Peartree Fans Spellbound by Colin Kingwell’s Jazz Bandits

Colin Kingwell’s Jazz Bandits at The Peartree

Google Colin Kingwell’s Jazz Bandits and you will find a plethora of coverage. But Colin needs to do little to promote his band these days. The personnel may have changed over the years but as one jazz writer put it when describing Colin as a classic stylist, “all the true blue jazz fans from the 50s know who Colin is”.

Trombone Maestro

The Bandits have starred since 1956 and in the intervening years have toured Denmark, Holland, Sweden, France, Switzerland and the USA.

Spellbound

So having revelled in their top of the bill Grande Finale at Ramsgate Seaside Shuffle last year, I was delighted when Smiffy booked The Bandits for the Peartree Jazz Club’s gig on Monday, 20th May. They held the audience spellbound with their range of New Orleans originals in their very own smooth, laid back style. But that’s not to say they didn’t mix it a bit and turn up the heat when the mood took them!

Dave Fawcett

It was a just great to see Peartree fans enjoying the jazz and tapping their feet to Colin on trombone; Peter Brooks on bass; John Lawrence on trumpet; Dave Fawcett on banjo; Malc Murphy, drums and vocals and masterful as ever; and John Lawes on clarinet and vocals.

As Smiffy announced at the end of the session, Bandits, you will be invited back to Welwyn Garden City!

Malc Murphy

(Photos © Peter M Butler, Jazz&Jazz)

John Lawrence

 

 

 

 

 

Peter Brooks

 

 

 

 

 

John Lawes

 

 

 

 

Courtesy of the BBC: Hugh Laurie Interviews Chris Barber on The Blues

Hugh Laurie and Chris Barber at The Abbey Road Studios (Photo Courtesy BBC)

Whilst currently focusing on Chris Barber and his incredible contribution to Jazz worldwide,
I thought it would be great to share with Jazz&Jazz followers this very recent BBC “One Show” youtube in which Jazz and Blues fanatic Hugh Laurie meets Chris, his “jazz hero”. They discuss The Blues and Chris’s role in introducing to Britain great Blues Singers from the USA.

Chris and Hugh at The Abbey Studios

Chris Barber Reunion Charity Performance

Chris with Reece, an admiring fan (Photo courtesy of Harry Davison)

Chris Barber will be joined by four of his former band members for a rare reunion of jazz Greats in a star performance at The Basingstoke Irish Centre at 8.00pm on Thursday,
30th May. 

Initial plans were for Chris to be reunited with his former clarinetist, jazz legend and “Flook” cartoonist Wally Fawkes, but sadly Wally has had to drop out due to a minor operation.

But the show goes on with another four of Chris’s former sidemen. The reunion of jazz greats on stage alongside Chris will include Johnny McCallum on banjo and guitar, Viv Pitt on bass, Alan ‘Sticky’ Wicket on drums and, an exemplary choice to take Wally’s place, Sammy Rimington on clarinet and saxophone.

Alan ‘Sticky’ Wicket

Sammy Rimington

Vic Pitt

 

Venue: The Irish Centre, Council Road, Basingstoke, Hampshire, RG21 3DH

For more information and booking (tickets £20) please call Anne or Dave Bennett on 0794 204 0779 or email [email protected].

Johnny McCallum

For Chris this will be a very special reunion with four old friends who have played with The Big Chris Barber Band in years past.

But it will be an informal occasion organised by Dave Bennett and limited to just 100 fans.

As Chris puts it, those lucky enough to join him on 30th May should expect the unexpected. Even “some new ideas amongst old acquaintances”.

A charity collection will be raised along with a raffle.

Chris sends his best wishes to Wally Fawkes “whose playing I always loved although I never recorded with him. Wally can’t make the session due to medical treatment.”

URGENT! More On the BBC’s “Trad Jazz Britannia” and Skiffle

Such was the response on my Facebook Jazzers Group to my feature
“Trad Jazz Britannia – Rescheduled by BBC!”
that I felt impelled to run this sequel before the programme is broadcast on
BBC Four at 9.00pm this coming Friday (24th May).

Chris Barber and Bob Hunt (Photo courtesy of Bob Hunt)

The question at issue focused on “Just Who Introduced Skiffle?” and I especially appreciated Britain’s leading jazz man Chris Barber taking the time to add his invaluable and authoritative comments.

