Welcome Back to The Peartree, Barry

November 28, 2013 By Leave a Comment

Barry Palser

If you are in the vicinity of, or even within reasonable reach of Welwyn Garden City next Monday, 2nd December, make a point of joining us at The Peartree Jazz Club. Be there by 8.30pm prompt for an evening of brilliant jazz with Barry Palser’s Savoy Jazz Band.

“Barry Palser is a fine, punchy trombonist who believes that entertainment is a critical factor in jazz and is prepared to back his belief with action.”

This is your chance to join the action. Don’t miss it!

Peartree Jazz Club

The Peartree, Hollybush Lane,
Welwyn Garden City, Herts, AL7 4JJ
Admission £8 • Members £7
Brian Smith (“Smiffy”) Jazz Promotions
Tel: 01707 880569 • Email: [email protected]
www.facebook.com/peartreejazz.club

Best Jazz in Town! Live!

Join the Club!

(Photos © Peter M Butler, Jazz&Jazz)

Filed Under: Jazz Events

BBC Jazz Club, 1960. Just Reminiscing!

November 24, 2013 By 13 Comments

It’s my birthday today! Or, to be more precise, by the time you read this it will have been my birthday today. This time last year I gave my age away but this time this year that’s taboo!

One of my closest friends back in the 1950s/1960s era emigrated to Australia in 1968. Before that, along with our other chums, we spent hours together doing what teenagers did back then. Partying, pub crawling, club crawling, Young Conservatives crawling! Saturday nights started out at The Miramar Hotel in Beltinge, where Alfie challenged us to the “double or nothing” chance of free entry, and ended up either at The Marie Celeste Night Club in Herne Bay or at Sarre Court Country Club – all in East Kent.

Jazz Too!
Jazz too played large in the picture. I remember especially one late night party thrown by Bertie in his grand old Georgian Terrace house on Herne Bay sea front. Two jazz hits played over and over again that night still haunt me – Miles Davis’s “Lift To The Scaffold” and Lonnie Donegan’s “Seven Golden Daffodils”.

That too was the era of Acker’s “Stranger on the Shore” and Kenny’s “Midnight in Moscow” – bringing back, dare I say it, memories of my first “real” girlfriend. Sammy Rimington did the East Kent Jazz Circuit in those days and still does so this day, touring with his International Jazz Band’s Autumn tours. But his was and still is pure New Orleans Revivalist Jazz dating back to the era of his mentor, the legendary George Lewis.

But getting back to my “emigrated to Aussie” Chum, Roger and I stay in touch and I was delighted when he visited us for a very pleasant afternoon a couple of years ago. And again this Autumn when I got together with him during his latest visit to the UK.

Where is The BBC Today?
What’s the point of these reminiscences? Just that recently he emailed me a wonderful YouTube bringing memories of those days flooding back. So much so that I  couldn’t  resist sharing it with you all on Jazz&Jazz. And note it’s title, BBC Jazz Club, 1960. To view it, hit http://www.youtube.com/watch?v=bKbi2OCAHvQ

So just where is the media –  BBCand ITV included –  today when it comes to jazz? I’ll get back to that very soon.

Meanwhile I couldn’t resist signing off my **birthday with this catchy, highly pertinent blues number a friend in LA just sent me: “Weary Blues”: http://youtu.be/aOWz3-QXY6M

Jessie Fuller starred on BBC Jazz Club back then!

Filed Under: Jazz Events

Over in the Gloryland

November 20, 2013 By Leave a Comment

Sammy Rimington, Frederic John and Keith Minter, performing in a concert of hymns and spirituals at The United Reform Church, Folkestone, Kent (Photo © Peter M Butler, Jazz&Jazz, 2009)

Hymns and Spirituals form a considerable part of the jazz repertoire. It goes back to the times of slavery, especially in the Southern States of the USA, including the Louisiana plantations. Christianity proved a major respite for black slave workers and their families. Sabbath church assemblies not only helped lift them from their drudgery but also provided an opportunity for entire families to relax and fellowship.

“We discovered the history of the slave songs and African rhythms, the spirituals and folk songs, ragtime, the blues, church music and dance music. These were all important contributors to the mix that emerged in the early 20th Century as jazz.” (God, Church and All That Jazz)

This was especially so in Louisiana and New Orleans where the early jazz musicians found inspiration in church music and either adapted hymns and spirituals for their bands or composed their own numbers. Perhaps this is why, for the most part, those early musicians were so smartly attired. The music lifted them above slave status enabling them to forgo slave rags for their glad rags and appear on stage or at their gigs in “the white man’s” attire. And the more popular jazz became, the more they could proudly claim their place in society.

