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Home , Alan Barnes (musician), Alec Dankworth, Clark Tracey, Diz Disley, Humphrey Lyttelton, John Critchinson

Ne w s L E T T e R Editor: Dave Gelly ISSUE 22 ° May 2011

Ready for the Second Round We have now success- packs on the theme ‘The fully completed the devel- Story of British ’, empha- opment phase of the sising the people and places Talkin’ (and Access Development involved, and also the wider Playin’) Tubby Project for the Heritage social and cultural aspect of A celebration of the Music, Life Lottery Fund bid. Working the times. Some of these are

NATIONAL JAZZ ARCHIVE JAZZ NATIONAL and times of the late, great British with Essex Record Office touched on in the Archive’s and Flow Associates, our exhibition at the Barbican jazz legend education and outreach Music Library (see below). With (piano), consultants, we have (bass) and developed our plans to (drums) apply for the second NJA Exhibition Saturday 23 July 2011 round – funding of £388,000 opens at Barbican 1.30 - 4.30pm, at Loughton Methodist Church for a three-year delivery Music Library project. Tickets £10 from David Nathan at The Archive’s exhibition the Archive (cheques payable to This will involve building at the Barbican Music Library National Jazz Archive) on what we have so far is set to open on Tuesday 3rd See also Pages 5 & 6 achieved in increasing access May. It presents the people, to our collections during the places, bands and great jazz development phase - con- events, portrayed in rare serving, cataloguing, digitis- photos, posters, books, ing, developing outreach magazines and ephemera facilities, and collaborating from our fast-growing on projects with those who collection. You will also be use the Archive, both now able to listen to the sounds N J A and in the future. Loughton Library, Traps Hill of swinging Britain, from Loughton, Essex IG10 1HD We are making plans to Spike Hughes and his Decca- Tel. 020 8502 0181 promote Britain’s jazz her- Dents to Courtney Pine. The Fax 020 8508 5041 itage through a series of exhibition continues until 30 e-mail: [email protected] workshops and talks. We June – but don’t leave it till website: nationaljazzarchive.co.uk also plan to produce study the last minute! SUPPORTED BY ESSEX COUNTY COUNCIL, LIBRARIES ARCHIVE NEWS by DAVID NATHAN DONATIONS The Trust, now sadly wound up, donated a cheque for £5,000. Our grateful thanks to them for this magnificent gesture. In Photo: Pete Lay Photo: Pete addition, Pete Lay brought in David Nathan receives a cheque for £5,000, on behalf of the welcome material relating to Archive, from Barry Price OBE, Chairman of the Ken Colyer Trust. Ken Colyer, including a book Pictured left to right, from the Trust: Renee Long, Pete Lay, Angela of photographs by Terry Cryer, Barry, Kay Leppard, David Nathan, Barry Price, Tony Leppard. posters, administration papers and a scrapbook. contact details on the front page). Jazz Club, which closed in Laura Yates sent in further Ron Rubin has also sent in December 2009. I am pleased material from the collection of material about , to report that they are now her late husband, Chris Yates. much of it autobiographical. putting on events again. It mostly comes from Jazz Margaret Chead, widow of Scott Nicol of Rabbit Records North East and includes bandleader Leon Chead, sent us a £350 cheque for scrapbooks of clippings, donated programmes, records he purchased, which albums containing tickets from magazines and some fine had been donated by Betty gigs, many signed by jazz photographs, including several Perren from her late husband notables (, Charlie of Ruby Braff, who was a Brian’s collection. Byrd, Tal Farlow, Buddy de family friend, together with Angela Taylor brought in a Franco, Harry ‘Sweets’ Edison, several framed photographs, splendid collection of Record Herb Ellis, , Art one of Tubby Hayes. Mail magazines (1958-1965), Hodes, Jay McShann, Mark Many books from the estate of which had belonged to her late Murphy, Horace Silver, Stan the late Peter Holmes were father, Donald King. Tracey, ), donated by his executor, Anne Thomson called in with magazines, programmes, Merrita Serache. photos from the collection of concert material and The Philip Larkin Society have her late husband, bass and documents relating to a mass kindly donated copies of their vibes player Colin Thomson. in Durham Cathedral featuring journal, About Larkin. Hughie Weiner sent us Shorty ’s Sacred Music John Mumford, now based in Rogers