VJAZZ 51 August 2011 Distribution 650 Proactively Collecting, Archiving and Disseminating Australian I’ve Got One For Ya’ by Graeme Davies. The Lady with the Camera by John Sharpe. Geoffery Orr by Ken Simpson-Bull. Jazz Memories of the USA by Tony Newstead. Standish and Company S&C #7...a Newsletter. Bix Lives At Mittagong And Elsewhere by Bill Brown. A Good Funeral by Lee & Beverley Treanor. Ragtime Pianist Extraordinaire by Gretel James. I’ve Got One For Ya’ by Graeme Davies. The Lady with the Camera by John Sharpe. Geoffery Orr by Ken Simpson-Bull. Jazz Memories of the USA by Tony Newstead. Standish and Company S&C #7...a Newsletter. Bix Lives At Mittagong And Elsewhere by Bill Brown. A Good Funeral by Lee & Beverley Treanor. Ragtime Pianist Extraordinaire by Gretel James. I’ve Got One For Ya’ by Graeme Davies. The Lady with the Camera by John Sharpe. Geoffery Orr by Ken Simpson-Bull. Jazz Memories of the USA by Tony Newstead. Standish and Company S&C #7...a Newsletter. Bix Lives At Mittagong And Elsewhere by Bill Brown. A Good Funeral by Lee & Beverley Treanor. Ragtime Pianist Extraordinaire by Gretel James. I’ve Got One For Ya’ by Graeme Davies. The

QUARTERLY MAGAZINE OF THE VICTORIAN JAZZ ARCHIVE INC. PATRON: WILLIAM H. MILLER M.A., B.C.L. (Oxon.) 15 Mountain Highway, Wantirna Melway Ref. 63 C8 (All correspondence to: PO Box 6007 Wantirna Mall, Vic. 3152) Registered No: A0033964L ABN 53 531 132 426 Ph (03) 9800 5535 email: [email protected]. Web page: www.vicjazzarchive.org.au VJAZZ 51 Page 2

Letters to the Editor Contents The VJA Rosstown

WHAT’S in a name, as Shakespeare Fundraiser once said. Wingy Manone is not the Letters to the Editor 2 only one to have made changes. Jack The Rosstown Fundraiser was Geoffery Orr by Ken Simpson-Bull 3 Mitchell has written us: th I’ve Got One For Ya’ by Graeme Davies 4 held on Sunday 29 May featur- The Lady with the Camera Just received Vjazz 50 (a good number) ing the New Melbourne Jazz Quintet. - many thanks. Further to Wingy Ma- by John Sharpe 4 The group comprised Peter Uppman none's name change: George Brunies Tony Standish S&C #7 5 (trumpet and vocals), Ron Trigg (tenor was influenced by the same nutter, be- Jazz Memories of the USA sax, clarinet and flute), Charlie Farley came firstly Georg Brunis, but finally by Tony Newstead 6 (banjo, guitar and vocals), Simon Van- settled on George Brunis. Fortunately it A Good Funeral cam (bass fiddle), Peter Whitford by Lee & Beverley Treanor 8 didn't affect his trombone playing. (drums and washboard). Bix Lives At Mittagong And Elsewhere Another name changer was Stéphane by Bill Brown 9 Grappelli, originally Grapelly. Per- The Fundraiser was a great success. The Story of a Trombone haps our readers can contribute a The popular Dixie jazz was enjoyed by by Kate Dunbar 9 few more. the large audience who often sang Ragtime Pianist Extraordinaire along with the band. Many raffle and

by Gretel James 10 door prizes were shared by the audi- JAZZART COLLECTION From the Library 11 ence and we raised the wonderful sum NOW COMPLETE of $1,900 on the day. The next fund- raiser at the Rosstown is on Sunday 31 st Images Tom Lucas of July featuring The Moonee Valley THE ARCHIVE has now released Vol- Geoff King Jazz Band . umes 4 and 5 of the “ Jazzart Collec- Dr Pam Clements tion ” CDs. This completes the entire Marina Pollard – Visitor Services Ken Simpson-Bull output of forty-two 78s and three LPs

that were issued by Bob Clemens on Kenny Powell Died. 19.6.2011 Front Cover the JAZZART label between 1948 and

Image 1951. Volume 4 features the works of Sadly, I report that pianist Kenny Powell the “progressives” Don Harper, Don died on Sunday, 19th June 2011. Banks, Ron Loughhead, Rex Stewart, A great musician, a genuine character and Bruce Clarke, while volume 5 is and a friend to so many of us. His jolly dedicated to ‘Splinter’ Reeves. The chuckle will be missed. Bill Haesler. complete Jazzart Collection is an im- portant part of Australia’s recording his- tory of Jazz performances and is a must Image supplied by Tony Newstead for lovers of the local Jazz scene from We Welcome these which shows Tony playing with days gone by. New Members: 1958. All CDs are available from the VJA Left to Right - Eddie Condon, Ray shop in Wantirna or on-line at Garry Adams, Geoff Asher, Lorraine Diehl, ‘Buzzy’ Drootin, Rex Stewart, www.vicjazzarchive.org.au Bell, Owen Brown, Marceau Camille, Ray W. Chapman, Mark Cherny, Claire , Tony Newstead, Gene Schroeder, . Crewe, Barry Gust, Ken Hallam, Arthur 100 E. Howard, Kenton Johanson, Ron Kreymbors, Colin Macleod, Beverley & Magazine Editorial Committee John McArthur, Peter McErlain, Bruce John Thrum Chairman Phillips, Keith Rogers, Ron Santen, Dr Pam Clements HAPPY Dr Mel Forbes Daniel Saporta, Stewart Sharples, Terry Norman BIRTHDAY FRED George Simons, Joseph Tobias, Wim Ken Simpson-Bull Swing man Fred Hosking recently Van Der Leeuw, Norman Whitfield, Joel Yong, Audrey Youdan. celebrated his 100th birthday. Board of Management