So because Chris took the time to comment I begin this post with his observations followed by a series of other comments which the question elicited. Although some of these place different perspectives on the issues (for instance the origins of Skiffle, the historical sequence, “commercialised” Skiffle versus purity and musical integrity etc), taken in context none of them can be said to contradict Chris.

But let’s not forget that the main emphasis should be on just how the BBC approach “Trad Jazz Brittania”. Will they follow the drift of their earlier “Jazz is Dead” programme or will they have caught up with the fact that there are exciting new, young jazz stars and bands on the scene both sides of the Atlantic?

Peter Butler
Jazz&Jazz Owner & Editor
Moderator, Facebook Jazzers Group

Jazzers Group Feedback

Members of my Facebook Jazzers Group already have access to these comments via the Group. The links below are  to the relevant Facebook pages. Anyone on Facebook can join the Jazzers Group by sending a friend request to me at Facebook/Jazz&Jazz.

UPDATE FROM CHRIS BARBER

Chris messaged me with a follow up to his original comments (scroll down to see below) and
I asked him if I could transcribe his latest thoughts for Jazz&Jazz as I consider them very pertinent. He replied: “Yes you may. I might give you an unexpurgated version some time!!!! All the best, Chris”. So here they are:

Hi Peter

Getting back to when we first played music we thought of as “Skiffle”, the Blind Blake/Johnny Dodds 78’s on the “Hometown Skiffle” Paramount label of 1928 were the basis for this. I should add that when I referred to “my amateur band” I meant Alex Revell, Ben Cohen and others. Lonnie joined us in early 1952.

I am fully aware of the relative musical talents of, for example, Ken and Lonnie. But I would add that Lonnie and I were as enthusiastic as anyone about what I hate to refer to as “real skiffle”.

We were just as clear about the musical style and the serious background of the music. But since there was no evidence that there was any commercial value to it at that time, we didn’t seek to make it commercial.

Quite apart from being a singularly well informed enthusiast for all kinds of folk music, Lonnie had another musical hobby which was the music of Vaudeville entertainers, particularly Max Miller. The difficulty was that while Lonnie was a lover of the “Cheeky Chappie” style, this was absolute anathema and “Smart Alec” stuff to Ken.

So as soon as Bill told us that Ken was sacking us from our own co-op Band, we, being 5 out of 6 of the cooperative, had no alternative but to sack Ken, who obviously took with him Brother Bill who had NO position in the cooperative.

We would ALL have preferred it if, from the musical standpoint, Ken had stayed with us. But Bill offered us no option except to say that Monty and I were “catching on fast” and could stay with Ken. But this would have meant losing what to me has always sounded like a fine rhythm section. Skiffle per se played no role in all that!

As the Chinese proverb says, “May you live in interesting times” – but fasten your seat-belts first!!!

Chris

Chris Barber

Hi Peter

I believe (as if it matters) that Lonnie and I were first using the word Skiffle [in the UK] when he joined my amateur band (very 20’s orientated).

I was happy to be able to try something like the Blind Blake recordings with Dodds etc (Paramount) and I had just acquired the 78 rpm Black label Paramount calling itself “hometown skiffle”. In effect this was a sampler with short sections of each of four releases by various Paramount Artists – just a minute or so of each of four records dubbed on to the two sides of the sampler 78 with phoney party noises in the background.

I later noted that Dan Burley had used the word Skiffle much later (in the thirties) for perhaps more boogie-woogie inspired recordings (but very good, in any case).

When Ken joined up with our new band, knowing he loved that music as much as we did, we suggested playing it together i.e. Ken and Lonnie with Guitars and me playing bass. We didn’t call it a “Skiffle Group” at the time… just that Bill Colyer [Ken’s brother] said “do some skiffle”.

The BBC has never managed to accept that traditional jazz was the music that broke the ice for the British public following years of dreary stuff and that skiffle merely crept in after jazz!

If Rock and Roll really was the first it would have robbed the world of Ken’s splendid answer to the question “do you realise that your music makes you the Grandfather of British Rock and Roll” – Ken said: “If I thought I was the father of a bastard like that I’d F’ing Shoot myself”.

Happy skiffling!