Duke Ellington

Sadly, during the era of UK and European “traditional jazz”, this dress code went by the board. Bands and musicians switched to more easy going, individualist fashions, if they could be called fashions! Duke Ellington would not have been pleased.

But to this day, hymns and spirituals remain a core influence on jazz with numbers such as “Over in the Gloryland”, “The Old Rugged Cross”,  “Down by the Riverside” and “Does Jesus Care” regularly performed at jazz festivals and clubs and sometimes at jazz concerts in churches.

Jazz: A Theology of Different Tones

 

No wonder, then, that I was especially drawn to an article entitled “Jazz: A Theology of Different Tones”, sent to me by a good friend and jazz fan in Monrovia, LA.

Here are a few extracts from the article:

Wynton Marsalis (Courtesy Fanpix.net)

“Jazz, like other art expressions, offers a theology of differing tones, a language of sophisticated splendour and complexity; a source of varied contemplation. Jazz is music the church should take greater notice of, giving audience and emphasis to its musical-theologians, those that play with great skill, humanity, and inspiration, a gift given to them by the Master of Creativity.”

“So what is it about jazz that is intriguing, particularly from a Christian standpoint? What makes jazz an art form of beauty and

cerebral gymnastics, pointing to the intricate nature of God? These are hard questions to answer. Many have written about the theology, influence, and ideology found within Jazz.”

Thelonious Monk (Courtesy eil.com)

“What’s interesting to note is that many Christians have taken a keen interest inJazz, a once taboo form of music for the church. Even many of the composers, be it Duke Ellington, Dave Brubeck, John Coltrane, Thelonious Monk, Eric Dolphy, or Wynton Marsalis, have integrated Christian themes within their music.”

“Anabaptist theologian, James McClendon writes, ‘It is jazz with its partner the bluesthat constitutes a distinctly American music, thereby offering American culture (and increasingly, world culture) a fresh art.’ McClendon goes on to summarise the interchange of jazz and worship as, “Participation, improvisation, cooperation, recognition, inclusion.”

“Dutch theologian and historian, Hans Rookmaaker, asks a question concerning the importance of jazz: “Why did we [the church] reject…jazz years ago, without ever bothering to listen and ask ourselves whether it might help rejuvenate Christian music?”

You can read the full article online at: ASSIST News Service (ANS)

Jazz: Sinful or Spiritual?

Next I read in an article entitled: Jazz: Sinful or Spiritual? by David Arivett.

“A careful study of the history of jazz reveals many moments where jazz music has become a very expressive and powerful vehicle that points to a spiritual dimension in life. Whether it’s been jazz funerals in New Orleans, Duke Ellington’s beautiful sacred jazz compositions, or John Coltrane’s “A Love Supreme”,  jazz music has been created and played for spiritual purposes. In fact, many of its musicians and fans understand both jazz and improvisation to be of a spiritual nature.  Dizzy Gillepsie once shared that…”the church had a deep significance for me musically…I first learned there how music could transport people spiritually”. Many of those considered founding fathers of jazz music from New Orleans, King Oliver, Jelly Roll Morton, and Louis Armstrong were all brought up in church and church music played a very important roll in their musical development. The Negro spirituals also played a most important role in the birth of the music we today call “jazz”.” (http://songsofdavid.com/JazzSinfulOrSpiritual.htm)

“Jazz: A Theology of Different Tones” also quoted The Reverend Alan Kershaw’s poignant statement, “ …jazz played with feeling and inspiration seems to me more truly an act of worship than singing some of the religious songs I learned back in Sunday School…life is so big and wide and deep that you just have to go beyond what’s superficial, and banal, and what’s phony. Faith rises above the streets, above the slime and the suffering men, to the source of goodness Himself. In this sense, jazz becomes a glorious anthem of praise”.

Jazz in Caistor Church

Caistor Church in Norfolk periodically hosts jazz concerts and is currently announcing:
“Following another successful concert, we hope to bring New Orlean’s Heat back to Caistor in 2014.”