Bill Ford President Terry Norman Vice President DISCLAIMER Ray Sutton General Manager Opinions and views expressed in editorial and Mel Blachford Collections Manager We would like to thank contributed articles are those of the authors and are Gretel James Secretary . not necessarily those of the Archive. The editor the following for their Lee Treanor Treasurer reserves the right to publish abridged articles/ Jeff Blades special features due to space restraints. The Ar- generous donations Margaret Harvey chive, editor and the authors expressly disclaim all Dr.Ray Marginson A M Rowland Ball, John Bentley, BlueTone and any liability to any person, whether an Ar- Barry Mitchell Jazz Band, Ron Bowman, Ron Brecken- chive member or not, who acts or fails to act as a Les Newman consequence of reliance upon the whole or part of ridge, Wes Brown, Bryan Clothier, Marina Pollard Pauline Collins-Jennings, Peter J. Fullar- this publication. The editor reserves the right to not publish any articles, correspondence or illus- ton, Prof. William Hare , John & Dorothy Location trations that may be offensive or contrary to VJA Kessner, John May, Keith McCubbery, VJA Inc. “Koomba Park” practices and policies. Publication of an advertise- Deslys Milliken, Wal & Jill Mobilia, Geof- 15 Mountain Hwy. ment does not necessarily constitute endorsement frey H. Norris, Mario Proto, John D. Wantirna by the Archive of any product nor warrant its Thompson, Peter Tierney, Ngaire Mel Ref 63 C8 suitability. Advertisements are published as sub- Turner, Frank Van Straten OAM, Cecil mitted by the advertiser. E&OE. Open Tues & Fri, 10am-3pm Warner, Tom Woods. VJA BOARD OF MANAGEMENT VJAZZ 51 Page 3

Manor House in the city with guests such as with Jack O’Hagan, who was probably GEOFFERY ORR Des Edwards. Australia’s most prolific and talented song

Band Vocalist, Music Historian, Geoff next formed a band of his own composer of the 1920s and 30s. “Jack was known as Art Fodder’s Cream Jungle the CEO of Allans Music from 1920 to 1931,” Archivist, and Creator of Lyric Records. Swooners —basically a “cool” group, with Ken Geoff said. “He also ran his own O’Hagan White on guitar, David White (no relation) on Music from 1928 until 1936.” Jack, who was By Ken Simpson-Bull trumpet, Bill Kerr on clarinet, and Ron Dann also a singer, made several short films for on drums. “We played classy café joints in the Efftee (Frank Thring Senior’s company) GEOFFERY ORR has been singing for many city,” Geoff remembered. “I also worked for a around 1930, and Geoff has transferred their years. As a child he sang with the local church while with Tim Harding’s Cotton Club sound-tracks to CD. Geoff is a friend of the choir where he became the number-one boy Orchestra. ” O’Hagan family and recently liaised between soprano. At age nine he was invited to join the the National Library and the family regarding Australian Boys Choir but was unable The John Wanner Band the borrowing of some of their historically because of family commitments. Never- One day Geoff got an offer from band-leader valuable memorabilia. Geoff has ensured that theless, he continued his singing at high John Wanner to join his band. That was in most of Jack’s recorded compositions are school and later at Monash University where 1983 and Geoff has been their vocalist ever now in the State Library of Victoria. he was training to be a teacher—something since, both with John’s Big Band and also his that he never became. smaller group known as Silver Service. Their Geoff the composer One of Geoff’s first jobs, in the early long-term contract with the RACV ensures 1970s, was with the Bentleigh Sewing and regular work. Geoff greatly admires John’s On the subject of song composers, Geoff has Record Centre . Forget about the sewing! Jim band arrangements, in particular the re- had at least one of his own compositions McManus’ Bentleigh Record Centre was a creations of the music of the 1920s and 30s. released. Inspired by the Sydney Harbour Melbourne icon at the time. The store, in Because of the great familiarity and Bridge tunes that became popular at the Centre Road, Bentleigh, was the source of knowledge that Geoff has of the singers of opening of Sydney’s great landmark, Geoff much rare jazz, imported popular music, that period, he is able to emulate the mood wrote “Westgate—the Bridge We Have classics and nostalgia—records that were completely. “The young people love it Waited For” and recorded it with Ken Hunt & generally not available elsewhere. because most of them have never heard that His Quartet. In the group were Fred Working in the store amongst all this type of music before,” Geoff observed. Sommerville on clarinet, Ken Hunt on esoteric material inspired Geoff to become a “There’s nothing like live music,” he vibraphone, Roy Gillett on piano, and Jim collector, especially of memorabilia relating to remarked. “These days you look at the music Mills on guitar. Geoff, of course, sang. Australian performers and their music. It was magazines and they praise the DJs. But that’s About ten years ago Geoff decided to during this period that he started restoring the not live music. However, there are a few retire from singing. “My voice was becoming works of popular artists of the 1930s and places we refuse to work at because we get very tired in the vibrato,” he said. However, releasing them on his own Lyric record treated so shabbily. The Crown Casino is after a while he developed a form of asthma label—artists such as Al Bowlly, Chick one.” The customers are obviously not there and his doctor advised that he return to Bullock, and Smith Ballew. to listen to music. singing. This Geoff did, and presently he is was a client Geoff continues to restore early Australian singing as well as ever. Nevertheless, Geoff sound recordings and make them available stated that he still benefits from the voice The client-base of the shop included many on his Lyric record label. The original Lyric training he continues to get from his friend, jazz musicians and radio-station presenters. label, with its Lyrebird logo, was created by Ron Rosenberg. (Graeme Bell, Neville Stribling, and Ian Smith the Klippel Record Company in Sydney in were all clients.) As a result, Geoff found that 1932 but only lasted a short he had access to much Australian musical time. A second Lyric label knowledge as well as rare radio transcriptions was formed by Alf Potter in and the like. Unlike many collectors, Geoff felt the early fifties. Geoff that this material, representing Australia’s recalled, “I believe there was musical heritage, needed to be preserved only one release, and that and made available for future generations. He was William Flynn and the began to restore and preserve this material in 3DB orchestra.” a more durable manner than the form in Geoff decided to keep which it existed at the time—acetate discs, the Australian lyrebird logo reel-to-reel tapes and cassettes. Geoff used going with the creation of his CDs as his major preservation format soon own Lyric label in 1977. His after the introduction of this technology. first releases were on vinyl For posterity purposes, Geoff has posted and featured vocalists like much of this material, which also includes Smith Ballew about whom photographs and printed matter, with the he wrote a biography. Victorian State Library (and hence the Nowadays, virtually all of National Library). The Victorian Jazz Archive Geoff’s Lyric releases are of is also a beneficiary of much rare and historic Australian performers. For jazz that Geoff has rescued from oblivion and instance, he has just kindly donated. concluded the restoration of It was also during Geoff’s employment at “With a Song in my Heart”, a the shop that he decided to return to singing. musical radio series of 52 He took singing lessons and joined a small episodes that 3DB made band—Max Hooper’s Hot Shots —as their between 1949 and 1951. vocalist. This popular group included Johnny The programs were written “Ice-cream” Hopwood on guitar and banjo, and directed by Jack Max’s wife Susie on bass, Don Standing on O’Hagan. William Flynn trumpet, Herman Scheidler on trombone and conducted the orchestra. Roy Gillott on piano. They often played at the Geoff is very familiar Geoffery Orr at the microphone VJAZZ 51 Page 4