Chris Barber      

Bob Ironside Hunt  Knowing the BBC, I wouldn’t be at all surprised if the emphasis all goes to Donegan.

John Petters Well put, Chris. I can imagine Ken saying that about Rock. Ken’s use of the word Skiffle does seem to pre-date the band you had with him, according to Mike Pointon’s book. “…and we played awhile with Dick on tubaphone. That was real skiffle music and quite a kick”. That’s from Ken’s letter dated 19th February, 1953 to [his brother] Bill. So was the term in use amongst musicians in the UK prior to this? Interestingly, I did a programme on the history of traditional jazz for Lincoln City Radio a few weeks ago and we covered Ken in quite a bit of detail. I used his ‘Downbound Train’ to illustrate Skiffle. the presenter, Tony Nightingale, himself a fan, thought that Ken’s Skiffle group was much more tame than Lonnie’s.

Louis Lince  Ken introduced Skiffle and Lonnie sang with him in the 1953 band. Phase 2 was with the Barber band 54-56, and then Lonnie’s solo career from 56 on. BUT there were others! Bet the Vipers and Russell Quayes don’t get mentioned!

John Petters  Ken was playing skiffle in New Orleans in 1953, according to his letter dated 19th February, 1953, on page 135 of the biography “Goin’ Home: The Uncompromising Life and Music of Ken Colyer”. The BBC Rock ‘n’ Roll programme said Donegan. I think that’s inaccurate.

Louis Lince It’s all opinion. I agree that the Dan Burley promo 78 named the music publicly but, as Chris has said, “as if it matters”, so long as the music is recognised and not forgotten. Oh happy formative years in the ’50s!

June Bastable Ken’s skiffle group was more “tame” than Lonnie’s? That’s because Ken’s wasn’t a commercialised sound – it was funky, earthy, more genuine. Lonnie commercialised skiffle to make it appealing to the general public – hence, My Old Man’s a Dustman, Does your Chewing Gum, etc etc, after his initial success with Rock Island Line (still a favourite with many).

John Petters I agree with you, June. Ken’s recordings have a great feel. I did enjoy Lonnie. It was part of my childhood – and I got to do a few gigs with him in the 80s. He was a great entertainer and I got the impression that he was more into entertaining than being a devotee of the music, as I think is evidenced by the way he moved into the pop/rock/country scene. I could never imagine Ken doing that.

June Bastable You got it, John! Lonnie was an entertainer through and through, but Ken never wished to become a commercial success – all he wanted was to play the music he loved.

Jimmie Henshaw Though the the music will be varied I hope whoever put the show together will not distort history, as is the wont of so many shows about the history of music.

John Petters Given the people who took part, I’m hopeful that this will be a good show.

 

The Dukes Take The New Orleans Jazz and Heritage Festival by Storm

The DUKES on stage at the Jazz and Heritage Festival

The Dukes of Dixieland starred at their 39th New Orleans Jazz and Heritage Festival on Friday, 5th April.

Paul Thibodeaux

It was a glorious Spring day for revelling in swinging New Orleans Jazz and the DUKES didn’t disappoint. They performed on an amazing set, playing hits from their latest album “Celebrating Satchmo” that really got the crowd jumping out of their seats.

L to R: Alan Broome, Ryan Burrage and Kevin Clarke.

 

 

New Orleans Jazz Legend, Lionel Ferbos joined the fans during the DUKES set.

Lionel is New Orleans’ Oldest active trumpeter at age 101, playing weekly gigs with the Palm Court Jazz Band at the Palm Court Jazz Cafe. He has performed at every single Jazz and Heritage Festival to date.

Lionel Ferbos with DUKES leader Kevin Clarke (Photo: Jim Moriarty, 2013)

View more great photos of The DUKES at The Jazz and Heritage Festival

The Dukes of Dixieland Evoke Memories of New Orleans, 2010

Jazz Portrait of Lionel Ferbos, Louisiana Jazz Legend

Jazz In Croatia at The Valamar Festival – Full Programme Now Available

Since we posted the release below, Ivana Sansević has updated Jazz&Jazz with the full
Festival Programme for Valamar

Be sure to browse through the entire Valamar Festival Site which includes booking and contact information, press accreditation and an extensive Photo Gallery.

Dear colleagues,

For the fourth year in a row Valamar Jazz Festival brings together world-renowned jazzers in Poreč at the end of June!

