Register for updates!
Register
Back to Crescendo 1962 July

Crescendo_1962_July_0002.jpg

Crescendo_1962_July_0002.jpg

Inside front cover and page 1 of Crescendo, July 1962. Page 1 includes an introduction to the edition. Inside of the front cover features an advertisement for Boosey and Hawkes musical instruments.

Image Details

Catalogue Reference Number
Creator Tony Brown [ed]
Date Made 1962
Item Format Journal
Title or Caption

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

co
0°
X
AVAILABLE ON EASY TERMS
See them at your local Music Store, or write for colour brochures.
BOOSEY HAWHES
EDGWARE MIDDLESEX Tel. EDGware 5581
SYMBOLIC COVER
crescendo
Editor Advertising Director
Tony Brown Dennis H. Matthews
♦ ♦ ♦
Editorial and advertising office :
16 Gerrard Street, London, W.i GERrard 8892
July, 1962 Volume One, Number One
INTRO
'"PHIS might be an occasion for open brass. Even a fanfare. We’re playing it muted. The arrangements should speak for themselves.
This is the first fully-professional magazine produced specifically for musicians and would-be musicians. We intend to keep it that way.
We happen to believe in musicians. We recognise them as being useful and frequently admirable members of the community.
We realise that they come in all types, shapes and sizes. We know that some make music their full-time occupation, others double, as it were.
We don’t regard the distinction as particularly significant. Musicians, whatever their status and stylistic outlook, are bound together by a camaraderie. A shared love of music itself, pride in technical excellence, appreciation of fine performance. Or just, perhaps, the simple ambition to improve.
If there are any musicians preoccupied with slants, angles or gimmicks (and we can’t recall meeting one), they
will never take to Crescendo. We haven’t any to offer. We don’t believe in them. We have neither time nor space for those that do.
We aim, in short, to meet a magazine deficiency on the music scene—or to put it another way, a music deficiency in the magazine field. The pages of Crescendo will be devoted to the art of making music, to the activities of those who play, to the instruction of those who hope to.
To discussion, analysis, to the pioneering efforts of jazzmen who may provide ideas for the composers and orchestra-tors of tomorrow.
And so on, segue, ad lib. and the rest. You name it, we’ll provide it.
One promise we can make. Crescendo will never be pretentious, arty, high brow, low brow or dull. There’s too much vitality on the scene, so much that is stimulating to cover. Crescendo will present its views brightly—but with sincerity and authority.
That, we are convinced, is neither more nor less than our readers deserve.
The mon said ...
UT why Crescendo ? the man said. We expected the question.
Why not ? we asked.
Well, the title, he offered, aimed at musicians in this day and age, should be with it somewhat, likewise hip or coolish.
Such as ? we asked.
He gazed at us. You should be able to think of something, he said.
We have, we said. Crescendo. Difficult to think of something better, easy to think of something worse.
The snag, we explained, with those hip, with-it terms is that they so quickly go out of fashion. Whereas the orthodox musical
expressions retain their force.
We have, it is true, met musicians who shun crescendo as being stuffily academic and substitute “swell”. We wouldn’t necessarily object to that.
The man said that some people might not be able to pronounce it.
That's not important, we said. So long as they know what it means.
Will you tell them, he asked, if they don't ?
With pleasure, we told him. Crescendo means to grow in volume, to increase.
It’s not a bad title. It’s an even better omen.
'"THAT’S Woody Herman, of course, -*■ on our front cover. Not, sadly, a topical picture. Herman was brought to Britain a couple of years back to front an Anglo-American Herd and the shot— taken during his tour—symbolises the fraternity that should exist in music.
If there are defects in British jazzmen, they derive from a lack of opportunity of playing alongside their American confrères. It shouldn’t be necessary to migrate to the States to assimilate the jazz idiom. Jazz has its roots in the minds of American instrumentalists rather than—as some folk-lorists seem to insist—in their native soil.
American jazzmen carry their own atmosphere with them, wherever they play. Many of our players would benefit immeasurably from playing side-by-side with them, absorbing ideas, musical attitudes and developing confidence.
A man-for-man exchange between Britain and America might not be spectacular from the public point of view and promotional profits might be small.
But it would pay off musically.
Cover Photo by ERIC JELLY
Features:
Nelson Riddle, Oscar Peterson, Count Basie, George Chisholm, Jack Parnell, Laurie Johnson, Ron Grainer, Jazz Workshop, Traditional Dilemma, Band Call, Trade Counter, Watt’s On, Blowing In Brussells,
Tempo Rubato, Round & About, instrumental articles.
*
SPECIAL:
Eddie Harvey ‘original’: small band orchestration.
*
Contributors :
David Ayres, Eddie Blair,
Roy Carr, Dennis Detheridge, Leslie Evans, Norman Fripp, Robert Gower, Jock Grant,
Pete Grant, Benny Green,
Albert Harris, Eddie Harvey, Johnny Hawksworth, Ike Isaacs, Don Lusher, John Martin,
Don Rendell, Jimmy Staples,
Les Tomkins, Tommy Watt.
page one