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Back to The London Jazz Club. Mack's Restaurant. 100 Oxford Street. Humphrey Lyttelton & His Band

The London Jazz Club. Mack's Restaurant. 100 Oxford Street. Humphrey Lyttelton & His Band_0002.jpg

The London Jazz Club. Mack's Restaurant. 100 Oxford Street. Humphrey Lyttelton & His Band_0002.jpg

Inside pages from a programme for Saturday Night Jazz, a concert by Humphrey Lyttelton and his Band presented by the London Jazz Club at Mack's Restaurant, 100 Oxford Street, 12th August 1950. Featuring an opinion piece on the conflict between traditional and modern jazz. 

Image Details

Catalogue Reference Number
Creator Unknown
Date Made 1950
Item Format Programme
Title or Caption
Event Date August 12th 1950

This text has been generated by computer from the image and may contain typographical and/or grammatical errors.

I read, in this v;eek!.g: “Melody -er'/ that after October 21st, the new •
■■Jazz Club“ producer. John Foreman, will present a programme devoid of all bop and pro res?-ive music .
lie says, "the music I know as Jazz comes from t! e heart."
Such o. startl'ing,,dec:l/aratiipii of" ' faita and intention from one employee! by a body con tantly, if unconvincingly, protesting strict impartiality in matters political, theological, and a. fustic, will be heralded by mouldy figs from /oolwich to galing, and elsewhere, as Divin.. Intervention.
The less period-minded of them may have \ little misgiving about For email's view that Jazz ended with the Crosby Bobcats and Dorsey1s Clambake Seven. Yet, viewed chronologically, this is not an inaccurate statement, for those bands were composed of the young r musician playing in the traditional style when revivalism was yet a word to be used in every article on Jazz.
Me can only “ope that Mr. Foreman will not have too many Bobcats and Clambake imitations.
However much this new development may infuriati the modernist, I also fear it will crab the carts oi all purists.
.cy? ad 11, 1 talc, it as a fact that
most of the Rest .nd boys like a Jazzy Saturday afternoon with a couple o’ quid and a bit of publicity thrown in. The style he may have to play may be contrary to his conscience, ability, and background, but there is always the dough, and the publicity., and dough is dough, and publicity is publicity, whatever thother minor considerations.
I foresee sessions of a most peculiar nature»
Ralph Sharon will maybe reveal a penchant for traditional style piano. 1 can almost hear the quotes from “Small Hotel“ in “Bop Boogie". kaumcc Barman, w’o co uselessly reiterates that he knows, understands., and plays Now Orleans Jazz, and oft quotas that memorable voning bo sat in with. Doug. Whitt on,’ s Band at t * london Jazz Club, will no doubt bo leading his Dixi landers,
Ragtimers, or Le vocTLoungors. Johnny Dankworth
plays clarinet on Jo-a Lani Is ■ Dixieland- for-the-Pooplo Parlopo>ones, and could no doubt do so again on“Jazz Club". And he’s got an ex-V/obb and Randall trombonist on his pay-roll.
The possibilities arc infinite -------- and too
damned depressing to contemplate further.
Frankly, John Foreman is going to have his time cut out filling a “live" programme with our traditional bands, and not lose his Job for creating a public nuisance.
There are not more t r.n thro bands capable of playing the old Jazz proficiently, and to air the semi-pros with nothing but sincerity, and t .e professionals wit’ little but slickness is to deal a grave blow at tho rcvivalist movement.
Again, speaking as a fig, mouldy elmost to t: c state .of decomposition, I take a poor view ox the. intention to
exclude modern Jazz. Bop is ‘ -ore, and.................
there ARE people ..who do like it, but they have as mac-' right to listen to their chosen music as wo mouldy ones, -¡aid, for Odbot, you can keep your bad Now Orl ms/Dixieland. H ’d even profc-r Bop played profici«ntx\ . Actually th.. real ia.ult lays with the BBC for allowing ily half an hour a week for hot music. It’s impossible to