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Birmingham Jazz Alive & Well

Eddie, me and my friends used to go regularly to the Jazz Club (Studio 1) at the Golden Cross in Aston around 1958/59. I wonder if The Johnnhy Beck Six, and you, would have been playing at the time? We also went to the Cha Cha Club (Americano) which was held there on other nights. Went there every week and loved it. I briefly went out with a boy who managed the cloakroom at that time! Here's my club card - sorry I couldn't enlarge it but just click on it.

Judy

Golden Cross 2.jpg
 
There were three official "Sacred Concerts" by Duke. Two in America, one, the final one, at Westminster Abbey around 1973/74. I remembered the recording because the final section was called "Come Sunday" and featured a wonderful solo on Alto by Johnny Hodges so presumably he did a "warm -up" concert at Coventry |Cathedral. You also mentioned top musicians, mainly from the Ted Heath Band. Remember them all. Particularly, Danny Moss. A great favourite of mine who played with Humph for a time when Humph moved away from Trad. I also saw Kathy Stobart and Ian Mackenzie play as "subs" on Occasion for the Ron Russell Dixieland style band. It's usually only the fans who stick rigidly to one style of Jazz
 
Hi Judy
Reading your threads about the golden cross you would have known and seen my old man as he worked there from the age of 14 years
And ran it for donkeys years he was head bar man and he sorted the trouble makers out he was a big bloke and stood for no messing
He also done the reliefs of all the pubs on and around the golden cross and he ran the billiard Hall bar as well
His name was bill with dark hair he ran it for the Dodds family.y for and previous gathers
Sadley he died on today's date march 28 the 1958 it was a good Friday I was 12 years old
He also worked at a place called Charles Harris on the lodge road for many years he was a bake light moulder
And our dear friend Sylvia on this forum also knew him and she told me how bad the conditions was and how small and and how black filled smoke it was
No wonder he died with black lungs they had a collection for him at Charles Harriss
Best wishes Alan, Astonian,,,,,,
 
Jayell said:
Eddie, me and my friends used to go regularly to the Jazz Club (Studio 1) at the Golden Cross in Aston around 1958/59. I wonder if The Johnnhy Beck Six, and you, would have been playing at the time?
Judy
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No Judy. We all went our different ways , early 1958, so would possibly have missed you. Pianist to the U.S.A, tenor player ran off with Susan Maugham, Alto player to the Isle of Wight, Trumpet player died young, and I was off all over the world. It was a shame, because it was a very good modern jazz group, but that's life.

By the way, I have been trying to put the photo of the original 45 rpm record of Earl Bostics 'Flamingo' on this posting for you, but seem to have been having problems. Will try again over the weekend.

Eddie
 
Our Kid said:
There were three official "Sacred Concerts" by Duke. Two in America, one, the final one, at Westminster Abbey around 1973/74. I remembered the recording because the final section was called "Come Sunday" and featured a wonderful solo on Alto by Johnny Hodges so presumably he did a "warm -up" concert at Coventry |Cathedral.
Click to expand...

Yes, Our Kid; Ellington did definitely play Coventry Cathedral. I can still see the band on stage, in my mind. Musicians everywhere, and the afternoon rehearsing, whilst I was there. I might be a bit out on my dates, it was maybe a little earlier. Hard to remember. I was 'ducking & diving' all over the place in those days!! Still am, I think?

Eddie
 
You were a lucky chap. Around that period,thousands, maybe millions all over the world would have envied you. Good memories eh
 
I'm sorry to hear that your Dad died young Alan. Today must bring back memories. I never went into the downstairs bar at the Golden Cross, only went in the Clubs upstairs. It was a long time ago and I probably wouldn't remember your Dad but probably would have seen him as I was in there a couple of times a week.
Judy
 
Unfortunately I must have missed seeing you then Eddie! Sounds as if you have had a very interesting life over the years. I look forward to the posting of the 45 rpm cover of Flamingo!