New Orleans Heat (here seen at The Peartree Jazz Club, Welwyn Garden City) are a popular band at jazz weekends at Hemsby, Caistor’s neighbouring village, and have recently released a new CD featuring hymns and spirituals appropriately named “Over in the Gloryland”. (Photo © Peter M Butler, Jazz&Jazz)

Filed Under: Features

Clare Teal Releases “Jing, Jing-a-Ling”!

November 16, 2013 By Leave a Comment

I was delighted to receive a surprise seasonal package in the post just the other day – Clare Teal’s latest CD, “Jing, Jing-a-Ling”.

Accepted by many as the UK’s finest jazz singer and twice voted British Jazz Singer of the year, “Jing, Jing-a-Ling” is Clare’s first Christmas album and her twelfth album overall.

“It’s a twinkling Christmas offering with something for everyone. Clare and the band have excelled themselves with this sparkling mix of old chestnuts, unearthed treasures and Yuletide originals guaranteed to get you into the holiday spirit.

“Songs include the joyously catchy ‘Jing, Jing-a-ling’, the divine and long forgotten ‘December’ here given a beautiful Latin twist, ‘The Twelve Days of Christmas’ as you’ve never heard it before plus three brand new Teal Field originals – ‘Skating On Thin Ice’, ‘The Feeling’s Right’ and the stunning ‘A Little Whisky’ – a cosier fireside ballad you’d struggle to find.” (Manilla Public Relations)

More about Clare
• Our very own Queen of Swing celebrates the music of her heroines, the leading lights of the jazz and big band world Ella Fitzgerald, Peggy Lee, Judy Garland, Doris Day and many of their illustrious contemporaries.

• The multi award winning singer and BBC Radio 2 broadcaster demonstrates also the influence these characters have had on her own acclaimed catalogue of work.

• Known for her knowledge and love of the Great American Songbook and more recently The Great British Songbook.

“Clare Teal us the only singer around with the kind of touching, humorous tone, jaunty and effortless phraseology to get anywhere near the might that was Ella Fitgerald” – Jazzwise

“Wonderful. Worth raving about” – Sir Michael Parkinson

“Please go out and buy Clare Teal’s record!” – Michael Bublé

“The new first lady of Jazz” – Independent

 To sample tracts from “Jing, Jing-a-ling” and to order your CD visit: http://clareteal.bandcamp.com

You can find out more about Clare on her website: http://www.clareteal.co.uk

Filed Under: Jazz Events

Yoshio Toyama and His Japanese Big Bands

November 16, 2013 By Leave a Comment

Jazz is big in Japan and at Sammy Rimington’s recent UK Tour gig in Chilham, Kent, I was delighted when he welcomed onto the stage to play alongside him, his close and longstanding Japanese friend, Yoshio Toyama and his wife Keiko. 

Bonds of Friendship! Sammy Rimington with Yoshio Toyama

Soon afterwards I contacted Yoshio and sent him the link to my Jazz&Jazz post
featuring the Chilham concert. 

 So I was even more delighted when Yoshio replied:

Dear Peter,

We are glad to being Facebook friends with you already. My wife and I are Pops and New Orleans music fans! We lived in New Orleans from 1968 until 1973 and learned jazz.

My first interest was in Louis Armstrong and His Hot 5 and 7. Later I dug Bunk Johnson  and other great New Orleans trumpeters.

Usually I play Louis All Stars type music, I like Louis’ big band style also. Click here for a YouTube of my performance of Louis Armstrong’s “Chinatown my Chinatown” with Vince Giordano and The Night Hawks at Sofia’s on Broadway. It harks back to that fantastic 1920s to 30s Big Band Sound and we were swinging hard! 

Other YouTubes that might interest Jazz&Jazz followers include performances of original Louis Armstrong chart numbers by The Yoshio Toyama Big Band and The Yoshio Toyama Plays Louis Armstrong Big Band: 

Very best wishes
Yoshio Toyama

KeikoToyama

Louisiana’s Times Picayune Newspaper ran an article entitled “Heart to Heart Through Jazz” featuring Yoshio and Keiko during their times spent in New Orleans. The article is no longer available online but Yoshio always welcomes opportunities to repay the Crescent City “who welcomed us and taught us 45 years ago”.

Yoshio also referred us to “From Tragedy to Triumph: The Musical Bridge Between New Orleans and Japan, highlighting a cultural exchange of music in the face of disaster.”  

