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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). -
Al160207osa Market Coastal Towns
EEC/07/63/HQ Environment, Economy and Culture Overview/Scrutiny Committee 5 March 2007 Market and Coastal Towns Report of the Director of Environment, Economy and Culture 1. Summary In January 2006, members received a report on the draft Devon Sites and Premises Strategy and as a result expressed concern about the shortage of premises for smaller businesses. It was resolved that a further report be submitted, which covered economic development issues relating to Market Towns, including the availability of sites for relocation of small businesses and the Market and Coastal Town initiative (MCTi). This report concentrates on work undertaken in association with the MCTi pending further analysis of specific matters relevant to business premises. 2. Background In the South West, the MCTi commenced in 2000 and was led by the Regional Development Agency, Countryside Agency and English Heritage, with support from many other bodies. The scheme received greater emphasis following the incidence of Foot and Mouth Disease and a number of towns adversely affected were included in the programme. Since October 2004, delivery of the initiative has been charged to the Market and Coastal Towns Association (MCTA). This is an independent organisation largely funded by the Regional Development Agency, English Heritage and Big Lottery Fund. The initiative is a community based regeneration programme focusing on the preparation, by local people, of a long term Community Strategic Plan covering the social, economic, environmental and cultural features of their town and its hinterland. The MCTA delivers capacity building support to communities, enabling them to prepare the plans and develop their skills and organisational capacity while sharing good practice with others. -
Our Plan’, a New Strategic Plan for West Devon
Shaping our communities to 2031 Regulation 19 Publication Version February 2015 West Devon - A Leading Rural Council Foreword Welcome to ‘Our Plan’, a new strategic plan for West Devon. Whilst the Core Strategy was a plan for future growth and development to take us from 2006 to 2026, since it was written planning policy has undergone some significant changes as set out in the National Planning Policy Framework (NPPF) and we need to ensure our plans are fit for purpose and in conformity with this national policy. This new plan also has to cover a wider range of issues that go beyond traditional planning policy and it makes more sense to write a new plan rather than try and amend the existing ones. Therefore, ‘Our Plan’ will be the overarching strategic plan for the Borough of West Devon up to 2031. Developing a new plan is always challenging and it is often controversial with different sectors and individuals in our communities understandably seeing things from their own view point. However, we need to remember that we are planning for the communities of tomorrow not just for ourselves today. What we do now will have a significant impact on how people live their lives in West Devon in the future. Our biggest challenge is enabling growth and providing much needed homes and jobs whilst, at the same time, protecting the beautiful place that is West Devon - no mean feat as I’m sure you can appreciate. To do this we have gathered and considered evidence about local need and the views and comments shared by you and a wide range of partners during the process have helped us to shape a plan that we believe takes account of local needs and aspirations. -
Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz. -
Final Thesis.Pdf
An Investigation of the Impact of Ensemble Interrelationship on Performances of Improvised Music Through Practice Research by Sarah Gail Brand Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2019 Abstract In this thesis I present my investigation into the ways in which the creative and social relationships I have developed with long-term collaborators alter or affect the musical decisions I make in my performances of Improvised Music. The aim of the investigation has been to deepen the understanding of my musical and relational processes as a trombonist through the examination of my artistic practice, which is formed by experiences in range of genres such as Jazz and contemporary music, with a current specialty in Improvised Music performance. By creating an interpretative framework from the theoretical and analytical processes used