discographies which played by the Switzerland, visited us in we did not have. Orchestra with . November and donated three OTHER DONATIONS Laura also lodged chapters of large, framed prints, Our thanks also go to all our the late Keith Smith’s originally shown at the donors since the last autobiography with us for safe Cartoon Artist Trust’s 2001 Newsletter, including: Les keeping, and she is keen that exhibition in , entitled Adams, Dave Clark, Derek family members who have an Drawn To The Music. Coller, Tony Farsky, Brian interest in it should have the Emma Kirkby donated books Foskett, Brian Gladwell, opportunity to decide what and posters belonging to the Stephen Luke, Nick Morgan, happens to it. Anyone late musician Paul Bonner. Michael Rose, Reg Thrush and interested should contact me John Newton sent us a cheque Chris Walker. at the Archive (address and for £700, on behalf of Herts Continued at bottom of page 3 2 National Jazz Archive Newsletter Issue 22 impressed by their desire to provide students with the very best resources, and particularly by In Safe Hands the facilities for storing and displaying vulnerable Archive Trustee Graham Langley introduces material. We were torn between the wish to help the Archive’s unique reserve collection at and the problem posed by geography. “If only Brunel University they were in Manchester!” we thought. It was The Archive has an Outreach Programme, then that I had one of my rare brainwaves. through which we give duplicate books and peri- Like any organisation that holds a lot of paper, the odicals to the libraries of university music Archive is particularly vulnerable to the twin haz- departments and conservatoires which have jazz ards of fire and water. A spark, a blaze, followed as a prominent part of their curriculum. Since by the hoses of the Fire Brigade - these could the scheme was started, in 2006, we have signed spell the end to some or all of the Archive’s treas- up ten institutions, from Brighton to Glasgow ures. We could never replace them all. But if we and from Norwich to Swansea. had a second collection at another site we would The idea behind it is twofold: firstly, to make the at least have copies of the books and periodicals material available in places far from the main collec- that form the bulk of the main Archive. tion at Loughton and, secondly, to help ease the With the agreement of the Trustees, I proposed storage difficulties caused by so many generous to Brunel that they should hold a duplicate, or donations over the years. Of course, we are very “reserve”, collection on our behalf. There would grateful for all such contributions, but they do often be two conditions - instead of being given out- include duplicate copies. The Outreach Programme right, as with other partners, the material must is a positive way of honouring the donors’ intentions remain the property of the Archive, and we and putting the material to regular use instead of could ask for the return of any item at any time. leaving it mouldering in a cupboard. This was agreed, and we have now built a formi- Very early in the scheme we were approached dable back-up library as security against disaster. by Frank Griffith, the tenor-playing Director of Our book collection at Loughton currently Performance in the School of Arts at Brunel stands at a little over 3,000 volumes, nearly University, Uxbridge. He was very keen for his 1,200 of which are also available at Brunel. The university to become an outreach partner, but I periodical collection contains roughly 675 titles, , felt that it was rather closer to the main Archive and a good selection of 90 of the most important than we had originally envisaged. Certainly, of these can also be found there. Brunel have Uxbridge was on the opposite side of London to been meticulous in keeping their side of the bar- Loughton, but there were places much further gain. The material is kept in first-class condition away which could make use of the resources. in a Special Collections room and visitors are However, Frank can be a very persuasive man. He helped by a resident Special Collections assistant. urged us to visit Brunel and see the amenities avail- So, for those who would find a visit to Brunel able in the their library and resource centre. Digby University more convenient than a trip to Loughton, Fairweather accompanied me to meet him and the call David Nathan at the Archive (020 8502 0181) senior library management and we were most and he will let you know how to go about it.