Judy
 
norfolk brummie said:
No Judy. We all went our different ways , early 1958, so would possibly have missed you. Pianist to the U.S.A, tenor player ran off with Susan Maugham, Alto player to the Isle of Wight, Trumpet player died young, and I was off all over the world. It was a shame, because it was a very good modern jazz group, but that's life.

By the way, I have been trying to put the photo of the original 45 rpm record of Earl Bostics 'Flamingo' on this posting for you, but seem to have been having problems. Will try again over the weekend.

Eddie
Click to expand...

https://www.youtube.com/watch?v=lcxBLiKpRm0
 
Yes, I know the subject of this Thread is billed as Birmingham Jazz, but I've just returned from Jazz-a-matazz at the Westwood Club in Coventry - a frequent destination each Sunday lunchtime - with a warm, contented glow lit by two hours of musical excellence provided by Richard Exhall and his Shooting Stars, who have been periodic visitors to Sutton Coldfield Trad Jazz Club.
And, while claiming no technical know-how, expertise or judgement I would say that this band of superb musicians could grace any stage in the world before any appropriate audience and charm them just as they charmed our small gathering of jazz/swing lovers.
Exhall, a Chris Barber Big Band reeds man for many years, is able to call on colleagues with a similar pedigree, including Amy Roberts, one of the UK's finest, younger soloists as a guest star. Amy, in her mid-twenties, has been among the British Jazz Rising Stars awards, on the flute, on two or three occasions, and plays as pure-toned an alto sax as you'll hear anywhere.
Exhall, on tenor, started off Crazy About my Baby, followed up with If I had You and later concluded the first set with Nobody's Sweetheart Now, vocally a complicated love life... especially as the band added a dreamy, sauntering version of I'm Confessin' that I love you, and I'm gonna sit right down and write myself a letter.
My personal highlight was his rendering of the Nat King Cole mega-hit Mona Lisa, in which Amy displayed her hair-on-the-back-of-the-neck alto sound. This talented young woman switches with ease from alto sax to flute with which she twiddled her nimble figures around such standards as Bye, Bye Blackbird and Louis Armstrong favourite Struttin' with some Barbecue.
Along the way they spread their wings into different genres including a spot of R&B with Louis Jordan's Choo, Choo Ch'boogie and, strangely, an Elvis Presley vocal, the title of which I've forgotten since he was never on my personal radar.
I could go on, and on but I'll conclude by saying that I've enjoyed lots of gigs just as much over the years, but I'm not sure there have been many better.
 
I think my old, now passed on, friend Colin Willetts played piano and vibes there. John Crump Parker. Co USA
 
You are certainly getting around, Shawcross:

I think we should reinstate you with a Birmingham news sheet. This time as the music critic, and reviewer. Salary (negotiable), expenses, car, pension, and life insurance all part of the deal!! Less hectic than running around football terraces. Just sit there, a nice meal, good pint, and your notes in front of you. What more could a jazz critic/review man want?

One thing is for sure. Your postings are far more intelligent/readable than some of the musical write ups I see in todays papers.

Another great review.

Eddie
 
You're far too kind Eddie....but anyway I accept....when do I start? You can decide the salary...a bottle of decent red wine should do it....!!!! No I'll change that...the approval of a pro will do me fine...
 