in music therapy practice, I have introduced a tangible set of concepts that can interpret my Improvised Music performance processes and establish objective perspectives of subjective musical experiences. Chapter one is concerned with recent debates in Improvised Music and music therapy. Particular reference is made to literature that considers interplay between performers. Chapter two focuses on my individual artistic practice and examines the influence of five trombone players from Jazz and Improvised Music performance on my praxis. A recording of one of my solo trombone performances accompanies this section. It concludes with a discussion on my process of making tacit knowledge of Improvised Music performance tangible and explicit and the abstruse nature of subjective feeling states when performing improvisation. This concludes part one of the thesis. -
South Molton Christmas Markets Late Night Shopping
Assuming that the Coronavirus Lockdown ends on 2nd December, South Molton is ready for Christmas! South Molton Christmas Markets in the Pannier Market on Fridays 4th, 11th and 18th December 4-8pm Normal Country Pannier Markets continue on Thursdays and Saturdays except Boxing Day Late Night Shopping As the festive season approaches not only are the South Molton businesses getting very Christmassy they are making sure everyone will be able to shop safely. Strong support from the South Molton com- munity has ensured that our businesses and small independents remain "open for business". Indeed, we have welcomed to the high street Atlas, a life style shop selling an exciting mix from homewares new and old to an organic skin care range. Also the hairdressers Ego, in their wonderful new premises and the new owners of the Cheese Larder. To promote "good Cheer" and ease the stress and pain of battling the big high street South Molton shops will be opening their doors for Late Night Shopping on December 4th, 11th and 18th until 7.30pm. By working together we can have a great Christmas. REMEMBER! Keep washing your hands regularly, wear a face covering in enclosed spaces and stay at least 2 metres apart - or 1 metre with a face covering or other precautions. THANKS! Riverside Caravan & Camping Park Christmas Bookings Now Being Taken Join our Nursery Open Term Times 2 Courses - £18.50 Monday-Friday 0800 to 1700 3 Courses - £23.00 15 hours Early Years funding To Include Tea or Coffee & FREE Toddler Group on Mince Pies OPEN UNTIL 8pm Wednesdays 9.15 to 10.30 EVERY WEEKDAY UNTIL Book Now: email: prepadmin 01769 579269 23rd DECEMBER @westbuckland.com relax@ www.westbuckland.com exmoorriverside.co.uk Sean & Kate's gardening services Help with Lambing The National Sheep Association (NSA) is pleased Hedge cutting, small tree removal, shrub pruning, to announce the opening of its much valued NSA border planting and maintenance, lawn mowing Lambing List for the 2020/2021 lambing season. -
Marching Song
MARCHING SONG/THE MIKE WESTBROOK CONCERT BAND SIDE THREE Marching Song Notes PERSONNEL DETAILS : musicians involved : SIDE ONE Marching Song Notes TRANSITION 3:01 HOORAY ! WALTZ Mike Westbrook —_ piano HOORAY! 6:24 trumpet solo: Holdsworth side one: side three: (Westbrook) Westbrook Dave Holdsworth trumpet, fluegel horn (Westbrook) alto solo: Osborne Through the city streets the crowd cheers its There is a lull in the fighting. The soldiers, HOME 9:44 trombone solo: — Griffiths Bowen, Fisher, Holdsworth, Lowther Kenny Wheeler trumpet, fluegel horn crowd sounds: Bill Price heroes, off to the glory of war, young, anonymous instruments in the conflict, relax and (Westbrook) bass duet: Miller, Griffiths, Gibbs, Rutherford, Harvey, Fry Greg Bowen trumpet LANDSCAPE 15:28 flute solo: Living invincible, drunk with patriotic pride, gleaming become human—individuals who can laugh, Lawrence Surman, Osborne, Warren, Skidmore, Tony Fisher trumpet (Westbrook) bass duet; Miller, in the sun. love, dream of beautiful things that, threatened, ROSIE 6:36 trumpet solo: Holdsworth Smith, Living (Hooray only) Phillips Landscape; here the conflict will take place. But are most precious. But the shadow of war is Henry Lowther trumpet (Westbrook) Miller, Lawrence, Jackson, Marshall Ronnie Hughes trumpet Sax. duet: Surman, human events are no more than momentary there, and they prepare for what must come. Part PRELUDE 4:43 woodwind: Living, of them yearns for battle. HOME, TENSION Malcolm Griffiths trombone Osborne interruptions in the earth's cycle. (Surman) Osborne, as above but Hughes replaces Fisher Paul Rutherford trombone WALTZ 5:54(for Joanna) soprano solo: Surman Skidmore LANDSCAPE, TRANSITION, ROSIE side two: Side four: Mike Gibbs trombone (Westbrook) TENSION 4:38 PRELUDE, TARNISHED, MEMORIAL When the soldier moves into the landscape, he saxophone duet: Surman, Waiting for the inevitable, the dark hours are full Eddie Harvey trombone (Surman) Westbrook Skidmore of tormented visions, and unbearable memories Tom Bennellick french horn SIDE TWO is a being from another world. -
