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For a while in the early fifties a small shop in the village traded as a draper, run by a couple from London. They were Salvationists, the man playing euphonium in the Hereford Salvation Army Band. No doubt attracted by their common origins in the capital, they became friends of my mother and at some point, perhaps when they were packing up to leave, she acquired an upright piano from them. She enrolled in a correspondence course and began to learn to play.
The staff at Reed’s included a music teacher whose principle role was as organist and choirmaster. The school operated with a strong Anglican ethos: we attended chapel on alternate weekdays and twice on Sundays. In addition to leading the singing of hymns and psalms, the choir regularly learned anthems which they performed as part of the Evensong Sunday evening worship.
Dr Forster (doctor of music), possessed a beak like nose and wore pebble glasses. We boys christened him “Peck”. In addition to his work with the choir, he provided weekly lessons – lectures really – in “musical appreciation” whereby we were enabled to learn the evolution of classical music from baroque to modern. And he offered piano lessons. These were, of course, extra-curricula and necessitated the payment of a fee. No other instruments were taught in the school at that time.
Mum decided to pay for me to have piano lessons. I learned scales and by the summer of 1955 I was grappling with the slow movement from a Greig sonata. The problem was that I was lazy and did not practice. Sometimes I would go with another boy to the practice rooms and we would fool about. Once we stuck copper wires into an electrical socket. It was a miracle that we did not electrocute ourselves. We did fuse all the power in that block.
When the time arrived for my weekly lesson, week after week I would stumble at the same place, a chord sequence I was never able to get right. Eventually Peck became so frustrated that he pulled me by the hair and beat me about the shoulders with his arms before running from the room. I was not the only boy to suffer such treatment. These days it would, if reported, lead to suspension or even the sacking of the teacher, followed by claims for compensation from the parents.
The truth is that Forster was basically a gentle man, passionate about music and frustrated by the inability of others to take the same degree of interest. A couple of years later he taught a group of us to play mah jong. We would play the game in his flat in the music block of an evening. At the end of the school year during which I tried to learn the piano (ie. Summer 1955) I was, to my surprise, awarded the music prize at the annual speech day. No doubt this was Peck’s way of saying “sorry”.
Mum enjoyed listening to the playing of a popular pianist called Russ Conway and watched the progress of his records up the “hit parade”. In the summer of 1956 we noticed a record entitled “Experiments With Mice” by Johnny Dankworth. Never having heard it on the wireless, we had no idea what it was or what it could possibly be.
Back in school in September one of the boys who was an enthusiastic follower of jazz had a copy and played it. The theme of “Three Blind Mice” was rendered in the styles of different jazz bands; Glen Miller, Duke Ellington and Count Basie among others. A number of boys were into jazz by then and had long-playing records featuring Dizzy Gillespie, Gerry Mulligan, Zoot Sims and others which I, too, came to enjoy.
One or two members of staff were quite keen on jazz, too, and they encouraged the formation of a jazz club which met weekly to listen to jazz records and discuss the different styles and the evolution of the art – not unlike Peck’s attempts to teach us about classical music, but much more entertaining to our young minds.
In the summer of 1958 the jazz club organised an outing to a concert given by “Jazz at the Philharmonic” in London, a troupe of touring jazz musicians that included Dizzy Gillespie, Oscar Peterson and Ella Fitzgerald. Ella took several curtain calls. So many in fact that, crossing London to Waterloo, we were too late for the last train to our part of Surrey. The next train was the so called “Milk Train” leaving at 5am. An alternative was a train that left around 1am but only went as far as Kingston-Upon-Thames. It was agreed that we would take that one and walk the rest of the way, about 10 miles!
Somewhere outside Esher a young man in a Hillman Minx Californian with the top down stopped and offered lifts. About 8 of us crammed into the car, some sitting on the trunk with feet over the shoulders of the boys in the back seat, for the ride to Fairmile where the driver generously turned round and went back to collect the ramaining boys.
One of the very few drawbacks of living in our little corner of Ireland is that we don’t often get an opportunity to hear live jazz. There is, of course, plenty of music from other genres. In the last while I’ve seen performances from Barbara Dickson, the Black Family, Hazel O’Connor and, just the other week, a rip roaring, stand up and stomp your feet, performance from the versatile Jack L, back on home turf ahead of a UK tour to promote his latest album.