The Walmley Club's Jazz with Wide Horizons
Kevin Grenfell and his Jazz Giants set off the April programme of Wednesday night jazz gigs, (presented by Sutton Coldfield Trad Jazz Club at the Walmley Club), with the anticipated blend of New Orleans ensemble playing and quality soloists with wider horizons.
From Grenfell's almost uncanny capacity to solo on trumpet and then trombone in the same number, to the keyboard wizardry of Simon Bates, who has been described as one of the best boogie-woogie pianists in the business,to the haunting tenor sax of reeds specialist Matt Palmer, this was an evening for those who relish jazz sans frontieres.
There were certainly no boundaries to the music on offer from the lively band leader who manages to be something of a stand-up comic in addition to switching from trombone to trumpet and back while also throwing in a succession of uniquely delivered vocals. He sounds like no other jazz singer you've ever heard but he cerainly has a way of giving meaning to the phrases of the lyrics.
A browse through his background gives a clue to his seamless switching of sounds...a brass band player as a boy, then military educated as a regular bandsman in the Queen's Hussars, then civvy-street musical college after being smitten with jazz at a Kenny Ball concert, Kevin G has learned the ropes.
Even so, since he added trumpet to trombone only recently, it was impressive to hear his rendition of the Humphrey Lyttleton spine-chiller, Bad Penny Blues. In an entirely different mood Matt Palmer gave the dancers a dreamy interlude with a lovely soprano sax version of Sidney Bechet classic Si Tu Vois Ma Mere, If You See My Mother.Coming up to complete the April programme of Wednesday night live jazz at the Walmley Club is: 8th Mike Lovell's Six in a Bar; 15th Richard Leach's Club House Six; 22nd Chicago Teddy Bears; 29 th Brian Mellor's Jazz Ramblers (Brolly Parade).
Contact: Clive 0121 308 4660.

 
I remember Ralph Sharon from 1948/50, when he often worked for the BBC in jazz programmes. As a very young man, I would listen to his very modern piano style. Worked with British drummer, Norman Burns, and followed Shearing to the States.

Saw him in in later years with Tony Bennett. A good age....91.

Thanks for the sad news, Maurice
 
Sorry, Maurice. I have no idea what happened to Norman Burns. I believe that he played around London for many years, mostly on the jazz scene.

I suppose he is now playing that big drum kit up in the sky. I have no idea, but, was Norman related to Tito Burns in any way?

Eddie
 
I had no idea rhar he lived so near to me, Boulder is about an hours drive. But I had heard that he was in the USA. John Crump
 
Eddie:

Not as far as I know. I have a number of biographies & autobiographies of Shearing, Ronnie Scott & other jazz personalities of the time, all of which mention and have photographs of both Norman & Tito, but they're not mentioned as relatives. However, this from the Allmusic site answers both questions:-

b. 11 March 1920, London, England, d. June 1994, Australia. Burns began playing drums as a child and while still a teenager worked as a professional musician on P&O ocean-going liners. In the late 30s and early 40s he was active in dance band circles in London, playing with many leading bands including those of Lew Stone, Ambrose, Frank Weir, Ted Heath and Geraldo. He also played with George Shearing and with Tito Burns (no relation). The drummer was one of the coterie of London-based jazzmen who dedicated themselves to the new music of the 40s, bop, and was a member of an all-star bebop band formed in 1948. In the early 50s Burns formed a quintet which he modelled upon the currently popular group being led in the USA by his former leader, Shearing. The vibraphone player in this group of Burns’ was Victor Feldman. Burns eventually left music and emigrated to Australia where he remained for the rest of his life. A skilled dance band drummer, Burns questing nature and his feeling for bop helped to make him one of the most important if unacclaimed figures in British drumming of the 30s and 40s.

Maurice
 
Maurice, many, many thanks for all that great information.

I was aware that Norman Burns worked with Shearing. In fact I have a very nice George Shearing Trio playing 'The Nearness Of You', with Norman on drums.

The young Ralph Sharon was considered to be 'the next George Shearing', and Norman also worked with Ralph.

In terms of be-bop, Norman Burns was considered England's answer to Max Roach & Kenny Clarke.

I well remember Vic Feldman (piano/vibes/drums), and saw him quite a few times, mainly with Ronnie Scott.