Between June 25 and 29, the Festival will take place at several town landmarks under the direction of the unique and acclaimed jazz musician Tamara Obrovac. Valamar Jazz Festival is an opportunity to spend an ideal musical summer vacation, as it gives you the world’s best jazz on one of the most desired spots on earth for vacationers – the town of Poreč. Our five-day program includes performances by extraordinary guests from the world of jazz.

Stages will be set in the authentic ambiance of the Istrian historical town; the main venue is the Island of St. Nicholas (Otok Sv. Nikole), just across the port, while two concerts will be performed in the atrium of the Euphrasian Basilica, one of the most beautiful early Byzantine architectural monuments of the Mediterranean.

Attached you will find detailed information.

If you need any other information, do not hesitate to contact us.

Best regards,

Ivana Sansević

Valamar Jazz Promotion
Mob: +385 91 528 7605
E-mail: [email protected]
www.valamarjazz.com

Ivana enclosed the following press release along with photos of jazz stars Buster Williams and Billy Childs:

Billy Childs

Buster Williams

 

 

 

 

 

 

 

Tamara Obrovac

 

 

 

 

 

Thank you, Ivana, for sharing news about the 4th Valamar Festival with Jazz&Jazz. We wish you every success. Jazzers, we’d love to hear from any of you vacating in Croatia for the Festival.

“Trad Jazz Britannia” – Rescheduled by BBC!

I am impelled to quote from an email which I received over the weekend. The writer, a prominent jazzman who, understandably, prefers to remain anonymous, was disappointed to find that the much vaunted BBC FOUR programme “Trad Jazz Britannia” had been rescheduled for 9.00 to 10.00pm on Friday, 24th May:

“Having watched most of last Friday’s BBC4 offering expecting to see something of the much heralded British Traditional Jazz history programme I have since been informed by the BBC that the programme has been rescheduled for this coming Friday. Last Friday’s programme was all about Rock and Roll. One would have thought that since its emergence followed that of traditional jazz in GB, the programmes should have been aired the other way round  –  but no matter. The other programmes mentioned in their email might also interest your readers I’m sure.”

The BBC email reads as follows: Fri 24th May:  BBC4 Trad Jazz Britannia (9pm & 1.40 am) /Jazz 625 -George Lewis & Paramount Jazz Band at Marquee Club (10pm) / Smokey Dives–Trad Jazz in post war Britain (10.40pm)…. Hope you enjoy !!!!

Just Who Introduced Skiffle?
Having read the BBC’s Media Centre introduction to this coming Friday’s BBC programme, I’m not at all sure that jazzers will find it very satisfactory let alone accurate. After all, was it Chris Barber, Lonnie Donegan or Ken Colyer who first introduced Skiffle?

Nevertheless, the programme could be worth the time and Jazz&Jazz would appreciate receiving Jazzers’ comments on the content.

Visit The BBC Media Centre for the Programme Information.

In Honour of Ron McKay, “A wonderful drummer and a lovely man.”

No sooner had Martin Bennett broken
the sad news about Ron McKay’s passing on 3rd May than Jazzers buzzed with tributes to his enormous contribution to British Jazz.

Despite his huge stage presence and popularity, Ron was a very private man and his wife Val honoured his wishes for a private funeral.

Trefor Williams, his partner in arms for many years with Max Colllie’s and Phil Mason’s bands has contributed this wonderful tribute to Ron for Jazz&Jazz.

 Remembering Ron McKay


Yet Another Departed Giant of British Jazz


Ron McKay was one of the giants of British jazz. I am so fortunate to have spent around 25 years alongside him. He was like a father to me and taught me so much.

As a boy, I looked to my father for guidance and approval. As a musician, I looked to Ron. I remember the first time I met and worked with him. It was the summer of 1972 at what was Flanagan’s pub, opposite Putney railway station, with Max Collie’s Rhythm Aces. I was immediately sparked by his powerful driving drumming, underpinning the band, together with an exciting, sizzling cymbal sound.

Working with Ron was always an education in solid swinging teamwork. The icing on the cake was his dynamic vocals. He could sing a sensitive melody with perfect timing and phrasing, shout a dramatic blues with the best of them and set us all alight with his swinging and stomping scat singing. When he put his chewing gum on his hi-hat you knew you were in for a lug hole treat.