The Community Justice Court in Plymouth the Community Justice Court in Plymouth Has Now Been Operation for Over a Year
Issue 3 – December 2008 Welcome to the third Community Justice Update. Eighteen months since the start of the project there has been a great deal of change and exciting developments. This brief newsletter provides you with an update on the progress made in both elements of the Community Justice Initiative Explaining the Community Justice Initiative in 2008 and onwards We are still running the Community Justice Initiative through a project management structure, with a multi-agency Steering Group providing a decision-making forum. The Senior Responsible Officer for the Initiative has changed from David Gentry to Steve Cross (Head of Operations, Her Majesty’s Courts Service). Changes to the national Community Justice Programme now means work locally is split into two elements: innovation (including problem solving) and community engagement. Innovation The Community Justice Initiative Steering Group has recently agreed to expand the Community Justice Court principles to cases from across the city of Plymouth. This will remove the ‘two tier’ system. Further innovation such as: community impact statements pilot (Devon and Cornwall) and supporting life events problem solving model (Cornwall). Community Engagement Her Majesty’s Courts Service (HMCS) are required to increase community engagement by Magistrates’ across the country. In Devon and Cornwall a new member of staff, Tori Tweedie, is doing this. Tori joined the Local Criminal Justice Board (LCJB) support team in August 2008 and you can read more about her, and the work she is involved in, later in this newsletter. The Community Justice Court in Plymouth The Community Justice Court in Plymouth has now been operation for over a year. -
Mike Westbrook, Bright As Fire, a Recording of Jazz Settings of Blake
REVIEW Mike Westbrook, Bright As Fire, a recording of jazz settings of Blake Anthony J. Harding Blake/An Illustrated Quarterly, Volume 15, Issue 2, Fall 1981, pp. 97-98 97 Mike Westbrook. Bright As Fire, a recording of jazz settings of Blake. London: Original Records. Released and distributed in the U.S.A. and Canada by Europa Records, Orlando, Florida. $8.98. Reviewed by Anthony J. Harding. lake died singing: but there have been few intensity of "London," "A Poison Tree" is played attempts to celebrate his genius musically, for sheer fun as a diabolic tango. Alan Wakeman's B by comparison with the large number of tenor sax growls menacingly; Kate Westbrook's illustrated commentaries and facsimile editions now hoydenish diction is just right for the exaggerated available. Mike Westbrook's Bright as Fire is a malice of this poem. The tango rhythm accelerates new album of jazz settings of Blake's poetry, and to a contemptuous closing flourish. it earns its title with Blakean vigor and a rare Blakean sense of satirical fun. "Holy Thursday" (the one from Experience) is the longest track on the album. The poem itself is The first two tracks each open with a piano sung to a simple accompaniment of piano and cello, solo, hymnlike and slightly portentous in the manner but there is a long and highly inventive jazz of Alan Price, but the lines from Jerusalem (Plate epilogue. Clarinet, bass and drums are joined by 27:19-34, 103-06, and Plate 86:1-10) are delivered saxophones and tenor horn, playing lamenting, by Phil Minton with ecstatic conviction. -
NJA British Jazz Timeline with Pics(Rev3) 11.06.19