It’s great to be able to feature Keiko, yourself, and New Orleans Jazz, Japanese style, on Jazz&Jazz, Yoshio. Thank you so much.
Peter Butler, Owner and Editor, Jazz&Jazz

Photos © Peter M Butler, Jazz&Jazz

Filed Under: Jazz Events

Jazz New Orleans Style in Welwyn Garden City with Brian Carrick’s Algiers Stompers

November 14, 2013 By Leave a Comment

If you love real jazz, original jazz from The Crescent City, New Orleans Revivalist Jazz, then
get on down to The Peartree Jazz Club, Welwyn Garden City, this coming
Monday, 18th November. Be on time, the show starts at 8.30pm sharp.

Come to that, if you’ve never experienced real jazz, all the more reason to come along. You’ll love it! You’ll get hooked! You might even be tempted to join The Peartree Jazz Club. We’d love that!

 We look forward to seeing you there and making you most welcome! Trust us, it’s great entertainment, a brilliant night out – and all for just £8! Or £7 if you join the club!

Filed Under: Jazz Events

Hot, Hot, Hot with New Orleans Heat

November 12, 2013 By 2 Comments

New Orleans Heat at The Peartree

Thermostatic control went wild at The Peartree Jazz Club on Monday, 21st October, when New Orleans Heat took Welwyn Garden City fans to new heights on the Jazz Richter Scale.

Band Leader Barry Grummett describes New Orleans Heat as “a band playing the old style New Orleans jazz, recreating the music of the crescent city, be it a stomp, blues, hymn, spiritual or pop song of the day. In the style of the late great, Bunk Johnson, George Lewis and Kid Thomas bands, our motto is “helping to keep the real jazz alive”.

As ever with this phenomenally entertaining band, Jazz&Jazz photos best tell the story of an evening Peartree Fans are not likely to forget in a hurry.

And for full impact, view “Movie Time at The Peartree  Featuring New Orleans Heat”.

Mike Taylor on Trombone, Gwyn Lewis on Flugelhorn

 

 

 

 

 

 

 

 

 

Malc Murphy on Drums, John Scantelbury on Clarinet

 

 

 

 

 

 

 

 

 

 

 

 

 

Tony Peatman on Banjo, Barry Grummett (Leader) on Keyboard    

 

 

 

 

Harry Slater on Bass

John Scantelbury on Saxophone

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Photos © Peter M Butler, Jazz&Jazz

Filed Under: Jazz Events

Penn Pengelly – “A great guy who will be sorely missed”

November 7, 2013 By 13 Comments

I received a telephone call last Monday, 4th November, informing me that Penn had been involved in a fatal accident. I emailed Pete Lay who confirmed the tragic news. I didn’t feel it was my place to prematurely report the news on Jazz&Jazz but now that Fred Burnett has included it on Jazz North West I want to pay my own personal tribute to Penn.

But first here is how Jazz North West reported the tragedy:

“04/11/13 – I’ve received news from several sources now that Pen Pengelly, part of “Jimbo & Penn” who managed the Stage Equipment for many New Orleans jazz weekends, was involved in a fatal accident on the 28th October.  “I understand that Jean Pengelly survived with broken ribs and is now in Taunton Hospital”, Tony Talk told me, “He featured mostly on the New Orleans Jazz weekends organised by John Long and the KC Trust at Sandbay/Hemsby – as was. Jimbo is the “Grand Marshal” for the Brolly Parades; together, they did the Stage changes & Audio etc. He was at Alvaston Hall ……but those guys tend to be invisible”!  Dennis Whitehead said, “He also played the e flat clarinet  sitting in with many bands everywhere? he was very well loved by all in the jazz world, a fierce Cornishman who did so much in the jazz scene. He would be very well known by any of your readers who go to Upton, Hemsby, Bude, or many other venues. He will be missed  as a true friend of jazz and above all a person who we are proud to say we knew”.  “I am afraid it is true – a great guy and will be sorely missed” – Pete Lay.”

My Personal Tribute to Penn
At the Hemsby Autumn Jazz Parade this year, Penn took total control of stage management, lighting and sound in the absence of Grand Marshall Jimbo who was unwell. As always, I chatted to Penn – everyone did. He was on top form and totally unflappable.

So I want to pay my own tribute to Penn by posting here the photo I took of him at the festival playing his beloved e flat clarinet with Brian Carrick’s Algiers Stompers. And I want to dedicate the photo to Jean, wishing her comfort in her recovery.

