New Website Launches ur new website, the backbone of our OStory of British Jazz project, will be live from May. Over the next eighteen months the new site will be populated with regular news updates from the Archive, blog posts from staff, learning resources for Newsletter teachers and our searchable catalogue of issue 26 – may 2013 Archive holdings. National Jazz Archive, Loughton Library The site will also allow visitors to browse Traps Hill, Loughton, Essex IG10 1HD over two hundred interviews with jazz 020 8502 4701 musicians, singers and composers conducted [email protected] by ex-Crescendo editor Les Tomkins. www.nationaljazzarchive.org.uk For the first time, tickets to the Archive’s @JazzArchive popular events will be available online, allowing the Archive to run bigger events and accept payment by credit card. As well as a searchable catalogue of the Archive’s holdings, visitors will be able to access digital copies of some of the Archive’s 23,665 journals, creating the biggest online jazz research resource in Britain. Visit the new www.national jazzarchive.org.uk to experience the Story of British Jazz.
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New Books Mike Bieber – 2012 London Jazz Thanks to those who have donated the following: Festival material. Benny Goodman’s Famous 1938 Carnegie Hall Graham Langley – numerous journals from Jazz Concert by Catherine Tackley (Oxford his collection. University Press) Kenneth Pitt via Kevin Cann – donated an Keith Jarrett’s The Köln Concert by Peter engraved watch given to Kenneth as a present Elsdon (Oxford University Press) from Stan Kenton. Mr P.C.: The Life and Music of Paul Chambers Katriona Skrimshire – her parents’ personal by Rob Palmer (Equinox Publishing) archive (Neville and Sally-Anne). Trad Dads, Dirty Boppers and Free Fusioneers: Christopher Wright – Storyville material British Jazz 1960–1975 by Duncan Heining belong to his late father, Laurie. (Equinox Publishing) Christine Olende – photograph albums of Strictly a Musician: Dick Cary by Derek Coller the 100 Club. (Dick Cary Music) Auntie’s Charlie: An Autobiography by Charles Other donations were kindly Chilton (Fantom Films ) received from: Lonnie Donegan and the Birth of British Rock & Les Adams; Marianne Bennett; Brian Browning; Roll by Patrick Humphries (The Robson Press) Dave Clark; Philip Durell; Mike Fowler; Tony In addition, Rod and Janet Johnston donated Gibbs; Duncan Heining; John Juchau; Bob Lamb; Jazz: For Cat’s Only by Tony Munzlinger (Edition Frank Mears; Sonia Mellor; Bob Michalski; Tony Galatis Lugano) which is now a difficult book Middleton; Scott Nicol; Stuart and Mavis Slack; to obtain. Hughie Weiner, Laura Yates and Sue Coffin – widow of Monty Coffin, who was Chairman of the New Archival and Ephemera Material Welsh Jazz Society for many years. Donations Roy Craig – autographed Chelmsford Jazz Club The George Webb Archive posters 2002–3 which had been collected by the George Webb, jazz revivalist, bandleader, pianist late Fred Wright. and one-time Trustee and Patron of the National Elaine De Lange – the sister of the late jazz Jazz Archive, left us his personal archive that pianist Lennie Felix and her son Nicholas have sent was entrusted to us after his death in 2010. us material about Lennie including a scrapbook. Now, several years on, as project archivist, I’ve Brian Foskett – many negatives of photos this had the privilege of working my way through excellent photographer took of jazz musicians his collection and cataloguing its content. It between 1961 and 1989. comprises items such as programmes, posters, Nigel Llewellyn – donated a number of B.M.G band accounts, radio and TV scripts, interviews, (Banjo, Mandolin & Guitar) issues we were missing. his writings on jazz and photographs spanning Charlie Worsdale – many photographs taken by his long career as a musician. him at various clubs and events, including some The cataloguing of his archive has allowed autographed, plus other memorabilia such as us to open up this wonderful collection. programmes and posters. The Story of British Jazz HLF project, which
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NJA_may13_v1_v5.indd 2 13/05/2013 13:32 Archive News Learning, Community and Outreach Lectures This Spring has seen a run of successful lectures at the Archive. Four lectures took place in March and April that each examined different perspectives on jazz. The series opened with journalist and author Duncan Heining talking on Drugs and British Jazz. Despite a fairly eyebrow-raising subject to open the series, Duncan presented a balanced and informed talk. Duncan worked with drug users for more than 20 years in probation offices in Brighton, Witham, Clacton, Basildon, Colchester, Southend and Grays as well as training probation officers and social workers. Whilst working at Her Majesty’s Prison Bullwood Hall he was responsible for the prison’s drug policy, has made all of this cataloguing work determining how policy would be implemented, possible, has also allocated funds to commissioning services and monitoring digitise individual items which, along with service delivery. In his fascinating