NEW BOOKS (published by the Ken Colyer VOLUNTEERS Some splendid books have Trust). In addition, Northway Continuing thanks go to our valiant been donated by their authors: Publications donated another band for sterling efforts - Wally Keeper of the Flame - Modern fine book, – Flying Barnard, Gemma Boyd, Steve Jazz in Manchester, 1946-1972, by High – A Jazz Life and Beyond. Carter, Alan Quaife, Christine Bill Birch and published by him. Brian Ariel kindly donated a Smith and George Wilkinson - and Goin’ Home - The copy of his compilation Songs of also to our excellent helpers at our Uncompromising Life and Music the 20th Century: an Invaluable events, notably Trustee Jane of Ken Colyer by Mike Pointon, Guide to Songs, Composers and Hunter-Randall, John Root and Ray Smith and Martin Colyer Lyricists, published by Twig Books Peter Smith.

Issue 22 National Jazz Archive Newsletter 3 Nothing In Moderation Loughton experiences the full force of at the Archive’s Celebrity Event As well as being a phenomenal, multi-award- winning musician, Alan Barnes is one of nature’s born storytellers, so his appearance at our celebrity event on Saturday 26th March was bound to be memorable. Along with the jokes and tales of the bizarre happenings which seem to follow him about, Alan’s conversation with and Alan Barnes Digby Fairweather revealed a It was in Humph’s band that was caused by the parcel of history of amazing versatility. he formed a firm friendship droopy, yellow underwear Just consider a partial list of with fellow saxophonist John Alan’s mother sent him - the bands he played with after Barnes (“They are related,” “Marks’ seconds”, according to leaving Leeds College of Music Humph would announce, “but Alan. When he hung them on and moving to London: the not to each other.”) Finding the washing line, John put up Pasadena Roof Orchestra (pre- himself homeless at one point, the following notice: “Dear war dance music), the Tommy Alan moved in temporarily neighbours, these are not my Chase Band (hard bop), the with John and his wife, Pat. underpants. We have someone Jazz Renegades (acid jazz), the What was supposed to be a Band (no couple of weeks turned into Continued on page 6 label necessary). 18 months. The only friction Photos: John Root, Ongar Jazz

Digby Fairweather, Alan Barnes, Matthias Seuffert, John Altman

4 National Jazz Archive Newsletter Issue 22 Talkin’ (and Playin’) Tubby As a prelude to his appearance at our Summer Event, Talking Tubby, on 22 July, Simon Spillett explores the continuing appeal of the late, much-lamented legend. About ten years ago, a leading jazz magazine (now defunct) printed an article in which its edi- tor singled out the ten most important contribu- tors to British jazz. Likely candidates, such as , Humph and , all appeared, as did some less likely ones, but there was one glaring omission, which prompted an avalanche of posted rebuffs. Where, everyone asked, was Tubby Hayes? There has never been a lack of critical apprecia- tion for Hayes and his work, but thirty-plus years since his death, and a decade since his inexplica- ble exclusion from the above litany, we now find ourselves better placed than ever to evaluate his work and life. Indeed, barely a month goes by Simon Spillett without a newly discovered recording or a bar- gain-priced reissue of his once mythically rare such as Dave Holland and John McLaughlin. back catalogue appearing on CD. Distanced now Hayes made it all look easy. When his bands from much of the folklore and distorted legend launched into one of their helter-skelter hard- that surrounds his hedonistic life and untimely bop tempos, the locals at last began to look like death, we can ask exactly what is Hayes’s lasting serious contenders. These days, with no one jazz legacy, and why is he so important to the history style labouring under an inferiority complex, it’s of British jazz? all too easy to forget that in the “never had it so First and foremost, it could never be argued that good” late 1950s British musicians weren’t sup- Hayes was a genuine innovator, for although he posed to be able to do this. Indeed, later figures invented a saxophone style that is at once easily such as Peter King and were to ben- recognisable and ultimately inimitable, he was efit from Hayes’s insistence that heavyweight actually a supremely personal consolidator of saxophone virtuosi could emerge from the jazz trends. For example, compare the easy flow British Isles. of his work on recordings by Hayes’s success in the USA, which he visited sev- with that of many of his contemporaries who had eral times in the early 1960s, yielded a crop of emerged from a strongly swing-oriented appren- fine albums with such prominent figures as Clark ticeship. Frighteningly precocious, by his mid- Terry and Roland Kirk, and if ultimately they had twenties Tubby had arrived at a style able to echo the air of souvenirs from an ambassadorial junket all the leading American saxophonists of the day. rather than career-defining moments, the jingois- He was as mellifluous as Getz, as commanding as tic pride these records instilled in British jazz was Rollins and as technically facile as Griffin. By rais- titanic. But then, Hayes’s skills - divided hyperac- ing the game of the local product he was in turn tively among tenor, vibes, flute, composing and paving the way for later generations of British arranging.- were always a source of pride, even jazzmen to become truly international figures, when the brickbats of “too many notes” got Continued on page 6 Issue 22 National Jazz Archive Newsletter 5 Talkin’ (and Playin’) Tubby Continued from Page 5 thrown at him. Despite his critics, Hayes had the avant-garde were of no lasting importance to emerged as the figurehead of a generation of him. But he remained - and remains - a figure British modernists, equally capable of turning his regarded with great affection. His no-nonsense, hand to more commercial projects (he once proactive attitude stimulated his colleagues. He proudly fronted his own TV series, and he crops was an inspirational individual whose eminence upon the soundtracks of those quintessentially knew no rivals and whose death left a gaping Swinging Sixties films, Alfie and The Italian Job) fissure in the local jazz landscape. and to far more adventurous ventures, such as His legacy can be detected in the exacting inter- his landmark album, Mexican Green. Bt the mid- national standard we now expect of UK jazz sixties, Hayes was everywhere and came as musicians, and his story - that of a chubby close to celebrity it was possible to while playing teenage boy from post-war London’s suburbs modern jazz in the UK. This is why the mere who dreamed of playing the Americans at their mention of his name in any jazz club these days own game - is as motivational now as it ever was. is a cue for a thousand and one Tubby Hayes And, significantly, his recorded output, especially stories. that of the Jazz Couriers and with his own quin- It could be argued that Hayes’s contributions to tets and quartets, continues to sound impressive the general direction of British jazz were less and relevant, a tribute to his lasting choice of crucial from the late sixties onwards. Rock and musical language.