Peter Mark Butler
Jazz&Jazz 

Since posting this Fred Burnett has updated Jazz North West as follows:

  • 08/11/13 – In the news item on Penn Pengelly on 4th Nov, I quoted from an email that Penn “was involved in a fatal accident yesterday”, but in fact the email arrived with me on the 29th October.  I would not normally report tragedies like this immediately, except at the request of family, so I waited five days before announcing it on the site.  My apologies to those who may have thought I was too quick off the mark.
Filed Under: Jazz Events

Graham Hughes’ Sunshine Kings Jazz Band – Revitalising the Jazz Scene

November 7, 2013 By Leave a Comment

I first saw Graham Hughes at a Fallen Heroes gig in The Barn, Throwley, Kent, back in 2009, and was immediately struck by his vivaciousness on trombone and vocals. Then in March, 2010, good fortune took me to The 100 Club when Graham was trombonist with Barry Martyn and The Young Bloods – an incredibly memorable occasion.

At The Barn, Throwley, with Emile Martyn’s Fallen Heroes, 2009 (Photo © Peter M Butler, Jazz&Jazz) 

At The Barn: A rare sight these days, Graham on sousa with Norman Grodentz (Photo © Peter M Butler, Jazz&Jazz)

Ray Crick featured Graham and his Sunshine Kings Jazz Band in October’s Just Jazz magazine: “Graham was a child of the 70s who grew up in Highgate, getting a grounding in music in the local church choir, then other choirs. At Highgate School he fancied playing the trumpet but “was given a trombone and told to learn that.”

At The 100 Club with Barry Martyn’s Young Bloods, 2010 (Photo © Peter M Butler, Jazz&Jazz).

“When it’s good it’s really good!”
Ray’s profile covers Graham’s exposure to modern jazz whilst at Cambridge University, his introduction to traditional jazz with Allen Beechey’s Jazz Band, the sea change in his intended career in engineering, his one year jazz course at London’s Trinity College of Music, and his life between then and now. “It’s not all fun by any means … but when it’s good it’s really good and I live for those moments.”

Fast forward to 17th October this year when Graham and I crossed paths again at The 100 Club. We were both there for the same reason, to witness The Rich Bennett Band take London’s mecca of jazz by storm. And in Graham’s case, to touch base with Rich, Russ, Dorine & Co, kindred spirits in promoting the purity of jazz and a new generation of UK based New Orleans Revivalist Jazz Bands.

So that’s the key reason for this Jazz&Jazz post, to feature Graham and his Sunshine Kings Jazz Band of “effervescent young jazzmen” – trumpeter Peter Horsfall, clarinetist Duncan Hemstock, Pianist Francesco Marco, guitarist Lawrence Cornes, sousaphone player Paul Tkachenko, drummer Alessandro “Bubu” Cassini – and of course, Band Leader Graham on trombone.

The Sunshine Kings Jazz Band’s Young Guns – LtoR: Adrian Cox, Graham, Sam Ritchie, Francesco Marco, Paul Tkachenko and Alessandro Cassini (Photo courtesy of Graham Hughes)

In situ! (Photo courtesy of Graham Hughes)

All weather band at London Zoo (Photo courtesy of Graham Hughes)

 

 

 

 

 

 

 

 

One of the most exuberant bands in the country

As Ray Crick’s Just Jazz article states: “Still in his thirties, Graham is now among the most accomplished of English trombonists, yet his influence is even greater as an organising catalyst, spreading jazz sunshine through the various bands that he runs. The Sunshine Kings is his traditional New Orleans outfit, which has matured from a rough ‘n’ ready start in 2008 to become one of the most entertaining and exuberant bands in the country.”

Thank you, Graham, for permitting me to post this feature on yourself and The Sunshine Kings Jazz Band on Jazz&Jazz. Long may you flourish!

If you are on Facebook, click here to visit The Sunshine Kings Jazz Band site.

Peter Mark Butler
Editor & Proprietor of Jazz&Jazz

Filed Under: Jazz Bands

Fabulous Siesta Time Jazz in the Sun

November 3, 2013 By 1 Comment

Back in August, Just Jazz Magazine ran an article entitled “Jazz in the Sun” by Syd Appleton featuring “All That Jazz”, a Spanish based band of UK ex-patriots plus their Spanish pianist, who bring siesta time jazz to appreciative locals and holiday makers in Torrevieja, Spain. Courtesy of Just Jazz, following is a synopsis of Syd’s upbeat insights into
Siesta Time Jazz in the Sun.