talk, Duncan the catalogue, will also be viewable online. brought together his knowledge of jazz history Selected items from Webb’s archive will and his professional experience to deliver a be free to access via our new website and thought-provoking and sensitive view of the will provide people with the opportunity to influence of narcotics on British jazz. engage more with our collections. Dr Nicolas Pillai from Warwick University Although my background’s in music took another vivid perspective on British jazz. research, I cannot claim to be a jazz specialist Nic’s academic work focuses on jazz in visual … although I think I’m making good progress! culture, crime narratives and the representation Contextualising the George Webb photographs of happiness. He’s currently researching the has proved to be rather difficult given that documentation of British film and television there is often no information stating what at the National Jazz Archive. He has lectured they are of, or where and when they were and run seminars on film theory, issues in film taken. With the help of our new and dedicated criticism and jazz in visual culture. volunteer, John Spurge, we are working In his talk Jazz and the Television Archive, towards making sense of this final part of the Nic discussed the history of jazz on television, collection and producing a well-researched its survival in archives and its use in academic catalogue of his photographic archive. teaching, creating a narrative of jazz’s Fiona Cormack onscreen engagement with the past. Project Archivist The Archive was pleased to invite Chris
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NJA_may13_v1_v5.indd 3 13/05/2013 13:32 Dr Nic Pillai talks on British Jazz on Film and TV.
Walker, a familiar face on the jazz lecture circuit, Admission is free. Visit www.chelseaspace.org for to give a talk on Benny Goodman and his influence the full programme. on British jazz. With some carefully selected The National Jazz Archive will be on hand at archival film clips, Chris aptly illustrated the life the exhibition on 8 May, playing some records and influence of ‘the King of Swing’. and talking to the public about the important The final lecture in the series was inspired by work the Archive does in preserving the written material found in the Archive. Jasmine Taylor, history of jazz. a PhD researcher from Goldsmiths College, The Archive will also be supporting a British University of London, is writing her thesis on Billie Music Experience (BME) exhibition on British Jazz Holliday. The Archive is fortunate to hold a number to be held at the BME’s exhibition space in the of original handwritten Billie Holiday letters. In her O2 arena, Greenwich, from June to September. A talk, Jasmine examined these letters and placed selection of material from the Archive will be on them into the context of Billie’s life, bringing real display and the BME will be collaborating with the research value to the letters. Archive on a new series of lectures. Further details A total of 60 people attended the series of this event will be published on our website. that was hosted to coincide with the Loughton Festival, enabling the Archive to contribute to the Volunteers important local celebration of arts, history and The Archive relies on volunteers to support us with culture in the Archive’s hometown. our events and day-to-day archival work. Our thanks go to: Steve Carter, Alan Quaife, Exhibitions Christine Smith, John Spurge and George The Archive will be contributing to two Wilkinson for their weekly support with archival forthcoming exhibitions this Spring. work, indexing and sorting; Mimmi Figg, Angela The famous Dobell’s jazz record shop in central Davies and trustees Nick Clarke and Alis London closed its doors in 1992, but from its Templeton for their support during the Spring opening in 1946 was a popular meeting point for lecture series; and Brian Browning, Sue Cobrin, jazz enthusiasts. An exhibition celebrating the Jane Hunter-Randall, Judith McKeogh, Jackie shop is being held at Chelsea Space, 16 John Islip Pryke and Peter Smith for their support with the Street, London SW1P 4AJ. The exhibition runs Buddy Greco event. until 18 May, and is open as follows: Tuesday– Sam Fieldhouse Friday 11:00–17:00, Saturday 10:00–16:00. Learning and Outreach Officer
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NJA_may13_v1_v5.indd 4 13/05/2013 13:32 Celebratory Interview Review with Buddy Greco osted by Archive Founder, Digby Fairweather, Benny would walk HBuddy now eighty-six, entertained his off the stand while audience unflaggingly with both songs and we took over and reminiscences. These included stories of his played the modern childhood in Philadelphia and of taking up the way. I told him: piano at just four years old. Taught by a respected ‘when you leave the stage, that ‘BG’ on the music local classical teacher Joseph Cavalieri (and stands represents ‘Buddy Greco!’