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Post-World War II Jazz in Britain: Venues and Values 19451970
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Post-World War II Jazz in Britain: Venues and Values 19451970 Williams, KA http://hdl.handle.net/10026.1/4429 10.1558/jazz.v7i1.113 Jazz Research Journal Equinox Publishing All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. [JRJ 7.1 (2013) 113-131] (print) ISSN 1753-8637 doi:10.1558/jazz.v7i1.113 (online) ISSN 1753-8645 Post-World War II Jazz in Britain: Venues and Values 1945–1970 Katherine Williams Department of Music, Plymouth University [email protected] Abstract This article explores the ways in which jazz was presented and mediated through venue in post-World War II London. During this period, jazz was presented in a variety of ways in different venues, on four of which I focus: New Orleans-style jazz commonly performed for the same audiences in Rhythm Clubs and in concert halls (as shown by George Webb’s Dixielanders at the Red Barn public house and the King’s Hall); clubs hosting different styles of jazz on different nights of the week that brought in different audiences (such as the 100 Club on Oxford Street); clubs with a fixed stylistic ideology that changed venue, taking a regular fan base and musicians to different locations (such as Ronnie Scott’s Jazz Club); and jazz in theatres (such as the Little Theatre Club and Mike West- brook’s compositions for performance in the Mermaid Theatre). -
Saint Motel Debut Uk Single ‘My Type’ Is out Now
SAINT MOTEL DEBUT UK SINGLE ‘MY TYPE’ IS OUT NOW Playlists include A list at Radio 2, B list at Radio 1 and XFM’s Daytime list WATCH ON YOUTUBE https://www.youtube.com/watch?v=IyVPyKrx0Xo “Each of their songs announces itself with a flourish and no little élan, and there's a light sprinkling of Caribbean rhythms, tropical flavours and lounge-jazziness throughout.” – The Guardian “Jackson and his cohorts inject Caribbean lilts, stomping beats and lounge-jazz licks into giddy power-pop.” – The Washington Post Already a growing proposition in the States where they’ve played shows with the likes of Arctic Monkeys and Imagine Dragons, the Los Angeles quartet SAINT MOTEL are making a strong impression with their debut Parlophone track and first Top 40 single ‘My Type’. A record Track of the Day at Radio 1 and Record of the Week at Radio 2, it’s also been playlisted at Radio 2 (A list), Radio 1 (B list), XFM (Daytime list) and Absolute (B list). ‘My Type’ is an exuberant collision of gorgeous tropical horns and percussion, suave indie style and frontman A/J Jackson’s velveteen croon. Recalling the glam flair of the Seventies with elements of retro power-pop, SAINT MOTEL also possess a tongue-in- cheek twist on cynicism and irony that reflects their status as a Los Angeles band influenced by British culture. The single is the first new song that SAINT MOTEL have issued ahead of their upcoming EP which will be their first full UK release. Having recently introduced themselves to British audiences with London show at Club NME and The Lexington, they’ll return to these shows in November for a full tour: November 2nd – Brighton, The Haunt 5th – London, The 100 Club 6th – Sheffield, The Plug 8th – Bristol, The Lanes 13th – Manchester, The Ruby Lounge 14th – Leeds, Brudenell Social Club 15th – Newcastle, Think Tank 16th – Edinburgh, Electric Circus SAINT MOTEL’S debut album ‘Voyeur’ demonstrated a band that contrasts immediate, hook-fuelled pop melodies with leftfield subject matter. -
Rescue Plan for London's Grassroots Music Venues Making Progress
Rescue Plan for London’s Grassroots Music Venues Making progress 2 Support organisations to make a workforce. There is a vast range of greater impact for their staff, our opportunities too, from partnering communities, the next generation on one of our programmes, to and London as a whole. forming a relationship supporting a small charity, or encouraging One of our aims is to help your staff to volunteer and use young people on their path to their skills at one of the 1,200 employment. Volunteering can charities we work with. Indeed, help develop the skills, confidence whatever your CSR objectives, and experiences they need to Team London is here to help. succeed at work. In partnership with the CIPD and Step Up to London, Volunteering, Charities Serve, we are asking businesses and Sponsorship to commit to recognising this when they recruit young people. Copyright So, this is a rallying call to London businessesGreater London to Authority get involved with TeamJanuary London. 2017 It is not just a good Greaterthing to London do. It Authoritywill also benefit both yourCity Hall, present The Queen’s and future Walk More London London SE1 2AA london.gov.uk enquiries 020 7983 4100 minicom 020 7983 4458 Written and researched by The Greater London Authority, Music Venue Trust, Nordicity, Sound Diplomacy With thanks to The London Music Board The Mayor of London’s Night Time Commission Cover Image: Blood Orange at KOKO, Camden ©Carolina Faruolo 3 Contents Introduction from the Mayor 4 Executive summary 6 Definition of a grassroots music venue 8 London’s grassroots music 10 venues in numbers Map of London’s grassroots 13 music venues Putting the Rescue Plan for London’s 19 Grassroots Music Venues into practice Our partners 28 4 Introduction from the Mayor This report is a major step to rebuilding London’s live music scene. -