combination, nice people as the music Richards on drums. In 1983 our boy got I’ve Got One For Ya’ reminds us. Sny, an excellent trumpeter wanderlust again and moved to Sydney and vocalist was ably supported by where he did quite well until tighter liquor By Graeme Davies David Robinson, clarinet, John laws decimated the Sydney gig scene. Cavanagh banjo/vocals, Tom Arrows- An offer to join a band near Lismore took mith, piano, with John ‘Gypsy’ Ben- him further northward to the little town of nett, sousaphone, taking over from the Iluka. He then joined The Grafton City prematurely lost Brian Carter plus Don Jazz Band which had Colin Jones, Boardman drums and our hero on trom- trumpet, Dave Croft, electric bass, bone, gags and stunts. The band kept Kevin Maling, drums, Geoff Gissane, Melbourne Town Hall dancing and piano, and the now re-branded ‘Davey’ laughing from around 1958 up to 1966 Rankin, trombone and vocals. Davey during which time Dave was privileged to eventually settled in Lismore, attending work with comedians Maurie Fields and Lismore University to complete an Arts/ Sid Heylen during Sunday closed door Music Associate Music Diploma, buy a nights at Elizabeth Street’s Hollyford house and create a highly successful Hotel where he refined his timing and singing telegram service. comedy talents while playing their He’s still there. ‘straight man’. He then moved to Adelaide and played in several bands with Dick The Lady Frankel and other Adelaide luminaries, I’VE GOT ONE FOR YA’! has been including the very successful Abraham with the Camera David Rankin’s opening line since he Lott Blues Band which featured regu- first learned to dial a phone, it was usu- larly on Adelaide’s Channel 10 “Teen By John Sharpe ally a limerick, he being a master limeri- Time”. Returning in the early 70s he cist, or a joke of dubious origin bursting formed the first Dave Rankin Band, with feminine lewdity, viz. which played at Doug McIntyre’s THOSE who regularly attend jazz festi- (brother of pianist Willie) Railway Hotel vals around the country will have seen A pianist who played in a trio, in Port Melbourne. It included trumpeter her. She is usually towards the front to Was fond of a girl called Cleo Ian Orr , electric bassist/vocalist Tom the left or right of the stage or sometimes As she dispensed with her panties, Cowburn , with David Robinson clari- located upstairs in the hall or theatre with There was no andantes, net, drummer Peter Clohesy and banjo- her video camera pointed down at the Only allegro con brios. ist Peter McCormick , who were re- action below. Diminutive in stature, she placed, after the band moved to The does not stand out but can be seen hov- A measure of Rankin’s limerick skills Lemmon Tree Hotel, by saxophonist ering around the tripod continually mak- was apparent when a limerick challenge Graeme Davies , pianist Ron Sedge- ing adjustments, scribbling in a note between him and American trumpeter man and the remarkable drummer book, glaring at people who move in ended in a toe-to-toe draw in Glenn Bayliss to become the Rankin front of the camera or breaking off every 1974 at the 29 th Jazz Convention in File. now and then to applaud a particularly Croydon, Victoria. There was always an The Lemon Tree Hotel was Mel- good solo or laugh heartily at a humor- endless supply of laughing material from bourne’s first Saturday afternoon gig. It ous remark made by one of the jazz mu- David Laurence Rankin born in 1936 was hugely popular leaving just enough sicians on stage. near Moonee Ponds, Melbourne, Victoria . room for number-one fans Harry and It may be in the capitals of Canberra, His mother, singer Frances, didn’t Susie to dance on the wine sodden car- Sydney, Perth or Melbourne or in the survive the birthing and father, pianist pet. Rankin and Davies commenced rural jazz festival centres of Kyneton, Bruce, passed young David into the care most Rankin File gigs by giving a read- Halls Gap, Merimbula, Dubbo, Bowral, of his married sister Anne Rankin’s fam- ing of the Women’s Weekly social Wagga, Moe and many other places ily. An education at St Bernard’s College pages, updating a captivated audience where jazz bands come together includ- Essendon shaped the young Rankin’s with the current antics of Toorak’s ing the annual Australian Jazz Conven- attitude to life, the beatings and sadism daughters, Prue, Tiffany, Jane and their tions at various locations across Austra- at that time probably pushing him to- beaux’ adventures in Portsea, South lia. She also pops up at special jazz club wards a career that would make people Yarra and Hayman Island. The dynamic functions, tributes, exhibitions and the laugh, be happy and also jolt them out of duo also gave weekly translations of, as occasional private jam session. Wher- their everyday routines. This he yet undiscovered, Lemon Tree chef Iain ever jazz is likely to be played by promi- achieved! The name “Rankin” became ‘Huey’ Hewitson’s French menu, all re- nent local musicians. synonymous with, not only great enter- sulting in tears, laughter and much mut- She is the lady with the camera – tainment but also outrageous stunts, in tering from the band waiting to play. Lois Stephenson. Lois lodges her master restaurants, on stage and in the streets There was always a bit of interplay with tapes with the Australian Jazz Archive, of Melbourne when conservatism ruled Owen Yateman’s bands and Yatey’s housed and administered by the National the day. His penchant and skill with drummer, Ian Coots, who played the Film and Sound Archive. Along with this twisted lyrics is ably demonstrated in “If last eighteen months of the Lemon Tree goes meticulously recorded information you see Kay’. His foray into jazz was and also Thursday nights at Bob on their contents – dates, places, bands with drummer Spike Edwards Rhythm Walton’s Dick Whittington Hotel. When and individual members and their tunes. Ramblers circa 1956 followed by vari- Owen Yateman’s Big Fat Brarse took Screen Sound Australia values the con- ous bands including the famed Mel- over the Lemon Tree gig in 1975 they tribution she is making and the quality of bourne New Orleans Jazz Band and seconded Graeme Davies and held the her work and provides her with film. She eventually the Alan ‘Sny’ Chambers’ residency until 1980. When he left ‘The also provides a copy to her local archive, Bands which played hard, drank hard, Tree’ Dave formed Rank ’n’ Banned the Victorian Jazz Archive. partied hard and made the hit parade in which featured Doug Dehn, trumpet, Pat Apart from the travel and the many 1963 with their version of Steptoe and Miller, tenor sax, Dick Cullen, banjo, hours spent making the film there are the Son . Rankin and Sny were the perfect plus bassist Derek Capewell and Alan hundreds of hours involved in editing VJAZZ 51 Page 5