Nothing In Moderation Continued from Page 4 staying with us.” together with the clarinet. His it. Pressed by Digby for a final One of Alan’s favourite arrangements, particularly for thought, he said that there are musical partners is his friend, small bands, are often two things you can always trumpeter Bruce Adams wonders of ingenuity, and he spot in a musician - arrogance (sometimes announced by is a considerable composer. and sincerity. Alan as a “Boris Yeltsin His Seven Ages of Jazz (in After the intermission came lookalike”). They first met as collaboration with the late the music. Alan, on alto members of “the same Alan Plater) and Sherlock saxophone and clarinet, and formation drinking team”, Holmes Suite are hugely Digby, on cornet, were joined otherwise known as the attractive works. by the excellent rhythm George McGowan , You’d think that was enough section of Ted Beament Not only do they play to keep anyone busy, but Alan (piano), Murray Salmon (bass) beautifully together, they share had a friend at Leeds, named and Clark Tracey (drums). the same robust sense of Dave Cooper, whose motto John Altman joined in on humour. It was Bruce, was “nothing in moderation”, soprano saxophone and a suffering from a hangover and he seems to have adopted surprise guest, tenor after overdoing the red wine, it wholeheartedly. He also saxophonist Matthias Seuffert, who famously complained of runs his own , brought the band up to a “the Wrath of Grapes”. Woodville Records, and seven-piece for terrific When it comes to sometimes appears as versions of Moten Swing, saxophones, Alan has a compere at jazz festivals. Cottontail and Queen Bess. particular fondness for the Alan Barnes simply loves doing And so ended a thoroughly baritone, although he is a what he does and his only enjoyable and immoderate virtuoso of the entire range, ambition is to keep on doing afternoon. 6 National Jazz Archive Newsletter Issue 22 The Musicians’ Magazine Brian Gladwell, radio and television critic of contributors, and the many others included Crescendo, remembers the magazine and its Raymond Horricks, Wally Horwood, Louis Barfe, dedicated founder, Dennis Matthews, who died Alan Stevens, Tony Augarde, Harvey Bard, Geoff last year, aged 86. Burdett, Peter and David Lund, Jean Maggs and Dennis launched the magazine as a monthly in Tony Middleton, some of whom also reviewed July 1962, initially in partnership with former album releases. I had a regular radio and TV column, Melody Maker features editor Tony Brown. which enabled me to comment on worthwhile Over the years its title changed to Crescendo programme which were ignored elsewhere. There International and finally to Crescendo and Jazz were frequent reviews of concerts and books, and Music, and it moved from monthly to bi-monthly latterly of videos and DVDs. and eventually to quarterly publication. Dennis had previously been involved in band Although strongly jazz-oriented, it wasn’t strictly management and promotion. His presentation a jazz magazine. Its subtitle was “The Musicians’ of the Lionel Hampton Orchestra at a midnight Magazine” and it was aimed specifically at concert in 1956 led to a practising musicians. Hence there were regular lifelong friendship with Hampton, and a standing articles by such resident experts as Leslie Evans invitation to the annual Lionel Hampton Jazz (reeds), John Tayler and Kenny Clare (drums), Festival at Moscow, Idaho. Phil Parker (brass) and Jimmy Staples (saxes and Dennis also ran the London Student Orchestra, arranging). Bandleader Ken Rattenbury in conjunction with its musical director, Ray transcribed and analysed jazz solos and Duncan Egan, and was a Freeman of the City of London. Lamont contributed saxophone-section scores He was an expert photographer, whose work, of his compositions. along with that of Denis J. Williams, supplied Prominent among the contents were in-depth many eye-catching picture spreads. interviews and studies of top jazz musicians by Crescendo was Dennis’s life. He was justly proud Mike Hennessey and Les Tomkins, who edited of its production quality and its championship of the magazine for a while, while haunting Ronnie high musical standards. Such was his dedication Scott’s club with his trusty tape recorder. In “As that for the last few years, until 2009, he ran it I Heard It”, Harry Francis reminisced on the virtually single-handed from a wheelchair in his early days of dance music in Britain, invaluable sheltered accommodation. His death left a huge reminiscences which are now available on the gap in music journalism and robbed us of the Jazz Professional website. fascinating memoirs he planned to produce. Coverage of other genres included Hollywood The National Jazz Archive holds a complete 47- correspondent Howard Lucraft on film composers year run of Crescendo, and is in regular and Bernard McAlinden on the great songwriters. demand by visiting researchers. Steve Race and Benny Green were early

