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Terry Lightfoot and his Jazz Men - 1962 003

Terry Lightfoot and his Jazz Men - 1962 003

Inside pages from a programme for a concert by Terry Lightfoot and his Jazz Men, 1962. Featuring a list of numbers that may be performed at the concert and a biography of Terry Lightfoot.

Image Details

Catalogue Reference Number
Creator Unknown
Date Made 1962
Item Format Programme
Title or Caption
Event Date 1962

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

Tavern in the Town
Tain't What You Do
Creole Love Call
Birth of the Blues
Walkin' With The King
Nothin's Too Good For My Baby
Riverside Blues
Mood Indigo
1 Love Paris
Top Gear
Blackbottom Stomp Sidewalk Blues
Savoy Blues That's a Plenty Margie
Rockin' Chair Maryland Tiger Rag Whiffenpoof Song Tin Roof Blues Wolverine Blues Black & Tan Fantasy Panama
Featuring Featuring
in in
Featuring ROY WILLIAMS (Trombone) in
A combination of three qualities is necessary to maintain an artist at the top of his profession- talent, judgment and the capacity for sheer hard work. That these three virtues are the possession of Terry Lightfoot is proven by public and professional reaction to his band. A group of seven musici each rated TOPS in the traditional jazz field, make up the most exciting, yet superbly musical jazz group in Britain today.
Terry Lightfoot's talent is extolled in his expert handling of his instrument—the clarinet -and in the meticulous attention to musical detail.
Plis judgment—the result of six years
leadership of his own jazz band—shows itself in the band’s repertoire: the right tunes at the right tempos, the right way to handle an audience and the band’s presentation.
The capacity—indeed, thirst, would be a better word- for sheer hard work is evidenced by a glance at the band’s date sheet.
They've been known to work 9 engagements in 7 days. They travel the length and breadth of Great Britain. They are equally at home in jazz clubs, ballrooms, concert halls, radio and television studios. Much of their time recently has been spent before the microphone and cameras of the B.B.C. and commercial T.V. companies.
TERRY LIGHTFOOT was born at Potter’s Bar. Middlesex, on May 21st, 1935.
At sixteen he joined the school band on clarinet, although at that time he was really more interested in the trumpet. Whilst stiil at school, he guested at a Humphrey Lyttle-ton concert at Conway Hall, London. At eighteen Terry joined the RAF and gained valuable experience with service bands. Outside working hours, he played with a well known West Country jazz group and did his first broadcast—a two minute spot in the B.B.C. programme “Forces Show''.
Whenever possible Terry would dash home to Potter's Bar and rehearse the band he intended to lead when the RAF no longer required his services.
In 1955, Terry was demobbed and returned home to a well rehearsed, ready and eager to play jazz band. The group was a co-operative venture both in business and socially. They motored to Italy for a holiday and, just happening to have their ins. u-ments with them, blew whenever the opportunity arose.
The music of the Inglese jazzbar.d fell pleasantly upon the ears of a hotel proprietor who promptly engaged the group to perform before his cream-of-Riviera-society clientele. The proprietor’s offer of a lengthy
engagement has since become an annual event, but Terry has so far declined, preferring to further his reputation in Britain.
In October 1956. after a remunerative year as a semi-professional group playing jazz clubs and occasional concert dates — including the Royal Festival Hall — the band passed its BBC audition. Thus fortified with a broadcast contract, the boys threw up their day time jobs, pledged their allegiance to the Musicians’ Union, and set rorth into the glamour, and sometimes gloom, of musical professionalism.
Now free to undertake even more engagements. the Lightfoot band blew its iusty-styled jazz throughout the length and breadth of the country in variety tours, ballrooms, concert halls, clubs and on radio and television. Its records fast became big sellers.
In 1957 Terry had the urge to try a little experimentation. He substituted guiter for aartjo, hired a pianist and progressed the band s repertoire a decade or so from the earthy New Orleans style to the slight sophistication of Mainstream jazz. After some months, 1 erry decided to revert to the original policy, feeling that his own particular Style was more suited to the New' Orleans idiom.