Karssemeyer, Neville Stribling and Tom Anyway, the band played ‘Snake Baker. Rag’, and it sounded a whole lot better Those interested in Australian jazz and than the Bob Wilbur version that was its preservation owe Lois a considerable around on Ampersand 78. In fact, hear- debt of gratitude. I hope she continues ing the Johnson band then was sort’ve the good work and that others appreci- like being present at Funky Butt Hall, or ate it as much as I do. Next time you the Royal Gardens, or the Onyx Club – see her, tell her. it was something that, over forty years down the track, you realise you were John Sharpe has had a life-time interest very fortunate to have witnessed. in Jazz especially Australian Jazz and is a The Fabulous Dixielanders were like jazz trombonist, researcher and author. a good footy team, each member was a We consider ourselves fortunate to have talented individual in his own right, but his books in the Archive- the team work was the Main Thing. Like A Cool Capital: The Canberra Jazz 1925-2005 the Beatles, the whole was better than Don’t Worry Baby, They’ll Swing Their the individual components. Something Arses Off—The Stories of Australian Jazz jelled with the Johnson band, and they Musicians’. never really survived the losses they I Wanted to be a Jazz Musician. eventually sustained. Nick Polites is a fine clarinettist, but when he replaced Geoff Kitchen the band was not the same. And the death of Warwick Dyer Tony Standish not long after Kitch’s departure really signalled the end of an era. Image supplied by Lois Stephenson S & C #7… Well, that’s it - ‘Wocka’ Dyer played them before lodgement. While a very the trombone with the Johnson band. large quantity of her film has already a newsletter He played as he was - unbridled, pas- gone to the Archives, her house is full of sionate, fun-loving. He could sound as as much again waiting to be processed. MY FIRST recollections of Warwick sweet as at times, roar Husband, Fred, puts up with all of this. Dyer are of a crumpled sort of bloke in a like Ory at others; he could go from rau- Luckily he has the same interest in the white windcheater and trousers that had cous to romantic, from ‘Ice Cream’ to music and its preservation and on some obviously been slept in, or of a musician ‘Stealaway Blues’ or ‘Sweet Substitute’. occasions will accompany her but, being dressed like the New Orleans Rhythm He would light farts on the bandstand, a bass player, from time to time other Kings in the photograph with Rappolo, fall off his chair during a ‘Pride of commitments, including band gigs pre- dinner suit shiny, on a bandstand – I Erin’ (Mechanics Institute, Mordialloc) clude him from doing so. So there can think at the Dance Palais at the Mordial- and above all, he laughed a lot. He was be long road trips on her own. Lois re- loc Carnival, circa 1947, Summer. a fabulous jazz musician and a friendly, ceives no financial gain from her efforts. I was an embryonic jazz fan then. I nice bloke. I, for one, still miss him. It’s something she personally wants to knocked around with a bunch of From the Tony Standish files. do. She meets her own travelling and pseudo-tough, Catholics, mostly ex-St accommodation expenses and they can Bede’s College, who cruised the be considerable. Her efforts go relatively beaches and parks of Mordy, looking for HISTORY PROJECT GROUP unsung and this is partly my motivation sheilas and being revoltingly boisterous for writing this article. and – harmless. Summer nights we THE HISTORY of the Victorian Jazz Old newsreel clips in which Austra- hung out at the Mordy Carnival, where Archive from day one and even before lian jazz musicians appear are relatively the incredibly sexy Pat Henderson ran a that, is the subject of the History Project few in number and their contents frag- stall where you were invited to knock Group, formed recently at the behest of mented or incomplete and, while a sig- over cigarette packs with a pop gun at Jeff Blades. Although there had been nificant number of musicians appeared threepence a go, keep the fags if you some talk over the past couple of years on television programmes, enquiries won. to do something about our history, it often find that the particular film has We heard the music on this warm took a strong reminder from Jeff, that a been culled or otherwise disappeared bayside night, wafting in from the pier lot of the pertinent information could be from station libraries. A need has there- end of the carnival. Could this be lost, as time races by. fore existed for a more formalised ar- Bolden, callin’ his chillun home? (I was As I have a deal of the early material chiving effort. This Lois provides. Her deep into Charles Edward Smith at the available, it was up to me to start the contribution is enormous and will not be time.) We sauntered down to the Palais ball rolling. After much discussion it was fully appreciated until, with the passing for a listen. A sign said it was Frank determined that a written history would of time, and of the current, sometimes Johnson’s Fabulous Dixielanders. be too costly to produce, so the Group aging crop of musicians, we come to Tommy Lavin, ‘Ecca’ Harvey and I had a decided to digitize all that was available realise how important the images she is bit of a conference, and decided we’d and transfer it to portable hard drive. busily recording now, will be, for those in put in a request. I was elected. Looking This would mean scanning all the writ- the future with an academic, studious or as cool as anyone can in fawn gabar- ten material, although much has already personal interest in the history of the dines and two-tone cardy, I approached been committed to digitization including Australian form of this music and the the band. The leader fresh-faced, with photos, and the 50 issues of VJAZZ individual contributors to it. Just think of lank blond hair like a Scotch College Magazine. the number of musicians you are aware lair, looked askance at this callow lad. I It is hoped the project will be com- of who have passed away in the last stared him in the eye and said: “You pleted by this time next year, and most year or so, some of whose live perform- know ‘Snake Rag’?” That got him! He of the sorting and collation finished by ance was never visually recorded. Ex- asked me where had I heard of ‘Snake Christmas. Thanks to Jeff for giving us a amples of deceased musicians Lois was Rag’. Impressed. In those days we kick up the backside. able to capture on film in recent years really were an underground movement, include Greg Gibson, Bill Howard, Hans and I’d uttered a password. John Kennedy VJAZZ 51 Page 6