British Jazz Timeline Pre-1900 – In the beginning The music to become known as ‘jazz’ is generally thought to have been conceived in America during the second half of the nineteenth century by African-Americans who combined their work songs, melodies, spirituals and rhythms with European music and instruments – a process that accelerated after the abolition of slavery in 1865. Black entertainment was already a reality, however, before this evolution had taken place and in 1873 the Fisk Jubilee Singers, an Afro- American a cappella ensemble, came to the UK on a fundraising tour during which they were asked to sing for Queen Victoria. The Fisk Singers were followed into Britain by a wide variety of Afro-American presentations such as minstrel shows and full-scale revues, a pattern that continued into the early twentieth century. [The Fisk Jubilee Singers c1890s © Fisk University] 1900s – The ragtime era Ragtime, a new style of syncopated popular music, was published as sheet music from the late 1890s for dance and theatre orchestras in the USA, and the availability of printed music for the piano (as well as player-piano rolls) encouraged American – and later British – enthusiasts to explore the style for themselves. Early rags like Charles Johnson’s ‘Dill Pickles’ and George Botsford’s ‘Black and White Rag’ were widely performed by parlour-pianists. Ragtime became a principal musical force in American and British popular culture (notably after the publication of Irving Berlin’s popular song ‘Alexander’s Ragtime Band’ in 1911 and the show Hullo, Ragtime! staged at the London Hippodrome the following year) and it was a central influence on the development of jazz. -
Addendum to the Second Printing
APPENDIX EIGHT ADDENDUM TO THE SECOND PRINTING Gordon Beck Quartet: BBC Sessions 1968 On 7 December 1967 the Gordon Beck Trio – from Samantha Blake at the BBC Written Archive a regular recording and performing unit with Centre, I investigated, using first the BBC Genome Gordon on piano, Jeff Clyne on bass and Tony online resource (vintage Radio Times listings) then Oxley on drums – added John McLaughlin on Gordon Beck’s BBC ‘artist file’ and the Programme- guitar and recorded Experiments With Pops, which as-Broadcast (PasB) files for relevant shows. While was released in January 1968. It is possible, from no musicians’ names appear in Gordon’s artist Melody Maker adverts, to identify four gigs around file for any of the various units with which he London by the ‘Gordon Beck Quartet’, with the broadcast during 1968 – and he was a frequent musicians named, between 17 March and 2 May visitor to BBC studios at the time – it seems clear 1968. There may have been others. There were, that John McLaughlin was the fourth member of though, plenty of Gordon Beck Trio gigs going on the Gordon Beck Quartet on a series of broadcasts in the same period and also Gordon Beck Quartet backing singers Mark Murphy and Joy Marshall, gigs involving saxophonist Pete King as the fourth for the programmes Night Ride, Late Night Extra member. and Jazz Club spanning March to May 1968. Somehow, during research for Bathed In Remarkably, around four hours of music (71 Lightning and again for Echoes From Then, I compositions) was recorded during the sessions failed to look into the possibility of any BBC with Mark Murphy – three hours 45 minutes recordings by the Gordon Beck Quartet. -
Historical Notes Relating to Bideford's East-The-Water Shore Volume 2 (19Th C.) R
Historical Notes relating to Bideford's East-the-Water Shore Volume 2 (19th C.) R. I. Kirby Last updated 27 Apr 2021 (DRAFT) Page 1 of 86 © R I Kirby Historical Notes relating to Bideford's East-the-Water Shore (Volume 2) Contents of the volumes The contents of the three volumes are as follows: • Volume 1, Introductory material and Pre-history to 18th C. • Volume 2, 19th C. • Volume 3, 20th C. to present. Last updated 27 Apr 2021 Page 2 of 86 © R I Kirby Historical Notes relating to Bideford's East-the-Water Shore (Volume 2) Contents of Volume 2 (19th C.) Contents of the volumes.......................................................................................................................2 19th Century..........................................................................................................................................9 1800s early half, the exodus to the Empire......................................................................................9 1800, Bideford's 67 vessels..............................................................................................................9 1800, a wretched and dirty place.....................................................................................................9 c. 1802, clay exports to Staffordshire dwindle................................................................................9 1802, a light to guide ships across the bar.....................................................................................10 1803, coasters from London..........................................................................................................10