25 Years of the London Jazz Festival
MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay Published in Great Britain in 2017 by University of East Anglia, Norwich NR4 7TJ, UK as part of the Impact of Festivals project, funded by the Arts and Humanities Research Council, under the Connected Communities programme. impactoffestivals.wordpress.com ACKNOWLEDGEMENTS This book is an output of the Arts and Humanities Research Council collaborative project The Impact of Festivals (2015-16), funded under the Connected Communities Programme. The authors are grateful for the research council’s support. At the University of East Anglia, thanks to project administrators CONTENTS Rachel Daniel and Jess Knights, for organising events, picture 1 FOREWORD 50 CHAPTER 4. research, travel and liaison, and really just making it all happen JOHN CUMMING OBE, THE BBC YEARS: smoothly. Thanks to Rhythm Changes and CHIME European jazz DIRECTOR, EFG LONDON 2001-2012 research project teams for, once again, keeping it real. JAZZ FESTIVAL 50 2001: BBC RADIO 3 Some of the ideas were discussed at jazz and improvised music 3 INTRODUCTION 54 2002-2003: THE MUSIC OF TOMORROW festivals and conferences in London, Birmingham, Cheltenham, 6 CHAPTER 1. 59 2004-2007: THE Edinburgh, San Sebastian, Europe Jazz Network Wroclaw and THE EARLY YEARS OF JAZZ FESTIVAL GROWS Ljubljana, and Amsterdam. Some of the ideas and interview AND FESTIVAL IN LONDON 63 2008-2011: PAST, material have been published in the proceedings of the first 7 ANTI-JAZZ PRESENT, FUTURE Continental Drifts conference, Edinburgh, July 2016, in a paper 8 EARLY JAZZ FESTIVALS 69 2012: FROM FEAST called ‘The role of the festival producer in the development of jazz (CULTURAL OLYMPIAD) in Europe’ by Emma Webster. -
Paul Weller – Porcelain God
Paul Weller – Porcelain God 2.7 1977 The Jam sign to Polydor Records for an advance of £6000 and this was announced in the press 10 days Tuesday 11th January 1977 later. Evening Concert – The 100 Club, London The Jam support Alan Clayson’s Argonauts and Saturday 19th February 1977 Stripjack. Evening Concert – The Hunt Hotel, Leighton Buzzard Saturday 22nd January 1977 Thursday 24th February 1977 Evening Concert – The Marquee, London (Attendance Evening Concert – The Roxy, London approximately 500) The Jam were supported by The Rejects and Wire. The Jam support Bearded Lady. This gig was attended by Chris Parry from Polydor who consequently asked Friday 25th February 1977 the band to record demos for the label. At the time the Polydor announce the signing of the Jam, for a one band had already received a contract offer from London single and one album deal. The sign on fee was based Chiswick Records but the advance of £500 for a £6000.00. one single deal was small and the band held out for a Evening Concert – The Fulham Greyhound, London better offer. Paul Weller burns a copy of “Sniffing Glue” at this gig Saturday 26th February 1977 as he was annoyed at comments made in the fanzine Evening Concert – The Hunt Hotel, Leighton Buzzard about the band taking too long to tune their instruments. On the same day the NME published a positive live March 1977 review of the Jam by John Tobler. The “In The City” Album Sessions, commence at Polydor Studios, London with Vic Smith and Chris Parry Tuesday 25th January 1977 and last 11 days in total. -
How to Run a Grassroots Music Venue
INTRODUCTION Music Venue Trust is a UK charity created in 2014 to protect, secure and improve the nation’s Grassroots Music Venues (GMVs). We work with and for the small independent venues which nurture new talent and connect audiences with live music experiences, building communities around music in towns and cities across England, Scotland, Wales and Northern Ireland. How this book works This book is one of a pair – How to Open a Grassroots Music Venue and How to Run a Grassroots Music Venue. The chapters contain some common information but are written for the reader depending on whether they are embarking on creating a GMV or reviewing the venue they already run. The guides are intended to be practical and straightforward, while linking to supporting materials both in the Guidance section at the back of the book and to online Resources on the Music Venue Trust website. Throughout the book a key tells you when information is Vital , when to cross reference with the Guidance and when to refer to online Resources : www.musicvenuetrust.com We urge you to read through the good practice Guidance which has been created by experts. Even if you are not able to do everything, it tells you what you should be aiming for. As the book states several times, running a successful venue is underpinned by doing what you need to do, setting the scene for you to develop the venue you want to create. 1 For inspiration, the practical guide is interspersed with interviews with some of the people who own and run existing GMVs. -
Hamsard 2786 Ltd / Academy Music Holdings Ltd Inquiry: Final Report