Jazz Memories of the USA Tony Newstead—Part 1

MY FIRST VISIT to the USA was in With very few exceptions they were n’t working the room with a glass of Chivas 1958. The future possibilities of tele- great guys, amazed and amused to at the ready! The band photograph communications (my particular field) learn that their names and their music (pictured), duly notated by all and Eddie were just beginning to be recognised were known and admired in places that actually playing, still occupies pride of and I had been lucky enough to get a must have seemed to them to be almost place in my music room today. government scholarship for a year’s off the planet. A short distance further uptown was post-grad. study in UK and USA. For Down in Greenwich Village, Nick’s Jimmy Ryan’s, another famous jazz the first nine months I was at Imperial was the top jazz spot, where the Eddie venue which had as house band the College, London University, where we Wilbur de Paris ensemble with Wilbur on formed quite a creditable jazz group. A trombone, brother Sydney on cornet, couple of us also played at a regular Omar Simeon clarinet, Don Frye piano, Friday lunchtime concert at the Fleet St. “you could hear and meet players Wilbur Kirk drums and Lee Blair on Jazz Club in Fetter Lane, the heart of like , Roy banjo. A marvellous relaxed combo the newspaper fraternity. This was Eldridge, Joe Jones, and Charlie playing authentic New Orleans Creole reputably the oldest jazz club in Britain Shavers for the price of a beer.” jazz. Their “Martinique” LP is a classic. and is still going strong. For intermissions, they had a trio We had some fine guest artists on comprising Don Frye piano, Zutty Sin- occasions including Sandy Brown, gleton drums and Cecil Scott clarinet. I Kenny Baker and Kenny Ball who took Condon alumni had held sway for some got friendly with these guys and, with a my place when I left. At that stage he years, but the Condon Club had recently verbal reference from Rex, was invited wasn’t well known but a year later he moved to a new venue on East 56 th St.. to sit in. This worked out well and for had made “Midnight in Moscow” and a was doing a season at my remaining few weeks in New York considerable amount of fame and for- Nick’s then, and being a committed the Friday night intermission trio was tune. Hackett devotee since his famous Com- expanded to a quartet, and I also played The rest of the year I spent with com- modore record session with Condon in a couple of college jobs with them. My panies in Europe and USA. Paris, Brus- 1949, it was some thrill to meet the man cup runneth over! sels, Munich and Stockholm were the and hear that wonderful horn in the One weekend Cecil invited me to join European cities and all had exciting jazz flesh. I still treasure a signed greeting his family for Sunday lunch and I spent spots. The 1958 Brussels World Fair from him on a Nick’s menu card. the afternoon with them. He lived in the was in session and the US pavilion fea- Back in central NY, at the Condon deep heart of Harlem, not a location tured daily recitals by jazz greats. I Club, Rex Stewart was on trumpet. I where white folks normally visited, ac- caught up with a band that included had got to know Rex fairly well during cessed by subway “A” train (honestly!) Sidney Bechet, , Buck his Australian tour with Graham Bell in followed by a half mile walk. But Cecil Clayton and Sarah Vaughan. In Stock- 1949. Graham had invited my group as had it well organised; his son Ronald holm the Norman Grantz “Jazz at the a caretaker for his regular Saturday would meet me at the subway station Phil” was performing, with Zoot Sims, night at the Uptown Club in North Mel- and escort me to the house. Everyone tenor sax and Phineas Newborne, pi- bourne (the venue for the first Australian in the neighbourhood knew Ronald and I ano. Jazz was alive and well in Europe! Jazz Convention), when his band first would be OK. And so it worked out. Arriving in New York where I spent went overseas to Prague and UK in Lunch was traditional N.O. fare the final month of winter, I was booked 1948. cooked by his wife Leone – southern into a small hotel just off Times Square; Soon after their return in 1949 they fried chicken, collard greens, red beans not the most salubrious part of the Big organised an Australian tour with Rex and rice. Cecil washed it down with the Apple but at the centre of Downtown Stewart, and my band played on the bill first third of a bottle of Scotch I’d brought and the entertainment district. The at the memorable Rex Stewart-Bell for him. Ronald had been sent down to Metropole Bar was within walking dis- concert at the Exhibition Building, the drug store to get a six pack of tance where every night and week-end attended by some 2500 fans! In the Michelob beer for me as this was before afternoons you could hear and meet following months Rex also did a number I acquired a taste for finer things. players like Coleman Hawkins, Roy El- of gigs and sessions around Melbourne By the end of the afternoon the dridge, Joe Jones, and Charlie Shavers so we got together quite a few times. whisky bottle was exhausted but Cecil for the price of a beer. The Metropole On my first visit to Condon’s, Rex invited wasn’t visibly impaired, just a bit more was a long narrow room with an ele- me to sit in and the following night I talkative than usual as he got ready for vated band stand down one side with brought my horn and did just that - with his evening gig. In the afternoon he had mirrors behind to make it less claustro- some trepidation! been reminiscing about the early years phobic, and a string of tables along the The set went pretty well and Rex when he played with the Clarence Wil- opposite wall. (When I next visited New asked if I would like to play for the next liams Washboard Band and first came York, ten years later, the physical set up hour or so as he wanted to catch the to New York. He got his initial big break was the same but the jazz had finished; Turk Murphy band – domiciled in San here – like so many of the great black there was a rock group with go-go danc- Francisco at Earthquake McGoons - jazz artists – playing at the Apollo Thea- ers.) which was performing briefly in New tre in Harlem. He featured in a trio as It was an informal set-up. Musicians York, that week. both clarinettist and tap dancer. Half- would sit in for a set or two, then adjourn So, a memorable night it was for me. way through his number he would jump either to the house bar or to Julius’s We had Herbie Hall’s (Ed’s brother) on on top of the grand piano, do his dance opposite, where drinks were cheaper clarinet, ‘Cutty’ Cutsall trombone, Gene then take another chorus concluding and the noise level more conducive to Shroeder piano, ‘Buzzy’ Drootin drums, with a jump to the floor into the splits conversation. Here you could meet and Leonard Gaskin on bass and Eddie position, still playing, to loud applause. actually talk to your jazz record idols! Condon on guitar - that is, when he was- This career finished prematurely VJAZZ 51 Page 7

one night when after a job he had visited “Make sure you bring your horn with arm came in and joined us. Clive intro- a lady friend whose musician husband you”, he had said; not for playing pur- duced him as Phil Woods. The name returned home unexpectedly early, just poses but to provide a measure of pro- didn’t mean anything to me at the time, when things had reached the critical tection. “If they see you’re a musician until Clive confided that he had just stage. He went for Cecil with a razor. we’ll be a lot safer!” We had a great been nominated Downbeat’s top alto Cecil’s response was an immediate exit night doing the small Harlem jazz spots sax player of 1958. Phil had learnt alto via the window which unfortunately was like Bill Basie’s; the only white folk in the from none other than Charlie Parker and on the second floor. As a result he had place but nobody hassled us. I hope the was a close disciple of Bird in his final to exchange one leg for a wooden one same would apply today... years. which put an end to his Apollo days but This was the start of an era when Jazz was likewise alive and active at fortunately not to his clarinet playing, small groups were displacing the bigger least in the big cities, but the popular which was always original, creative and bands for economic reasons, aided and heyday was drawing to a close. Rock exciting. abetted by the advent of electronics and Roll was capturing the multitudes Clive Whitcombe, an initial drummer whereby one muso could replace a and the Beatles were soon to burst on with The Port Jackson Jazz Band three piece rhythm section - badly. the scene. (Sydney), had moved to New York a Around 4 am we meandered back to When I arrived to live in Washington couple of years earlier and was working Clive’s car parking lot. They had a small D.C. twelve years later, there were still part time for a Middle Eastern Embassy caravan there for the all-night attendant, some great jazz venues with great play- (which provided the work permit), run- where we adjourned for a couple of ers, but the scale had diminished. Audi- ning a small printing press in his base- hours. Clive was learning the trumpet ences were smaller and jazz once again ment and doing a late night shift looking and the still Manhattan night was rent returned to the status of specialised after a car parking lot in mid – Manhat- with the sound of enthusiastic, if some- music for afiçionados. Not altogether a tan. A real enthusiast, Clive knew the what primitive duets. bad thing. After all, that’s how it was good jazz spots and a number of the At dawn, hunger got the better of when most of us all discovered it. musicians, both downtown and up in blowing and we headed for a mid-town Harlem. diner frequented by some of the late Tony Newstead - a wonderful musician One Saturday night he picked me up night New York jazz musos and by Clive and a founding member of the VJA . His CD - The best of Tony Newstead – a Retro- around 11 pm in his ageing Chevvy and after his night shifts. A guy in his early we headed north in search of the action. twenties with a soft alto case under his spective can be purchased from the Ar- chive’s shop.

