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Crescendo_1963_May_0005.jpg

Pages 6 and 7 of Crescendo, May 1963, Vol.1, No.10. Band Call, a round-up of who is performing where, features, as does an interview with Top Rank Dancing's Musical Controller Garry Brown.

Image Details

Catalogue Reference Number
Creator Tony Brown [ed]
Date Made 1963
Item Format Journal
Title or Caption Band Call. Crowds expect a show.

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

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BAND
CALL
A MANCHESTER’S newest nightclub, l\ 1. Mr. Smith’s, opened at the end of March with cabaret from Frankie Howerd, songs from Elaine Delmar and Johnny Downes, pops and ballads Irom organist Man Haven and the Derek Hilton Trio, and jazz from Tony Charlesworth’s Quartet and the Terry Lightfoot Jazzmen.
How confusing can you get! The lads who comprise the San Diego All-stars come from Ashton-under-Lyne and are resident at a club in Stockport. I wonder if any of these All-stars (what, you’ve never heard of them ?) know where San Diego is ?
Glamorous Yvonne Martyn is featured singer with the Les Moss Orchestra at Bolton Palais. Yvonne was formerly with Les at Rochdale’s Carlton Ballroom, and before that was with Peter Legh at Bolton. Welcome back, Yvonne.
An attempt is being made to re-form the Manchester Jazz Appreciation Circle. There’ll be no ‘live’ jazz, but actually a lot of the jazz I’ve heard recently from name and local bands has been more dead than alive. The Circle is solely for the study of recorded jazz. Interested? Then contact Jim Lowe and Roy Bower at 40 Ashford Road, Manchester, 20. In my opinion, jazz appreciation in Manchester is in a minority of one per cent.
A group has been formed with the express purpose of inviting other musicians to sit in. Open-house sessions are held every Wednesday at the Bamboo Club, Hazel Grove, Manchester. Musicians backing this venture
include Alan Hare (piano), Brian Smith (tenor), Gordon Robinson (trombone), Pete Staples (drums) and Colin Knight
(bass).
The jazz-slanted music which so perfectly fits the mood of the Odd Alan series on Granada-TV was composed by Manchester musician Derek Hilton. Playing the link passages are Derek himself on piano, Bob Duffy (bass), Amos Smith (drums) and Maurice Davis, whose trumpet playing contains much of the lyrical beauty of his illustrious namesake, Miles Davis. Working for the goggle box is no new experience for Derek. He has composed, arranged and played the music for over 500 television programmes, including such favourites as People and Places, Shadow Squad, Spot the Tune and Twenty-one.
Derek, Bob and Amos comprise the Derek Hilton Trio which has just become resident at Mr. Smith’s. —Alan Stevens
Cup-winners
JeffRowena (he’s seen here, Left) was awarded the Mecca Gold Cup for doing the year’s best business on the Mecca circuit with a small band. Johnny Howard (Below) also won the equivalent Gold Cup in the big band class. The Rowena and Howard bands operate at the Orchid, Purley and Royal, Tottenham, respectively.
•
Silver Cup winners were Harry Gray (big band) and Steve Worth (small band) —both at the Locarno, Bradford and Bronze Cup winners were Arthur Coppersmith (big band) and Ross Mitchell (small band). Arthur presides at the Café de Paris and Ross at the Locarno, Coventry.
Bournemouth
A BASIE style rehearsal band, two new groups in two new clubs. Yes, Bournemouth is swinging again. The Basie style band is the idea of vibist pianist Dave Greenway and he’s rehearsing it every Monday at the Cat and Canary club in Sea Road, Boscombe. Anyone interested should go along or contact Dave at 35 Knyveton Road.
The new clubs ? The former Downstairs club in Holdenhurst Road has been completely redecorated and re-named the Disque-a-Go! Go! This is the only place in town ever to feature late-night jazz sessions and the Saturday night ones will continue to operate from 12.30 a.m.
In the group playing these sessions are fine altoist-flautist Nick Newell (recently returned from a tour of France), baritone man Nigel Street, guitarist Andy Sommers, drummer Mick Giles, bassist Dave Town-end and pianist Barry Curtis.
A real musicians’ rendezvous this and nearly always in attendance is blues shouter-pianist George Bruno ‘Zoot’ Money. On
page six
DRUMS, VIBES, BRASS, SAXES, WOODWIND, BASS, GUITARS, STUDIOS, REPAIRS, ALL ACCESSORIES
2<wie fiat it!
EASIEST TERMS PART EXCHANGES
Open Sats. till 5.
Est. 43 years
