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Memories of a Birmingham Musician (Drummer)!
- Thread starter norfolk brummie
- Start date
Smudger
master brummie
Yes oldbrit, he`s a Westie. His name is Hamish & he`s 10 years old. My wife spoils him rotten & I`m the bad guy that has to discipline him. We`ll be getting into trouble for going off topic :-}
norfolk brummie
gone but not forgotten
While writing about drum trips to Italy, I am reminded of a very funny story.
I became very friendly with one of Italy's top drummers, and whenever in Milan, we would hang out. His name is
Tullio De Piscopo, and he is a fine jazz drummer. He told me the following, and swears it was true.
Chet Baker, the great American jazz trumpet player, was due to appear at a jazz show in Italy. The pianist on the show
was Romano Mussolini, the youngest son the former Dictator, and a fine jazz pianist.
Chet Baker was a very 'way out' character, and Tullio said that, upon meeting Romano Mussolini, Chet Baker's opening words were:
"Hi, nice to meet you. Sorry about your father!!"
Eddie
I became very friendly with one of Italy's top drummers, and whenever in Milan, we would hang out. His name is
Tullio De Piscopo, and he is a fine jazz drummer. He told me the following, and swears it was true.
Chet Baker, the great American jazz trumpet player, was due to appear at a jazz show in Italy. The pianist on the show
was Romano Mussolini, the youngest son the former Dictator, and a fine jazz pianist.
Chet Baker was a very 'way out' character, and Tullio said that, upon meeting Romano Mussolini, Chet Baker's opening words were:
"Hi, nice to meet you. Sorry about your father!!"
Eddie
sospiri
GONE BUT NOT FORGOTTEN
Ha ha, Nice story, Eddie. Whenever travelling from Italy to Brussels (where my eldest son & his family live), I have managed to avoid Switzerland all but once because we are supposed to pay 40 (not sure whether it is Francs, euros or quid) road tax, which is supposed to last for unlimited journeys for a year at whichever border post you initially enter the country. So about four years ago we drove up to the Chiasso border post and there was no one there mid-afternoon. I got out of the car, had a wander around for a few minutes, but still no one appeared, so we drove on and chose to go over the St Gothard Pass as I detest tunnels.
I must say that the scenery was wonderful, but once on the main roads we drove hell for leather for Basel and hoped that they didn't stop us as we tried to exit the country. Our return journey was via France and subsequent journeys has been via France or Germany/Austria.
Maurice
I must say that the scenery was wonderful, but once on the main roads we drove hell for leather for Basel and hoped that they didn't stop us as we tried to exit the country. Our return journey was via France and subsequent journeys has been via France or Germany/Austria.
Maurice
sospiri
GONE BUT NOT FORGOTTEN
Eddie,
I remember about Mussolini's son, though I haven't heard that story before. Italy is a great country for music and we always manage to spend at least a week there in each direction because the music of all varieties is so good. Our favourite town is Lucca where there is a concert every night all the year round, and discounts off subsequent concerts if you produce the ticket from a previous concert.
Maurice
I remember about Mussolini's son, though I haven't heard that story before. Italy is a great country for music and we always manage to spend at least a week there in each direction because the music of all varieties is so good. Our favourite town is Lucca where there is a concert every night all the year round, and discounts off subsequent concerts if you produce the ticket from a previous concert.
Maurice
norfolk brummie
gone but not forgotten
In 1970 I was asked to undertake a drum clinic and lecture tour in what was then, Southern Rhodesia (Salisbury), followed by a four week tour of South Africa. A journey that included a stop over in Idi Amin's Uganda, but that is another story in itself.
Salisbury was a 'one off' so no problems there, but South Africa, under apartheid, was totally different. To me music is universal, and apartheid was something that I knew nothing about. Indeed, I had not really thought about it.
On my first night in Cape Town I was taken to a nice restaurant for dinner. There was a black band playing good jazzy type of music. Somehow the band found out that I was a drummer from the UK, and came over to talk to me. I asked if I could play a couple of numbers with the band, and they were delighted to say yes. During the second number, the Manager of the restaurant, a white man, came running over and told me to get off the bandstand, and that I was not allowed to play with black musicians. This really threw me, but the black guys understood the situation, and said it was for the best, and not to cause any trouble. It upset me.
I did my shows in Cape Town to white audiences, with lots of black guys sitting outside, and not allowed in. I was getting very angry, and asked the management team that were arranging my tour to include shows for black people. I was told that it was too late to rearrange the tour, but I could undertake some afternoon sessions, for a black audience, if I wanted to. This was extra work, but I felt so strongly about it that I said I would be delighted to.
When we got to Port Elizabeth, or East London, I cannot remember which, I did separate shows for black & white audience's. Not happy, but, under the circumstances, it was the best I could do. The only part of South Africa where they would not, under any circumstances allow a show for a black audience, was Kimberley, in the Orange Free State.
I also managed to spend a day with two or three different African tribes, where I spend time listening to their drummers, and their rhythms. I did join in, and that was really wonderful. having been taught some African rhythms by Phil Seaman, I had a fair idea of what to do, but those guys taught me so much more.