Always straight and honest as a performer and never pretentious, Ron McKay has left his mark indelibly on the world. He was always a very private man, but he was dearly loved by all who met him.

God bless you, Ron, my old mate, and blessings to Val and all the family.

Trefor Williams

 

Others too have been glowing in their tributes to Ron:

“So sad but now that band on the other side has a great drummer …. Tina Turner sang a song about Ron …….. Simply The Best!!!! … R.I.P. . Ron” Jim Appleton

“Very sorry to hear of Ron McKay’s passing. He was a good friend and great Jazz-lover. We will miss him. Condolences to his wife from all of us – from the Band and myself.” Chris Barber

“In memory of Ron, one of his all-time his favourite recordings was Fats Waller and His Buddies playing “The Minor Drag” in 1929. I always thought it a little strange that this favourite of his doesn’t have drums, but of course like Ron’s drumming the rhythm is super.” Taff Lloyd

“Ron was a great jazzer and human being. I first saw him with the Cy Laurie Band, then Acker (Heady days) and with Max Collie. His drive, singing and humour, on or off the stage were Ne Plus Ultra. Ron, you will be missed. R.I.P.” Christopher Mitchell

“Very sad news indeed – a wonderful drummer and a lovely man. Saw him many times with Phil’s band. He always had time for us punters, told us many great stories – my husband always wanted to write them down.” Maggie Peplow

“Ron attended many times at the Femoe Jazz Festival and the Riverside Jazz Club in Denmark, with Phil´s band – a great drummer.” John Olsen

“The first time I went to the Isle of Bute festival Martin Bennett arranged for me to get a lift up in the Phil Mason band bus and Mike Murtagh said we were stopping on the way in Manchester to pick up Ron and Val. We went in for a cup of tea 3am and all around the walls downstairs were pictures of Uncle Ron (as I called him) with so many great New Orleans musos he had sat in with. He was so matter of fact, never a word of brashness about him. The only time time he got close was when he spoke of his fights with some on stage trying to beat the crap out of Acker. That must of been a picture. Gonna miss ya Uncle Ron. RIP XX” Norman Grodentz

“Although absent from the jazz scene for the past few years, due to illness, the spirit of Ron McKay lives on in the memory of those of us lucky enough to have sat in front of a band propelled by an unsung hero of British jazz and a real king of percussion. Thank you for the music and the inspiration Ron” John Petters

What better way to close this tribute to Ron than by featuring some rare footage of him in action on drums and vocals with Max Collie’s Rhythm Aces:

The Light from the Lighthouse

 Cheek to Cheek

 

Colin Kingwell’s Jazz Bandits Head for The Peartree, Welwyn Garden City

Jazz at The Peartree – Third Monday Monthly

Not to be missed!

This coming Monday, 20th May, The Peartree Jazz Club,
The Peartree, Hollybush Lane, Welwyn Garden City, AL7 4JJ, welcomes

Colin Kingwell’s Jazz Bandits

Great Jazz from 8.30 till 11.00 pm

Members £7 • Non-Members £8

Arrive early and enjoy a meal before the show!

Contact Smiffy 01707 880569
email: [email protected]

Introducing The Jubilee Jazz Band from Jávea, Spain

The Jubilee Jazz Band

“The coastal jewel of Jávea is bookended by rocky headlands and is a prime example of old world meets modern energy. The “old town” district is filled with remains of walls built to keep out pirates, as well as a 14th-century church. Visit the beautiful white-sand Arenal beach, brimming with shops, restaurants and, in the summer, hopping beachside bars and nightclubs.” (tripadviser.co.uk)

Sounds idyllic as does the authentic six-piece vintage Jubilee Jazz Band which hails from Jávea and has been introduced to Jazz&Jazz by their trumpet player and webmaster,
Mike Summers.

Jubilee play “a lot of the early New Orleans & Chicago repertoire (1910-1930) including marches, blues and rags, but also plays some slightly later jazz too, including songs by George Gerschwin, Walter Donaldson, Fats Waller and Duke Ellington.”

So Jávea may be the ideal location for jazz fans planning a trip to Spain. You can explore The Jubilee Band’s website to meet the band and discover where and when they are playing in Jávea and nearby Pedreguer.

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