Again, many thanks,

Eddie.
 
carolina said:
Just enjoying Glenn Miller Story with Satchmo, Gene Kruper. So much melancholy with the music
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One record that I play very often after transferring to a cd is "Tribute To Madge" by the Second City Jazz Band. It was recorded by Esquire Records on March 20th 1958. The musicians were Alan Hewitt on trumpet, valve trombone and clarinet. Barry Phillips on trombone. Dave Lee Clarinet and bass clarinet. Jim Hyde soprano sax and clarinet. Pete Vicary piano. Stan Keely guitar and banjo. Ray Arnolds Bass. And finaly Len Cotton Drums.


Every time I hear it I'm back at the old Digbeth Institute jiving the night away every Saturday an d I think Wednesday. Happy carefree days of over 60 years ago.

I'm still a great jazz addict getting my fix at pubs around Surrey and Hampshire
 
I remember those names very well. Saw them often. Stan Keeley was the leader, I think. Jim Hyde was one of the sons of Hydes Newsagents Tyseley. He could play. Lat Tome I saw him Was at a Birmingham Jazz fesival date. The Pub on the canal opposite the Symphony Hal we were all watching "The world's greatest Jazz Band.
Martin B said:
One record that I play very often after transferring to a cd is "Tribute To Madge" by the Second City Jazz Band. It was recorded by Esquire Records on March 20th 1958. The musicians were Alan Hewitt on trumpet, valve trombone and clarinet. Barry Phillips on trombone. Dave Lee Clarinet and bass clarinet. Jim Hyde soprano sax and clarinet. Pete Vicary piano. Stan Keely guitar and banjo. Ray Arnolds Bass. And finaly Len Cotton Drums.


Every time I hear it I'm back at the old Digbeth Institute jiving the night away every Saturday an d I think Wednesday. Happy carefree days of over 60 years ago.

I'm still a great jazz addict getting my fix at pubs around Surrey and Hampshire
Click to expand...
 
I understand that SHAWCROSS has just returned home, and is convalescing after a very serious operation.

I miss his wonderful reviews of jazz club events, and I am sure that you will all join with me in wishing him a speedy and successful recovery.

Eddie.
 
...quite true, Eddie, and thanks for those lovely words. Getting better every day. Might be back in full flow over week-end. Meanwhile does the name BILLY LEROY mean anything to anyone from the 1940s/1950s ?
 
Welcome back, Shawcross! Bill Leroy - not to me I'm afraid. I hope you recover very soon.

Maurice
 
Means nothing to me either. Who was he?

However, it does remind me that the brother of Northampton's own Shani Wallis - Remember her.....Oliver....Nancy....As Long As He Needs Me....etc?....... is Leon Roy Wallis, a very good drummer, also from Northampton.

Great to hear from you Shawcross. Welcome back, my friend.

Eddie.
 
Thanks, guys...I was just testing to see if Billy Leroy was well known in early post-war dance band circles. I had never heard of him either. He sang mostly for an RAF dance orchestra in the 1940s, 50s, (but not Squadronaires), and that was his stage name. Fast forward 70 years and his granddaughter, Kiera Battersby, 17, has a passion for his music and is dedicated to a professional career as a singer herself.

I'm about to write a little profile about her, a lovely lass, because she is coming to Sutton Coldfield Trad Jazz Club in a month's time, for her second visit. She's having a private education, including classical singing, and has appeared in public already in a stage play and as a dancer. The all-time, best-ever jazz singer, she says, is Ella Fitzgerald (not wrong there is she?).

Last time she came her numbers included The Lady is a Tramp and similar but she was not prepared properly and the band did her no favours. This time she will be with Apex Jazz and Swing Band, whose style will suit her better than pure Dixieland/Trad and, importantly, they have planned in advance.

Personally I'm not sure there is enough scope now for a 'jazz singer' pure and simple but, with her talent and attitude, she must have an excellent chance of a career somewhere in the entertainment industry and without screaming and shouting her way through X Factor. Silly old softie that I am I would love her to succeed while singing the songs her granddad taught her and in an old fashioned way, too.
 
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