Hamsard and Academy Music A report on the proposed acquisition of a controlling interest in Academy Music Holdings Limited by Hamsard 2786 Limited 23 January 2007 © Competition Commission 2007 Website: www.competition-commission.org.uk Members of the Competition Commission who conducted this inquiry Diana Guy (Chairman of the Group) Christopher Goodall Professor David Parker Anthony Stern Chief Executive and Secretary of the Competition Commission Martin Stanley The Competition Commission has excluded from this report information which the inquiry group considers should be excluded having regard to the three considerations set out in section 244 of the Enterprise Act 2002 (specified information: considerations relevant to disclosure). The omissions are indicated by []. Proposed acquisition of a controlling interest in Academy Music Holdings Limited by Hamsard 2786 Limited Summary................................................................................................................................ 5 The reference.......................................................................................................................... 5 The parties and the transaction .............................................................................................. 5 The relevant markets .............................................................................................................. 6 Venues................................................................................................................................... -
Lindy Hoppers Sweep the Jive Joint
Lindy Hoppers Sweep the Jive Joint couples on the floor at one time, Capital Gold "Open" then eight couples went through Jive .Championship to the final. The music for the Winners competition was '50s rock 'n roll, and the cramped conditions First just enhanced the atmosphere, Warren Heyes & Maxine Green with many different styles Second visibJ, from flying Lindy Hop to i Ron Lesley & Sing Lim Rock 'n Roll to Ballroom Jive. , Third If prizes were a warded on i Michael Grimshaw & enthusiasm, the judges could , Margaret Kirkaldy never have made a decision. ' Greatest Sense of Fun What judges were asked to look Brigid Kirst & Tim Flach for was timing and rhythm, body The Judges coordination, styling, variety and originality, musical Freddie Haugan, Dance Institute The winners, Maxine Green and Warren Heyes, and their Jiving Lindy Hop. Photo sent in by Simon Selmon. interpretation, lead and follow, Director, Norway teamwork, showmanship, and Amelia Hill, '88 Rock 'n Roll costume. Champ,UK "It was heaving", said Hoppers week, on Monday night hosting fi A special prize was given to Randall Lee Rose, Capital Gold DJ, who were at the rst Capital Srompin' run by the London USA the couple who showed the most Gold "Open" Jive Competition, Swing Dance Society. This Stuart Colerhan, Capital Gold DJ, enthusiasm and greatest sense I on 15 November ar rhe 100 Club pat1icular Monday, streamers UK of fun. This couple could be in London. More to the point, and balloons hung in their chosen by the judges from any Lindy ffoppers dominated the hundreds from the ceiling and of the heats, so couples who dance floor and took the top two rose from the streamer-covered Louise Thwaite didn't make the final also had a Inside prizes! of the tables. -
THE CULTURAL VALUE of LIVE MUSIC from the PUB to the STADIUM: GETTING BEYOND the NUMBERS by Dr Adam Behr, Dr Matt Brennan & Professor Martin Cloonan
THE CULTURAL VALUE OF LIVE MUSIC FROM THE PUB TO THE STADIUM: GETTING BEYOND THE NUMBERS By Dr Adam Behr, Dr Matt Brennan & Professor Martin Cloonan Research by The University of Edinburgh and The University of Glasgow Part of the Arts & Humanities Research Council’s Cultural Value Project The Cultural Value of Live Music from the Pub to the Stadium Acknowledgements Key Findings The authors are grateful to the Arts • The weakest point of the live music ecology at present is and Humanities Research Council’s the small to medium independent venues. Cultural Value project team for providing the funding which made • Policymakers need to pay more heed to the economic this research possible. We would and cultural contribution of smaller venues. Local regimes also like to thank UK Music, the often focus their attention on major developments whose Musicians’ Union and PRS for Music for their assistance and co-operation key beneficiaries are larger businesses. in carrying out the work. • Greater harmonisation of regulatory regimes and their We extend thanks to all the members implementation across the UK will benefit independent of the advisory board for their ideas and assistance and, particularly, all of the and major operators alike. people who took time out from their busy • The need for a more ‘joined up’ approach across council schedules to be interviewed. The qualitative nature of this research means that we services is widely acknowledged but not always fully needed the perspectives of a multitude of implemented. different stakeholders in British live music and their willingness to speak to us was • Competition between cities drives investment in invaluable to this project. -
Music Venue Trust Response to HM Government - Building Our Industrial Strategy Green Paper