Left to Right - Eddie Condon, Ray Diehl, ‘Buzzy’ Drootin, Rex Stewart, Leonard Gaskin, Tony Newstead, Gene Schroeder, Herb Hall. VJAZZ 51 Page 8

played on CD during the laying of flow- which he didn’t like – to the clarinet – A Good Funeral ers and the committal to the grave. The which he took to immediately — and I service ended with the band playing took great joy in watching him become By Lee and Beverley Treanor Just A Little While to Stay Here , which one of Melbourne’s finest jazz musi- even had the chaplain softly singing cians. Much later, on her visits to Barry TRICKY THINGS FUNERALS. Over- along. If the music could reach her in in New Orleans, Margaret was to hear whelmingly sad, deeply religious, woe- some way I am sure that Margaret’s these gospels first-hand. She always fully impersonal, grief stricken, maudlin; eyes would have been dancing in step loved them, frequently playing George they can be any or all of these, but with her smile. Lewis’ versions of them at home. Having rarely are they ‘good’. No doubt it helps I met Margaret on the same night I the band play them so beautifully at the if the deceased has provided some met Beverley and Beverley was only service was a delight and, as everyone guidance as to what she wants, as my sixteen. I knew very early on if I was there agreed, was a major factor in mak- mother-in-law, Margaret Wratten did going to marry Bev, then Margaret was ing it a ‘good’ funeral. Our family ex- when we were faced with her death in an integral part of the package. Liking tends our thanks to each of the musos March. She had prepaid for her funeral, her wasn’t hard: indeed, I was to find out and to all of the jazz fraternity who at- way back in 1985, and had requested a she had a subversive sense of humour tended. graveside service and a New Orleans- which she deployed with effect within style brass band. Margaret suffered a the family. Over the past fifty years, stroke, and in her final days her daugh- Beverley and I helped her through the ter Beverley, our daughters Helen and death of John and of her husband, Melbourne International Kim, and I ensured her bedside was Robert; the times when she sorely Jazz Festival never left unattended. Tired and emo- missed Barry due to his extended peri- tional as we all were, her requests were ods in Sydney, Europe and America; the June 4 -13 just one more burden. death of her beloved sister, Dorrie. We If her son, Barry, had been in the helped her move house on several oc- THIS was a jam-packed exciting Festi- country he would, no doubt, have at- casions as she rearranged her life. The val program with many thrilling perform- tended to the matter, but... So where to photo albums Bev has assiduously put ers. find a brass band? One phone call to together show Margaret at the centre of Sandro Donati and the problem was our family; she is there over all those A Tribute to Australian Swing: solved. On the day, Sandro, Ian Smith, years, with our daughters, with our featuring James Morrison and Hugh de Rosayro, Les Fithall, Pat Miller, friends, on our holidays and in our vari- special guests, one of whom was Nick Polites, Howard Cairns, Richard ous business endeavours. Don Burrows, was held on the Mander and Lyn Wallis lined up and led I met Beverley because I was part of 13th. the hearse to the grave, playing In The the Yarra Yarra New Orleans Jazz Sweet Bye And Bye , and What A Friend Band, which her brother, John, had We Have In Jesus . The chaplain from hired to play at the local scout hall. The the nursing home had volunteered to band played a lot of gospels. Thus, Mar- lead the service and, after a few words garet was introduced to New Orleans of welcome, invited the band to continue jazz and was able to hear songs she with Just A Closer Walk With Thee be- had known from her days as a Method- fore continuing with a brief outline of ist performed in what was, to her, a new Margaret’s life. This was followed by a and exciting form of music. I was also full and graceful eulogy by our daughter instrumental in Barry, by then fifteen, Helen. A Mozart clarinet concerto was moving from the piano accordion –

This photo was taken at the Melbourne Town Hall at James Morrison’s conclud- ing concert. Jennifer Kerr, General Man- ager of the Melbourne International Jazz Festival, Les Newman, roaming ambas- sador for the VJA and Melanie Pose, Production Manager MIJF, are seen here in front of the VJA’s display in the foyer. An almost capacity crowd enjoyed a journey through the history of swing legends at this concert, which was en- hanced by the projection of photos and archival footage provided by the Victo- rian Jazz Archive. The Archive was very pleased to play an active part in this years festival Ian Smith (Trumpet), Sandro Donati (Trumpet), Les Fithall (Trombone), Pat Miller and is looking forward to taking part (Saxophone), Hugh De Rosayro (Trombone), Nick Polites (Clarinet), Lynn Wallis (Drums), next year . Howard Cairns (Tuba). Richard Mander (Drums). Image supplied by Lee Treanor. VJAZZ 51 Page 9