. And for that he gifted with perfect pitch) he first learned to play fired me eleven times – but each time asked me on a dummy keyboard - printed on the cover of back with a $25 raise!” a magazine! - before acquiring a Steinway piano Greco’s first visit toL ondon was with Goodman for just $40.00! More training was acquired at - to play the Palladium in l949 - but his solo career Philadelphia’s ‘Settlement House’ where fellow from the early l950s (including international students included Mario Lanza and Al Martino and hits like ‘The Lady is a Tramp’ plus over it was during this time that Buddy first heard Louis eighty successful albums) provided a host Armstrong and fell in love with jazz. of stories of more British visits including topping “During my teens’ he recalled “- Benny the bill at the London Palladium in his own right. Goodman’s manager Elliott Wexler His American career lasted into the l990s before heard us in Philadelphia’s Club 13 a signing with Alan Bates’ British-based Candid and took us to New York where label prompted him to move to Westcliff to ‘live I signed with the Musicraft label by the sea’. “In recent years” he observed and had my first hit record; a song “ - I’ve often been billed called “Oh Look-a there ain’t she pretty!” which was a big national hit. I thought I’d be able to buy a house with the royalties but when the cheque arrived it was for just $43!” From l949-52, Greco played for Benny Goodman; a period when Goodman was experimenting with ‘bebop’.” Benny hated it” he recalled “ - but a lot of the younger musicians in Benny’s band felt differently. So after he’d played his hits
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NJA_may13_v1_v5.indd 5 13/05/2013 13:32 as part of Sinatra’s ‘Rat Pack.’ But that’s not really Fairweather (trumpet-cornet), Martin Roche (bass right. I was good friends with Frank, Dean and guitar) and John DeBrulais (drums). Greco’s finale Sammy – and of course we hung out together – but - a toweringly powerful presentation of Jimmy I always had my own thing going. “ Webb’s ‘MacArthur Park’- was greeted with a well- For the past twenty years he has been married deserved standing ovation for a legend of popular to singer Lezlie Anders and later in the afternoon music and jazz. his audience was treated to a full song-recital David Nathan from the two of them and their musicians: Digby Research Archivist Jazz in Essex – Do you have any Memories? new project, funded by the Heritage wouldn’t necessary think it, there are some A Lottery Fund and supported by the key people based in Essex that have not only National Jazz Archive, aims to create a touring been a part of the local scene but also had a exhibition celebrating jazz in Essex. national impact.” The project, ‘Essex on Tour’ is being The project is funded by the Heritage researched by Essex based Afro-Cuban Lottery Fund, Arts Council England, Essex percussionist, bandleader and music critic County Council and supported by Essex Music Mark Cotgrove, better known as DJ Snowboy. Services & Essex Library Services The exhibition, to be toured around libraries As well as the exhibition there will be in Essex, will focus on stories about jazz over performances by top jazz players at various the past seventy years. events across the region, including the launch Project Manager Tony Morrison says “It’s at Chelmsford Library in September. an exciting project as we seek out and l If anyone has a story to tell or has been interview the musicians, promoters and involved in the jazz scene in some way venues that have played their part in the jazz they should contact Project Manager Tony scene across the region and although you Morrison on: [email protected]
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NJA_may13_v1_v5.indd 6 13/05/2013 13:32 Kenny Ball Remembered 22 May 1930 – 7 March 2013 f you told So any Kenny Ball show was liable to combine Ithe late – classic jazz repertoire with a selection of his hits and deeply (including his signature-song So Do I); rip-roaring lamented crowd-pleasers, spectacular solo features and – Kenny Ball a finale in which every capacity audience was that he was a invited to stand up, link hands and arms and join ‘household name’ he would respond with a chuckle: in with a joyful All You Need is Love. In short, “Yeah! Like ‘Harpic’! Clean round the bend!” Kenny Ball – like Armstrong – believed that The response says quite a lot about the ‘pleasing the people’ was part of his artistic friendly approachable man behind the horn who terms of reference; a philosophy of which no jazz just happened, in his prime, to be one of the musician should be ashamed. greatest Dixieland trumpeters of all. From their At his height, he was of course, a jazz formation in l958 Kenny Ball’s Jazzmen set new trumpeter of legendary ability and wide musical challenging standards for his music; in Britain influences ranging from Louis Armstrong to and soon after worldwide. Their first album Clifford Brown. And when they visited America ‘Invitation to the Ball’ turned heads (and ears) all in the early l960s Kenny Ball’s Jazzmen – a over Britain’s jazz scene in 1960. And once they seven-piece corporation of super-talents – laid had invaded the hit parade a year later with their waste to most of the local opposition; the leader headlong adaptation of I Love You, Samantha – returning home triumphantly with the