Music Venue Trust response to HM Government - Building Our Industrial Strategy Green Paper 1. About Music Venue Trust Music Venue Trust is a registered charity which acts to protect, secure and improve Grassroots Music Venues in the UK. 1 Music Venue Trust is the representative body of the Music Venues Alliance 2, a network of over 250 Grassroots Music Venues in the UK. A full list of Music Venues Alliance members can be found in Annex C. 2. Grassroots Music Venues in 2017 A. A nationally and internationally accepted definition of a Grassroots Music Venue (GMV) is provided at Annex D. This definition is now in wide usage, including by Parliament. 3 B. GMVs exhibit a specific set of social, cultural and economic attributes which are of special importance to communities, artists, audiences, and to the wider music industry. Across sixty years, this sector has played a vital research and nurturing role in the development of the careers of a succession of UK musicians, from The Beatles (The Cavern, Liverpool) through The Clash (100 Club, London), The Undertones (The Casbah, Derry), Duran Duran (Rum Runner, Birmingham), Housemartins (Adelphi, Hull), Radiohead (Jericho Tavern, Oxford), Idlewild (Subway, Edinburgh), Super Furry Animals (Clwb Ifor Bach, Cardiff). All three of the UK’s highest grossing live music attractions in 2017 (Adele, Ed Sheeran, Coldplay) commenced their careers with extensive touring in this circuit. 4 C. GMVs have demonstrated a strong and passionate engagement with local and regional audiences, addressing Arts Council England and DCMS core aims of ensuring experiences are available to everyone.5 “Music fans that attend gigs in these grassroots venues have a voracious appetite for live music and a high percentage attend shows regularly, which not only helps build an active local music scene but also supports local talent, enterprise and business.” – UK Music, Wish You Were Here 2016 D. -
25 CITIES Where Jazz THRIVES
>> Profiles of 25 CITIES Where Jazz THRIVES FEBRUARY 2019 DOWNBEAT 43 Jon Batiste performs at the 2017 New Orleans Jazz & Heritage Festival. (Photo: Erika Goldring) Houston native James Francies, seen here at the 2016 Winter Jazzfest in New York City, is signed to the label Blue Note, which released his debut, Flight, on Oct. 18. STEVEN SUSSMAN NYC: STILL THE CAPITAL During the past century, three cities— Cotton Club; the legendary Carnegie Hall con- Coltrane runs the ShapeShifter Lab in Brooklyn, New Orleans, Chicago and New York— certs of Benny Goodman and Duke Ellington; said that living in the metropolis created open- played leading roles in the development Bird, Dizzy and Miles on 52nd Street in the ings for him that he just wouldn’t have had else- of jazz. In the 21st century, however, 1940s and 1950s; the legendary live recordings of where. “When I was younger, I would play any- New York reigns as the world’s undis- Thelonious Monk at the Five Spot. time, anyplace, whoever called. Each of those puted jazz capital, an essential place for The 52nd Street jazz scene is just a memory things, in almost every case, led to something jazz musicians to make their bones. As now, but today’s New York still boasts the leg- else; that led to something else; that led to the singer and Chicago native Kurt Elling endary Village Vanguard and a dozen other thing on the big stage that paid lots of money. recently told DownBeat, “If you’re a jazz clubs in Greenwich Village, including The Blue And they tend to emanate from these little musician, you -
Asta House Brochure
THE ARCHITECTURE. Asta House provides a new take on urban living, right in the heart of the characterful and well-connected Fitzrovia District with its great history of artists, writers and designers. With a W1 postcode, this is a place close to the bustle of Tottenham Court Road and Oxford Street, yet tucked away on the quiet corner of Whitfield Street and Chitty Street. Asta House is an airy, wide-windowed brick and Cumbrian slate building – originally for light-industrial use, then offices and studios – dating from the 1950s. Now Derwent London is transforming this very adaptable building into a thoughtfully designed and richly detailed residential enclave with a variety of apartments and two penthouses, all overseen by an on-site concierge. 3. 4. The theme is set from the moment you step through the solid dark wood door at street level. Inside you find an entrance lobby with parquet flooring and light-painted timber panelling, a concierge desk and leather seating for visitors. Classic 1950s Italian light fittings nod to retained aspects of the building’s heritage such as the green and cream Terrazzo staircase with its delicate metal railings. The design is stylish but simple, with luxurious materials throughout. Dark glazed wall tiles lead from the entrance to the lift lobby at the rear. If you take the stairs, you get the benefit of angled views through large windows on every staircase landing. 5. 6. Your own front door – again in dark wood – with a solid brass doorknob. Inside, the palette of materials continues in a lighter tone, with textured sawn wooden floors, white walls and feature Dada kitchens with lacquered and Corian surfaces.