouts defined the label's visual identity, while photographer Francis Wolff captured the iconic black-and-white cover image of Morgan. Blue Note's in-house team prioritized jazz authenticity, with Lion and Van Gelder collaborating closely to preserve the session's improvisational energy without overdubs or edits. For later reissues, such as the 2006 Rudy Van Gelder edition and the 2020 Tone Poet series, mastering engineer Joe Harley utilized original analog tapes to enhance sonic fidelity while retaining the album's vintage character.

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