The week prior to Mittagong, Andy and Josh appeared BIX LIVES AT MITTAGONG with Michael’s Red Hot Rhythmakers at Melba Hall in Mel- bourne assisted by vocalist Tamsin West, There was a mix- AND ELSEWHERE. ture of big-band numbers with Bix from the Whiteman/ Goldkette repertoire, also a few small-band segments from By Bill Brown the Bix/Tram sessions. I have a few of those originals on Swaggie LPS – Bix and Tram, Bix and his Gang, The Rare THE annual pilgrimage to the lovely Southern Highlands area Bix . It was fantastic to hear this music re-created with love. of New South Wales for John Buchanan’s jazz ‘knees-up’ is a There were no raccoon coats, bathtub gin or flappers on show must for discerning jazz lovers. I have attended three of these but that era was evoked by the music. illustrious events and each one has afforded a wealth of great For this concert ‘Jason Downes Enterprise’ deserves great musical cavalcades. Always well thought-out programs bring credit, more power to his arm. out the best in the assorted array of musicians gathered in various groupings to highlight sundry periods of jazz history from the pre-forties era of the ‘good noise’ as some of us sea- soned punters are wont to refer to the golden age. The Story of a Trombone This year was no exception; indeed the program was en- hanced by the presence of two American visitors Andy By Kate Dunbar Schumm (cornet and piano) and Josh Duffee (drums). Both musicians are steeped in the music of the legendary white ANYONE who has been fortunate enough to spend some cornetist . Indeed, Duffee hails from Bix’s leisure time with a group of musicians as they "wind down" birthplace, Davenport, Iowa. Back there he leads a big band, after a gig will remember the many laughs they would have which emulates the music of , a band that the had as these guys relate their various experiences. I can great Bix played in for some time. recall many such times, with great affection, especially when I So both of those fine players fitted in well with the Bixian think of those who have departed this world leaving us all sets over the weekend also contributing to other twenties trib- sadder as a result. utes, including a nod in the direction of Freddie Keppard, a So when I heard of a trombone up for sale which had been somewhat obscure figure, an eccentric, who covered his purchased many years ago by Bob Learmonth, from fellow trumpet fingerings with a handkerchief in case anyone copied trombonist John Costelloe, and played by both, my thoughts him; then a set covering the music of Tiny Parham, another wandered back some years to these two lovely talented and twenties identity. On those tracks Andy Schumm revealed his dedicated chaps. prowess on the piano. I recalled Bob Learmonth being challenged by his wife Both of those fellows really excelled in the Saturday after- Wendy, Ian Cuthbertson's wife Vonnie and myself. We three noon session of music from a reconstructed Jean Goldkette declared that Bob always closed his eyes when he played Big Band segment. In this aggregation were two of Mel- and we stated that he could NOT play with his eyes open! To bourne’s stars, and indeed, in a way the hosts for the two prove his "innocence" Bob accepted a wager of two shillings visitors, Michael McQuaid on various reeds and trumpet, and that he could play Trombone Rag without closing his Jason Downes on reeds. eyes. We three women watched him carefully as he played - Further sets on the Saturday included a ragtime session of eyes wide open - right through until the very last note when Scott Joplin’s red book arrangements and as a contrast, a he closed his eyes much to the mirth of the four of us. Bob tribute to the great Coleman Hawkins in his blossoming period paid up! in the thirties. Michael McQuaid excelled himself here on And then there was "Cossie" who turned up to a Ray Price tenor including Hawk’s tenure in Europe. I thought. “He must gig with a large empty jam tin as a trombone do Body And Soul ,” a number embedded in jazz history and, "attachment". Everyone agreed that it sounded good, but Ray of course, he did. Price pointed out that an old jam tin wasn't exactly appropriate The evening of Saturday was given over to the 1938/39 on the stage of some of the salubrious Town Halls etc, where tracks of the great Artie Shaw Orchestra. Last year, at this the band was often appearing. Cossie listened attentively and time, there was a replay of the Goodman 1938 Carnegie Hall solemnly agreed, and at the next gig he turned up - same old Concert. This year equaled that. A fine big band did the hon- jam tin - but chrome-plated, as big and shiny as the smile on ours with Trevor Rippingale’s clarinet fulfilling the Shaw role Cossie's face !! with panache. To sum up my long story, I bought the instrument knowing On Sunday a church service, with jazz hymns provided by that the V.J.A. would treasure it in the same way I treasure Geoff Bull’s band, was the start for another fine day of hot fond memories of these long-departed friends. music. There was a segment dealing with the activities of the However, as the trombone had been residing in Deniliquin Dorsey Brothers Tommy and Jimmy, before they became big for many years, I had to ask Gretel James a question, "How band swing leaders. It was remembered that both brothers, do I get this trombone from Deniliquin over the border and renowned as trombone (Tommy) and sax and clarinet down to Melbourne?" Nothing ever seems to be a bother to (Jimmy), had played trumpet in their formative years. Geoff Gretel who solved the problem in a matter of minutes. Power, renowned brass player, gave a classy rendition of Thank you, Tommy’s I’m Getting Sentimental Over You plus an authentic Gretel and ‘dummy spit’ impression of Tommy storming off the bandstand others who when the brothers had their memorable falling out. were will- Further sets dealt with New Orleans groups in the twenties ingly "roped and a tribute to Wingy Manone a charismatic off-beat trumpet in"... and man who led a few hot little bands mixing fine jazz playing thank you to with showbiz–type tunes including Ain’t It A Shame About the VJA for Mame often featured by our own late, great Roger Bell. accepting Finally a session by the ‘Hot Jazz Alliance’, basically the this gift two U.S. guests plus Michael, Jason with John Scurry (Guitar, "sight un - Banjo), and Leigh Barker (Bass). This group had been on a s e e n " . tour around and I’m sure would have made a great impres- sion on discerning jazz lovers. VJAZZ 51 Page 10

JOHN GILL RAGTIME PIANIST EXTRAORDINAIRE 28 th January 1954 – 15 th April 2011

By Gretel James WHEN JOHN GILL passed away on the 15 th April, the world lost one of its greatest Ragtime and Stride piano players. At the early age of just 57 John suffered a mas- sive coronary attack in a shopping centre in his home town of Perth, W.A. Although John was born in Morecambe, Lancashire, in 1986 he joined his parents who had already migrated to Australia. John was one of the “Professors” of Ragtime, an acco- lade afforded only the best. He was a regular headliner at the Ragtime festivals in the U.S.A., St Louis, Sedalia and Image supplied by Gretel James Blind Boone to name but three. Here he played with more John Gill playing Kitten on the Keys for a feline admirer taken about 1998 . of the world’s best and he received many honours, not the least of which was being invited to become a Bosendorfer Concert Artist along with André Previn, Victor Borge, Chick Corea, Philippe Entremont and Oscar Peterson. Nearer to home he was regularly seen wheeling his piano on its trolley from under the Town Hall in Perth into Murray Street Mall, where he would sit and play for hours at a time, delighting shoppers and visitors alike. John just loved to play for all ages. He enjoyed going to retirement homes and playing for the elderly, especially the old tunes they recognised and could sing along with. His talents were not confined to the piano, nor was he always recognizable when performing, for example as Jean-Pierre—a bereted, rakish-looking Frenchman playing his French-tuned Italian piano accordion. He was also a Punch and Judy show ‘Professor’, as practitioners of that art are called. These two talents he would display when travelling through France and when he was resident pianist in Guernsey in his earlier years. He spoke French fluently. He also collected Eiffel Towers, telephones and anything with Betty Boop on it. I first met John in January 1990 following the 44 th Annual Jazz Convention. He nearly fell off the piano stool when I ap- proached him in the Pig and Whistle, an English-style pub in Perth, and asked him to play some Eubie Blake. He had been playing to a somewhat disinterested audience who were having their Friday after-work drinks. I asked him if he had ever been to the eastern states and he said he was waiting for someone to ask him. With the help of Diana Allen, that invitation eventu- ated and was the start of a long and happy relationship between John and the many thousands who heard him up and down the eastern coast – even venturing to Mt. Isa with the late Allan Leake. He appeared many times at the Montsalvat Jazz Festi- val, Wangaratta Jazz Festival and Mittagong Ragtime and Jazz Festival, as well as many other gigs organised by Diana Allen in Melbourne and John Buchanan in Sydney. He particularly enjoyed playing duets with Stephen Grant as “The Tiger Raga- muffins ” – a tribute to the English pianists Ivor Morton and Dave Kaye. John stayed at my home every time he came to Melbourne, and having a piano, I was lucky enough to get many “private” concerts – just me, the cat and the dog. At the time of his death John was preparing for his seventeenth visit to the USA, fol- lowing which he was to appear in Melbourne. The world has lost a genius but some of us have also lost a dear friend. RIP John.