Receive your Newsletter by post Please send me regular copies of the National Jazz If you do not already receive your Archive Newsletter Newsletter by post and would like to, Name ...... please fill in your details on the adjacent slip and send it to the Address ...... National Jazz Archive ...... Loughton Library, Traps Hill ...... Post Code...... Loughton, Essex IG10 1HD Email ...... Telephone ...... Issue 22 National Jazz Archive Newsletter 7  Editorial

Our exhibition at the Age for British jazz, with the scores Barbican Music Library opens Couriers, the Dankworth onto the on 3rd May and one of its Orchestra Mk II, and 21st features will be a listening Humph’s best band ever, all Century post, where visitors will be on the road. And the one digital able to hear selections of undoubtedly British thing that medium called “Sibelius”. British jazz from early (well, this country contributed to Held in this form, they will earlyish) days up to the the jazz world was the jazz enable the instant printing out present. Someone had to composition linked to a of sets of parts for the decide what pieces of music literary work. Which is only musicians to play from - a job to select for it, and guess who fitting for the land of that once took hours of a rashly volunteered for the Shakespeare, Dickens and skilled copyist’s expensive job. Lewis Carroll. time. Most composers use Sibelius now, but as far as I It isn’t until you start making What did the listening post know this will be the first lists that the enormity of the end up with? You’ll have to time for a pre-Sibelius British task becomes clear. From the come along to the Barbican jazz composer’s work to be early 1930s there was a Music Library and hear for treated in this way. We don’t recognisable jazz scene in yourself. collect written music here at Britain. It received a terrific Back in January, I attended a the Archive, but this is a boost from the visits of Louis concert at the Guildhall development that naturally Armstrong and Duke School of Music and Drama, interests everyone interested Ellington in 1932 and 1933, at which the school’s jazz in the preservation and and from that point it grew in orchestra played music by the dissemination of material confidence. From the late Neil Ardley. Most of it connected with jazz. recording point of view, it was drawn from the also grew in sheer bulk. Spike A fund has been launched to repertoire of the New Jazz Hughes, , Harry help pay for the work. Details Orchestra (NJO), which he Hayes - where do you start? I of the Neil Ardley Manuscript led from the mid-1960s to spent happy but inconclusive Fund are available from the early 1970s. It was a hours playing through seventy [email protected] strange experience for me years of records and ended as because I was a member of bewildered as I started. the NJO and, although I knew About some things, though I the music backwards, I’d was certain. Carl Barriteau never heard it being played was a most wonderful by other people, as a clarinettist, although virtually member of the audience. forgotten today. Early British One reason for the concert, was almost apart from the obvious one, indistinguishable from early was to announce a scheme American bebop, if you which may be an early sign of ignore the First Division of things to come. The plan is to Bird, Dizzy, Bud Powell etc. transfer Neil’s handwritten The late 1950s was a Golden Printed by Graphic Impressions, 01245 260349