CHAS. E. FOOTE, LTD. 20, Denman St. W.l. GER. 1811
Thursday nights the club features the Lennie Lee Quintet. Lennie takes the vocals backed by A1 Kirkley (piano), Tom Costello (drums), Jim Shipstone (guitar), his brother Francis on bass and Nigel Street from the Saturday group making up the five.
The other new club, the Candlelight down atjJ Christchurch, is run by drummer Bert Jackson, formerly of the Hengist Club. It features the first-rate vibist-drummerj Jack Horwood.
Playing at the Exeter Hotel on Saturday nights is a trio led by former trombonist Phil Fox, now playing bass. With him are pianist Tony Brickell and drummer Keith Poppitt, both formerly at the Top Hat club. For any jazz fans holidaying in Bourne -mouth, I also recommend Bob Jenkins’ quartet at the Norfolk Hotel. Bob is the former Joe Loss tenorman. Or bassist Dave Woode’s quartet at the Highcliff Hotel. Dave formerly led the Norfolk group.
For those who like dancing to a modern sound there’s the fine quartet led by guitarist Tony Alton at the Ritz Ballroom on Saturdays only. In the group are Butch Pierce (piano), Pete Riley (bass) and Mac Rose (drums). Or try the Sunday night sessions with the Jimmy Daemon group at the Picardy Hotel.—Graham Spiers
Crowds
expect a show
says Top Rank’s Music Controller GARRY BROWN
“YY/E’RE trying to present, wherever
W possible, big bands playing the music of today.” So says Top Rank Dancing’s Music Controller, Garry Brown.
Thirty-five-year-old Garry, eager to make a success of the biggest job he has ever held, isn’t pushing big bands for quixotic reasons, nor is he living sentimentally in the past. He obviously believes, like many others, that big bands have something to offer in the way of excitement, provided that they think in present-day terms.
“Youngsters of every generation tend to reject the music of their parents. Not all of it, but most of it. It’s part of a convention that has been thrust upon them. To rebel against it, to seek their own forms of entertainment, is part of the process of growing up. We all went through it.”
Musical family
Garry speaks as a man brought up in a musical family. Both his father and grandfather were trombonists. After studying
Garry has a desk-job nowadays, but music—symbolised by his trombone—is well to the foreground.
they’ve ever heard it, or you give them something they can’t get elsewhere.
“Fundamentally, I think the Palais crowds will appreciate Pops played with a Big Band feeling. However, we’re creating bands capable of playing every type of function. Instrumentation, arrangement, presentation —it’s all studied. It seems to work.
Show
“Up at Luton, they said the crowd wouldn’t take anything but Rock groups. We haven’t used one yet.
“At the State Kilburn we’re putting in the Universal All Stars directed by Chris Lamb. All first-class musicians playing head arrangements. They play standing—and really put their music over. This has been one of the déficiences of bands. Crowds of today expect a real show.
“Musicians have to appreciate that the dance hall is a meeting place. People don’t go there just to dance. Our aim is to entertain both those on the floor and those sitting it out. That’s the way for bands to stay in business.”
Double act
The illn:ss of his mother forced him out of the bus ness for two years. He became a semi-pro back home, running two shops in the daytime. He married and taught his wife to play the trombone and she—oddly enough—went straight into the profession after a mere six months tuition, with Ivy Benson’s band.
Then for a time they had a double act. Eventually, Garry joined Johnny Dankworth, with whom he stayed for five years. After leaving Johnny, Garry formed his own band for the Mecca circuit and in 1962, he took a band to Butlin’s at Filey. It was after that he was offered the Rank post.
Garry undertook the job at a time when pessimists were declaring that the only way to succeed in a Palais was to flog the Big Beat electronically.
But Garry doesn’t think it smart to give the crowds what they are being bombarded with from all sides. “You either give them what they are used to—but better than
After two years’ National Service with the RAF, he joined George Evans’ eight-brass band on the road and did spells with Oscar Rabin and others.
trombone for six months up in his native West Hartlepool, Garry went straight into professional playing with Charles Amer at Butlin’s at Filey. As both the first and second trombonists left, he found himself playing lead within a few7 months.
page seven