And, of course, there are many semi-professional bands and solo artistes doing pub gigs every weekend. But jazz, the music that spoke to my generation, that was written about so eloquently by Kerouac and Ginsberg, the rhythms and melodies, and alliterative lyrics of “The Great American Songbook” that underlies the best tracks of the best rock artistes of the last half century, that music is rare in our neck off the woods. Indeed, I suspect it is rare most everywhere these days.
So, when I learned that the innovative manager of our local community arts centre had commissioned a series of intimate jazz concerts in a small and hitherto under-utilised part of the building, I was delighted, and eagerly obtained tickets for the first which took place last evening. The artiste who had been chosen to fill this first experimental spot, it turned out, has flu. But she has friends in the business and was able to obtain a stand-in at a few hours notice. Never having seen the intended performer, I have no idea what I, and the handful of other jazz lovers present, missed. What I do know is that the stand-in is an incredibly talented singer.
She took me on a journey back to my first ever experience of live jazz, when, at just 15, I saw Ella Fitzgerald perform in a large theatre in London as part of a Jazz at the Philharmonic tour.
And she took me, lyrically, to New York and Paris and London’s Barclay Square. She asked me ‘Is You Is or Is You Ain’t My Baby?’ If only I were fifty years younger I’d say ‘yes’ to that in a nano-second.
She gelled beautifully with the two musicians accompanying her despite never having met them before. That, I suppose, is one of the delights of jazz standards – everyone who plays jazz knows them and even though they lend themselves wonderfully to endless reinterpretation and soaring improvisations, once you’re in the groove instinct takes over and there is a certain inevitability about the direction the music will take you in.
The young woman I speak of is called Suzanne Savage and it was no surprise to me to discover, from her Facebook page, that, among her accomplishments is listed chorister at Christchurch Cathedral, Dublin. The beauty of her soprano voice was evident last night. So, too, was her ability to use that voice as an instrument, bending notes, scatting along with the string bass and allowing the pianist space to riff while she moved her body with the rhythm before returning to the melody like a swallow returning to its nesting place after a sojourn in warmer climes, having just soared away into the rafters and roamed the basement of the former gaol that is now the Dunamaise Centre.
I can still hear her rendition of ‘Lullaby of Birdland’ in my head as I write this. Her voice contained delightful echoes of Dinah Washington, Sarah Vaughan and Lena Horne but was, without doubt, first and foremost, Suzanne Savage, a unique and wonderful sound to savour.
And she took me back to another concert, late in 1978 or early in ’79, another time when I was entertained by a stand-in because the billed solo instrumentalist couldn’t make it. On that occasion the stand-in was a very young man who sat on a high bar stool and played the coolest, and the hottest, acoustic guitar set imaginable. In a venue where the quieter passages of other concerts were often marred by the sound of conversations being carried on at the back of the room, he held the whole company in enthralled silence. His name? Martin Taylor. Within months I heard he had replaced Django Reinhardt, dueting with Stéphane Grappelli.
Will Suzanne Savage ever enjoy the fame of Martin Taylor? She is certainly earning rave reviews for her highly innovative current project which showcases her versatility. But jazz these days is no longer part of the mainstream of entertainment. Although Michael Bublé has had phenomenal success in recent years, and Imelda May seems to be doing okay, in an industry that prefers boy bands and potty mouthed young women, I fear that someone like Savage, however talented and passionate about her art, will struggle to gain recognition beyond the ever decreasing circle of lovers of jazz and other avant garde genres.
I hope I get another chance to hear her perform – she deserves a much bigger stage and audience than she had last night. The Albert Hall in next year’s jazz promenade concert would not be too wild an ambition. Clare Teal, are you listening?
Easter 1916 is a key date in Irish history. A watershed moment of enormous significance to the nation. The attempted revolution on that date failed, but the brutal treatment of its leaders gave a renewed impetus to the campaign for Home Rule. The compromise that was reached with the majority Protestant population in Ulster was not popular in the rest of the Island, and led to a bloody but mercifully brief civil war. The centenary of the 1916 rising last year was the inspiration for a programme promoting creativity in all its forms across the nation in the five years that echo the years between the rising and the establishment of the Republic.