keys to and followed it with 14 more hits between 1961 New Orleans. Back then I saw his band on every and 1967! – there was no doubt that Kenny Ball possible occasion and in their slick grey suits was set to become one of the best loved figures these handsome young men (Kenny in his youth of British show business. And for half a century was a convincing double for Errol Flynn) seemed after the rock set in, appearances in concert simply unstoppable; their creativity effortlessly and cabaret, as well as television residencies matched by swaggering instrumental – notably The Morecambe and Wise Show and techniques, and a library full of ingenious musical Saturday Night at the Mill – turned Kenny into arrangements which never got in the way of a familiar and much-loved face (and sound) for individual inspiration. generations of fans who might otherwise have But it wasn’t to be like that forever. From 1965 decided that they didn’t like jazz at all. at various times throughout his career Kenny Surviving the cultural invasion of the Beatles Ball faced – and conquered – a demon that in 1963 was a challenge in itself, and it says an haunts every trumpet-player; the encroaching enormous amount for Kenny Ball’s charisma, threat of ‘lip-trouble’. The muscles around the talent and personal determination that he – and lips that form any trumpeter’s embouchure are his band – remained a bill-topping attraction small and sensitive, and if pushed relentlessly for the next 50 years. Like Louis Armstrong he to work night by night can set up damaging was aware that jazz and entertainment were opposition of their own. So it was that in 1965 not – and never have been – mutually exclusive. this wondrous trumpeter, if only briefly, found
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NJA_may13_v1_v5.indd 7 13/05/2013 13:32 himself unable to produce even one note on his acknowledged as ‘the Shakespeare of jazz’ – instrument. In the midst of a succession of 14 dubbed his young friend ‘a genius’. chart hits – and with concerts to play every night In later years I got to know Kenny well and e
in a non-stop regime of international touring – even joined him on-stage when that nagging v i ch
such a situation would have broken the nerve ‘lip-trouble’ made a temporary return. We also r A of a lesser leader. But Kenny Ball was made of shared a cruise in 2010 and in the months that
strong mental stuff and, after a brief season of followed produced (with his brother-in-music, Jazz al
arriving on stage with a second player to essay John Bennett) a book called Kenny Ball and on ti his challenging trumpet parts, he returned to John Bennett’s Musical Skylarks. Despite the e Na e h
full-time playing with apparently undamaged light-hearted title it tells more about the great t m o
flare. In 1969 I saw him four times in London musician and man that was Kenny Ball. And I’m r f
supporting Louis Armstrong’s All Stars; it was as glad that we wrote it in time. es g ma if nothing had ever been wrong and Louis – now Digby Fairweather I
A Legacy Message from NJA Patron Dame Cleo Laine ame Cleo has Leave the National Jazz Dbeen an active My late husband Sir John Dankworth Archive a gift in your Will promoter of British CBE and I were enthusiastic supporters Leaving a gift in your Will to the jazz both in the UK of the National Jazz Archive from its National Jazz Archive will enable and abroad. foundation in 1988 – and cut the ribbon the Story of British Jazz to be to launch its new premises in 1992! As a told for years to come. A Will is Dame Cleo, Sir regular visitor to the NJA since then – to a uniquely personal document, John Dankworth meet friends and talk about my career and will give you peace of mind and the Story of – I’d like to encourage you to join Sir knowing that your final wishes will be carried out. It will ensure British Jazz John and I by supporting our Archive and None can dispute the that those you love are provided leaving a gift in your will to ensure that tremendous legacy for and but is also an opportunity the story of jazz in Britain will continue made to the Story to be told in the years for you to help those causes of British Jazz by to come. you have supported during your Dame Cleo and her Love to you all...... lifetime – like the National Jazz late husband, Sir John Dame Cleo Laine Archive and British jazz. Dankworth. As Patron For more information and of the NJA Dame Cleo advice on leaving a gift in your is keen to support the Will to the National Jazz Archive Story of British Jazz project made possible by a visit our web site and download the Legacy major award from the Heritage Lottery Fund. But Information Pack. www.nationaljazzarchive. to ensure that the project meets the terms and co.uk/support conditions of the HLF award the Archive needs Alternatively write to the Legacy Officer at the the support of you, the jazz lover. So, why not add National Jazz Archive, Loughton Library, Traps Hill, your legacy to Dame Cleo’s and become part of the Loughton, Essex IG10 1HD and indicate whether Story of British Jazz. you would prefer a hard copy or an electronic form.
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