We’ll miss you Dutch. AN IRISH FAREWELL The Blues Man Matthew “Dutch” Tilders. Ben Johnston. Piano and vocals. Born1971. Died April 2011. Vocals, guitar, harmonica . Ben, seen here in 2001 chatting with Jenny Edwards at the Coolart Jazz Festi- Born. 29.8.1941 Died. 23.4.2011 val, was buried in Newtown Co. Carlow, Ireland on the last day of April 2011.

Image supplied by Peter Edwards VJAZZ 51 Page 11

approach it with resistance and adopt it Do you want to join a very slowly. FROM THE LIBRARY Jazz musicians repeatedly incorpo- tour of the VJA, rated into their music very different sorts and relax with refreshments of material, material different from the and live Jazz? “The Real Jazz” basic material. It is easy to understand how fake jazz, the commercial product, You could join the following was derived. It lost no time in supplant- Reviewed by ing real jazz in public favour. With the Group Visits booked in between Ken Simpson-Bull success of the first Negro orchestras, July and September 2011 white orchestras imitated it in New Or- $15 per person leans and other Southern towns. Since ONE OF the advantages of being a the white musicians were not familiar member of the Victorian Jazz Archive July 6th Wednesday with the original blues, the inspiration is that one has access to many rare Tour 10.30 am, Jazz Band 11.15, they derived from the Negroes was su- and out-of-print books. One such perficial. Morning Tea 12noon. item is the English translation of this At best these white orchestras of the 1942 book, once regarded as a bible South, being in contact with the best July 11th Monday of jazz, by French jazz critic and coloured orchestras, sometimes came Tour 10.am, Jazz Band 10.45, writer Hugues Panassié (1912 –74). very close to playing real jazz. But by Morning Tea 11.30. This is not really a review. I would the time jazz had reached Chicago, and just like to quote a few paragraphs then New York, there had already been July 19th Tuesday from the book that today, some 70 considerable distortion. The white or- Tour 10.30 am, Pianist 11.15, years later, make interesting, if not chestras did use the repertory of the Morning Tea 12noon. startling, reading. Panassié appears Negroes, for the most part, but since the to have been quite concerned that Negro style of interpretation was July 26th Tuesday “real jazz” was being usurped by scarcely familiar to them, they did not Tour 10.30 am, Jazz Band 11.15, what he called “a commercial coun- know how to play with the same accent. Morning Tea 12noon. terfeit of jazz”. He wrote: So [the music] executed by white The word jazz (and this is an historical musicians in a style without real affinity August 8th Monday fact, unchallengeable and un- with the blues was but a faded and Tour 10.30 Jazz Band 11.15, challenged) originally described the mu- hackneyed version of the real article. In Morning Tea 12noon sic of the Negro orchestras of the South short, these white orchestras, if they of the United States, music radically used the same instruments and often August 17th Wednesday different from the counterfeits which I played the same numbers as the col- Tour 10.30 Jazz Band 11.15, have mentioned. I am well aware that oured orchestras, did not at all create Morning Tea 12noon there are other words used to describe the same kind of music. authentic jazz—the most common being The public, who did not look into the August 25th Thursday “hot jazz” and “.” But experi- matter too closely, lumped the whole together under the name jazz. Naturally, Tour 10.30 am, Jazz Band 11.15, ence has shown that these terms create Morning Tea 12noon. confusion. The expression “hot jazz,” the white orchestras pleased the white public far more, since that public did not which I first thought would be a good September 2nd Friday one to use, seems to imply that there understand the style of the Negroes. are two varieties of authentic jazz in Once this lack of understanding became Tour 10 am, Jazz Band 10.45, existence: hot jazz and some other kind. apparent, numerous people set to work Morning Tea 11.30. In reality there is only one real jazz. organizing the commercial exploitation As for the term “swing music”, it has of jazz. September 6th Tuesday been too frequently used to designate a The white public was, of course, by Tour 11 am, Pianist 11.30, new form of jazz when no such new far the richest and most important. Cer- Morning Tea 12noon. form existed. Thus it is possible for tain white bands, deliberately turning Benny Goodman to be described some- their backs to the style of the coloured September 16th Friday times as the creator of swing music, orchestras, offered the public the kind of Tour 10.30 Jazz Band 11.15, when in fact he has created nothing of music most calculated to flatter its taste, Morning Tea 12noon the sort. The word “swing,” to be per- and at the same time preserving a su- fectly understandable, should never be perficial resemblance to jazz for its September 21st Wednesday used as a noun or adjective but only as “novelty” value. Instead of improvising, Tour 10.30 am, Jazz Band11.15, a verb. they used arrangements and played them with the utmost softness. In the Morning Tea 12noon. For these reasons, it seems prefer- able to stick to the original designation light of such examples, sometime later the coloured orchestras in their turn fell September 28th Wednesday and to reserve the expression “jazz mu- Tour 11.30 Jazz Band 12.15, sic” for the one and only authentic jazz. into commercial ways in order to make It must not be forgotten that jazz was more money. Morning Tea 1pm created by the Negro people. When Even by today’s standards, quite a confronted with this music, the white controversial item, n’est-ce pas! race has found itself completely bewil- dered. This does not mean that white For information and booking people are incapable of understanding To improve our communication we contact jazz. We know that there are already would welcome your email address . Marina 9781 4972 good jazz musicians belonging to the Please send it to: white race. But in general the Negroes [email protected] prove more gifted while white people VJAZZ 51 Page 12

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The Victorian Jazz Archive acknowledges the past support of the following organisations: The State of Victoria through the Department of Premier and Cabinet and Arts Victoria, Parks Victoria, The Ian Potter Foundation, The Myer Foundation, The Pratt Foundation, The Trust Company of Australia, The Helen McPherson Smith Trust, Diana Allen of Jazz Australia, The Estates of the late Don Boardman, Ron Halstead, David Ward and Ward McKenzie Pty Ltd. and Sam Meerkin. The Archive gratefully acknowledges the financial support given to the VJA Capital Fund by Dame Elisabeth Murdoch, A.C., D.B.E.