A couple of weekends ago I had the pleasure of attending an event that could not have happened except through the support of the programme: the world premiere of a new work by Belfast born composer Ian Wilson. Composed in collaboration with people involved in agriculture and nature conservation in the Irish Midlands, as a celebration of the importance of pollenators to the human food chain, Thresholds consists of a collage of recorded sounds and speech, overlaid by live performance by solo saxophone. British saxophonist David Roach, who performed the solo, has worked with Wilson before.
But that is just one of thousands of initiatives across all aspects of Irish life for which Creative Ireland is the inspiration. Take, for example, this article from the Irish Times, which describes how merging creativity with technology is generating incredible opportunities for young people.
Sometimes it seems that technology is driving the human race into a dark and dangerous place. I am a firm believer that creative thinking can ensure that human scale solutions will be found to the problems that scare us, just as they did in the past, and just as the young people of Ireland are demonstrating and will continue to demonstrate between now and 2022, the centenary of the formation of the Republic.
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A couple of years before I left school some of my class mates started bringing jazz records they’d purchased in specialist music shops in London. It was my introduction to a style of music that came to be known as Modern Jazz. A development from swing, this free flowing form of music was pioneered by various instrumentalists who had cut their musical teeth with one or more of the Basie, Ellington and Goodman bands of the 1940s.
Zoot Sims and his brother Ray were members of the Benny Goodman band in 1946-7, Zoot on saxophone and Ray on trombone. Afterwards Zoot joined the Woody Herman band. There he worked alongside Stan Getz and Al Cohn, establishing his reputation for an intensely melodic style of playing influenced by, and building upon, Lester Young’s laid back vocabulary. It was his work with the Gerry Mulligan sextet that I remember most fondly from that time.
I used my love of jazz in my novel Transgression. A young woman arrives in London in 1947 where, through her friendship with a medical student, she discovers live jazz in a Soho club.
The main thing, so far as Mabel was concerned, was that he appeared knowledgeable about jazz. He could talk for hours about the difference between Basie and Ellington, knew all the new combos, could explain why Monk was so much cooler than Moreton, compared Mulligan’s swinging baritone with Sims’s tenor playing, said he was looking forward to hearing the result of the latter’s partnership with Getz and Cohn now he’d left Benny Goodman and joined Woody Herman’s new line-up.
Of course, the time would come when she realised some of this was complete tosh, made up to impress her. For now, she was grateful for the opportunity to see and hear musicians performing in the flesh.
The atmosphere inside the club was all she had expected, and more. They were able to sit close to the small platform on which the musicians played. She could see the tendons in their necks straining, their cheeks puffed out as they blew into the mouthpieces of their instruments, their fingers flying across the valves that changed the timbre of the notes they played. Sweat poured from their hair lines, dripped from their chins, and light flashed brassily from the curved surfaces of trumpets and saxophones.
And that is my final contribution to the 2016 atoz challenge. I hope you’ve enjoyed reading all 26 as much a I’ve enjoyed writing them.
(Most of what follows originally appeared as part of a longer post on a website called Bizarre Britain)
You and a few mates with a love of music have been rehearsing together. Having chosen your genre you’ve driven the neighbours crazy practicing in your father’s garage. Now you are ready to bring your efforts to the attention of the public. There’s only one problem: what to call yourselves. All the best names have been taken. It was in situations like this that some of the most successful British bands found inspiration in the oddest of places.
Late in 1978 a group of friends from around Birmingham, England, began learning to play together. There were eight of them, from a variety of ethnic backgrounds, and their chosen genre was reggae. Several of the boys were unemployed and had to fill out a form to claim a social welfare payment known as unemployment benefit. The form was topped by the identifier UB40.
Whilst the rest of the band were honing their style in jam sessions around several Birmingham public houses, two of their number began touring the city sticking up UB40 posters. Their first record release, Food for Thought, reached number four in the UK singles chart.
Their first album was entitled Signing Off in recognition that they were no longer eligible for unemployment benefit. The band went on to become one of the most commercially successful reggae acts of all time with over 70 million album sales. The original line-up stayed together for almost 40 years. The only change since is that Duncan Campbell replaced his brother Ali in 2008.
Ali now has a rival band. Both bands are currently touring Europe. The original UB40‘s next gig is at Coventry Skydome on May20th. Ali’s band plays Glasgow tonight, Newcastle-on-Tyne tomorrow and Manchester on Wednesday.