Jeff Hull (bass) and Enrique Simon (piano)

After six years of searching Spanish property websites my good lady and myself took the plunge last Autumn (2012) and bought a little bungalow in Torrevieja (pronounced Torri-vee-ecka) just a 45 minute drive south of Alicante on The Costa Blanca.

Property prices had been steadily declining in the years we’d been searching and at the time the exchange rate of euros to the pound was excellent so it seemed the right time to buy. Our place is about 2km from the many beaches but we were told that there was also a local pay and swim facility just a few minutes walk away with a restaurant and bar.

The Marina Bar Stars “All That Jazz”

John Hutchins

So I wandered round there one morning to check it out and discovered The Marina Bar. Outside I was pleasantly surprised to see a sign heralding “All That Jazz”, a band of ex pats bar one – their Spanish pianist – who perform every Tuesday afternoon for the locals during siesta time.

The sessions are year round except for the month of August, presumably because during school holidays the place is packed with families and children. So every August the band get the opportunity to get back to England for some British sun!

Where Jazz Goes From Strength to Strength

Liverpudlians Dave and Rita Monaghan are the owners of the Marina and with the help of their friendly and very capable staff have made it a must for jazz and non jazz lovers alike. In the four years they’ve promoted jazz there it’s gone from strength to strength. Admission is free and the band play to audiences of between 80 and 120 customers.

Peter Emuus

Mike Hutchings

There is a two course lunch which costs around eight euros with a choice of five main courses and four desserts – I generally go for the home made steak and ale pie and apple crumble). A pint costs 2.20 euros, less than two quid, and spirits and wine are very reasonably priced. All in all great value for the delights on offer. I was lucky to get in the last time I was there as it was sold out so it’s best to book a table in advance – details at the bottom of this article.

There is a raffle in support of the band (remember admission is free), usually about 10 prizes, organised by their good friend Marion.

Roy Hubbard

Enrique Simon

 

Recapturing Bygone Eras

There are many excellent jazz players living either permanently or semi-permanently in the Southern Costa Blanca but very few have the ability, knowledge or inclination to play in the style started by the Original Dixieland Jass Band circa 1917, followed by Louis Armstrong and Fats Waller in the 1920s, right through to the English bands of the 1950s and modern times. We lost Kenny Ball in March, 2013, leaving Acker Bilk, Chris Barber and a springing of other names from our youth.

“All That Jazz” are fortunate to have clarinetist Roy Hubbard whose knowledge and experience of the original tunes is second to none. Their style of music may no longer be in vogue but what other types of music can have people of all ages dancing to the beat – from two year olds to eighty two year olds.

Such was the case in 2008 when the band were invited to give a concert to a wider audiencce in the San Fulgencio Theatre. The concert was a sell out and the highlight of the season. Then in 2011, “All That Jazz” gigged to another full house with the “Natural Gas Jazz Band” visiting from California in the Teatro in Torrevieja.

The music has a vibrancy which harks back to the Speakeasies, gambling dens and bordellos of the USA in the earlier part of the 20th century.

“All That Jazz” Line Up

Getting back down to earth, “All That Jazz”  are a band of friends making an impact on Torrevieja locals and holiday makers alike with their music . Everyone has something to give and with their mixture of New Orleans, Trad and Dixieland – the name “All That Jazz” came naturally.

But they are without a regular trumpet lead – “not too many around” according to bandleader and trombonist John Hutchings. So they have a superb soprano sax lead which, in my opinion, works really well.

The regular line up is:

John Hutchings trombone and band leader: John first went to a jazz club in Torquay and took up trumpet aged 28. From 1982 he played with AJ’s Big Band in South West England and a Dixieland band run by clarinetist Ron Ginger. Later on he took over the band, then called the “City Steam Band”. He also led a Traditional Jazz Quarter, “Jazz Bag”, for 15 years. He has also supported top stars including Kenny Ball, Acker Bilk, Humphrey Littleton and George Melly.

Mike Hutchings soprano and alto sax: Mike was just 15 when he began playing clarinet. He went on to play flute and tenor saxophone. In his early twenties he played with numerous bands around the UK – trad jazz bands, big bands plus pop, rock and cabaret groups. He recorded for the BBC at their Maida Vale, London, studios, broadcast live on BBC Radio’s “Jazz Club” and was in demand for numerous commercial recording sessions. Ten years a professional took him all over Europe until he settled in South Africa where he added alto sax to his repertoire and spent 20 years in demand for TV, theatre, radio and recording sessions, often as musical director. He also wrote and arranged for a 16-piece Big Band.

Roy Hubbard with Syd Appleton

Roy Hubbard clarinet:  Roy played with Birmingham based Zenith Hot Stompers for 36 years until 2004 during which time the band played gigs all over the UK, including all the popular jazz festivals. They also toured France, Germany, Holland, Belgium, Switzerland, Sweden and Finland, plus California’s Sacramento Jazz Festival. Stars who guested and/or recorded with the band included Wild Bill Davison, Humphrey Littleton, Chris Barber, Wally Fawkes and Pat Halcox.  Roy also ran his own “Hotshots” and “New Delta Jazzmen” and Kenny Ball, John Barnes, Roy Williams, George Chisholm, Digby Fairweather, Monty Sunshine, Fred Hunt were amongst those who showcased with his bands.

Peter Emuss drums: Peter took up drums aged 14 and after three years at sea with the Merchant Navy he returned to London to play as a professional musician gigging around town with the likes of Diz Disley, Manfred Mann, Monty Sunshine and Al Fairweather. He drummed for Owen Bryce, Mick Mulligan, George Melly, Ken Sims and Long John Baldry. Pete spent ten years touring Europe with German and Dutch jazz and dance bands. Upon retiring to Torrevieja he joined “All That Jazz” to get back to his roots.

Geoff Hull bass: Geoff has been playing since the early 1950s. In 1960 he joined the Cambridge based Riverside Jazz Band with Andy Cooper. Later he joined Graham Dalley’s Dozen, broadcasting regularly on the BBC and starring at summer seasons on the Isle of Man, backing Matt Monroe, Frank Ifield, The Batchelors, Val Doonican and Helen Shapiro. Next came a season on cruise ships in the early 1970s following which he toured with the original production of “Joseph and the Technicolour Dreamcoat” starring Jess Conrad. Then back to the West End to play with Bob Miller’s, Tony Evans’ and Ray Ellington’s bands before joining the Nolan Sister’s backing band. In the ’80s Geoff’s focus shifted to Midland jazz bands before joining the Pete Allen Jazz Band and the Rascals of Rhythm in the 1990s. He moved to Spain in 2004 and joined “All That Jazz” in 2008.

Enrique Simon piano: Lacking a UK pianist in Torrevieja “All That Jazz” was honoured to welcome Enrique as their resident “honky tonk” man. But that description hardly does him justice! Born in Madrid in 1975, he studied classical piano along with jazz and modern harmony in the Instituto de Musica y Tecnologia de Madrid (I.M.T.) with Juan Mendez. He moved on to complete his jazz basics in Argentina at the Escuela de Música Contemporanea de Buenos Aires with Master Ernesto Jodos. He has received masterclasses from pianists like Juraj Stanik (Holland) and Fabio Miano (Italy/Canada) and has been sideman for numerous virtuosos including Jordi Vilá, Amadeu Adeli , Richie Ferrer and Paul Evans. Enrique has also published two albums in Argentina and his latest works are with Sphere Jazz Trio, Chema Penalver New Orleans Jazz Band and South  American Journey. He is a member of Don Mathe’s and the Miller Men Big Band and the English Dixieland band All That Jazz. He also plays for cruises and hotels. In 2010 Enrique arranged and orchestrated “Peregrinos de la vida” by composer Manuel Mira (1895-1948). As Musical Director his most significant project was the musical-dance spectacle “Del Ganges al Guadalguivir”.

So although Spanish, is Enrique qualified to play with a band of English ex-pats in Spain? You’d better believe it!

Well Worth a Detour

With a line up like that, England’s loss is Spain’s gain!

So, if ever you are holidaying on the Costa Blanca, Torrevieja is just a 45 minute drive from Alicante, so well worth the detour to see and hear top rate  jazz while soaking up the Spanish sunshine. Just phone Dave to book your table. Tell him Syd from the Kenny Ball Band recommended The Marina Bar. You’ll be in for a treat. If you are a muso and happen to travel with your instrument, have a word with trombonist John and he’ll likely sit in on a couple of numbers.

The band’s website is www.allthatjazz.talkspot.com.
Their email address is: [email protected]

To book a table at The Marina call Dave or Rita on 0034 966707820.

The Marina Bar is on Facebook as Marina Bar Torrevieja Spain.

Syd Appleton
Roadie to The Greats


Filed Under: Features, Jazz Events
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