I did go back for a couple of weeks in 1981, but nothing had really changed.
What a fabulous country, the weather, scenery, the animals (a visit to the Kruger National Park). A country that, under different circumstance, I could have lived in, but all of this was spoilt by what was a depressing political regime.
Eddie
Salisbury was a 'one off' so no problems there, but South Africa, under apartheid, was totally different. To me music is universal, and apartheid was something that I knew nothing about. Indeed, I had not really thought about it.
On my first night in Cape Town I was taken to a nice restaurant for dinner. There was a black band playing good jazzy type of music. Somehow the band found out that I was a drummer from the UK, and came over to talk to me. I asked if I could play a couple of numbers with the band, and they were delighted to say yes. During the second number, the Manager of the restaurant, a white man, came running over and told me to get off the bandstand, and that I was not allowed to play with black musicians. This really threw me, but the black guys understood the situation, and said it was for the best, and not to cause any trouble. It upset me.
I did my shows in Cape Town to white audiences, with lots of black guys sitting outside, and not allowed in. I was getting very angry, and asked the management team that were arranging my tour to include shows for black people. I was told that it was too late to rearrange the tour, but I could undertake some afternoon sessions, for a black audience, if I wanted to. This was extra work, but I felt so strongly about it that I said I would be delighted to.
When we got to Port Elizabeth, or East London, I cannot remember which, I did separate shows for black & white audience's. Not happy, but, under the circumstances, it was the best I could do. The only part of South Africa where they would not, under any circumstances allow a show for a black audience, was Kimberley, in the Orange Free State.
I also managed to spend a day with two or three different African tribes, where I spend time listening to their drummers, and their rhythms. I did join in, and that was really wonderful. having been taught some African rhythms by Phil Seaman, I had a fair idea of what to do, but those guys taught me so much more.
I did go back for a couple of weeks in 1981, but nothing had really changed.
What a fabulous country, the weather, scenery, the animals (a visit to the Kruger National Park). A country that, under different circumstance, I could have lived in, but all of this was spoilt by what was a depressing political regime.
Eddie
sospiri
GONE BUT NOT FORGOTTEN
Eddie,
That must have been a very strange atmosphere. I remember playing the Stone Cross at Dale End for several months of Saturday nights with a 7-piece band where I was the only white guy. And then afterwards going to parties in a row of interconnected 3-storey large terraced houses in Handsworth. No problem at all, and I had a ball of a time. Amongst the people at the party were the Andy Hamilton Band and I always got on well with Andy - such a relaxed guy.
Maurice
That must have been a very strange atmosphere. I remember playing the Stone Cross at Dale End for several months of Saturday nights with a 7-piece band where I was the only white guy. And then afterwards going to parties in a row of interconnected 3-storey large terraced houses in Handsworth. No problem at all, and I had a ball of a time. Amongst the people at the party were the Andy Hamilton Band and I always got on well with Andy - such a relaxed guy.
Maurice
norfolk brummie
gone but not forgotten
Maurice,
ANDY HAMILTON......Wow.....there's a name from the past.
I never played with Andy, although he loved his jazz. During the 1950's he would often, on Saturday, call into Kay Westworths Music Shop, in Snow Hill, to buy his tenor sax reeds, and music.
He would then spend a couple of hours in the shop talking jazz. He had a very infectious laugh, and always appeared happy. Even in those early days, he was a great character.
Eddie
ANDY HAMILTON......Wow.....there's a name from the past.
I never played with Andy, although he loved his jazz. During the 1950's he would often, on Saturday, call into Kay Westworths Music Shop, in Snow Hill, to buy his tenor sax reeds, and music.
He would then spend a couple of hours in the shop talking jazz. He had a very infectious laugh, and always appeared happy. Even in those early days, he was a great character.
Eddie
sospiri
GONE BUT NOT FORGOTTEN
Eddie,
For a time he had a very average bass player called Sleepy Reid [?], who didn't have any transport and used to cart his double bass around on the buses, and a tall pianist called Ron ?????. I can remember his trumpet player's face (but not his name). As the years went on I think he got better sidemen with him, but I didn't see him after 1961. I never actually played with him - it was not a band that really welcomed people sitting in. I can't remember where he played on a Sunday night, but if I wasn't working and there was nothing on particularly at the Golden Cross, I and a couple of friends would go and listen to some easy blues and have a pint and a chat.
Maurice
For a time he had a very average bass player called Sleepy Reid [?], who didn't have any transport and used to cart his double bass around on the buses, and a tall pianist called Ron ?????. I can remember his trumpet player's face (but not his name). As the years went on I think he got better sidemen with him, but I didn't see him after 1961. I never actually played with him - it was not a band that really welcomed people sitting in. I can't remember where he played on a Sunday night, but if I wasn't working and there was nothing on particularly at the Golden Cross, I and a couple of friends would go and listen to some easy blues and have a pint and a chat.
Maurice
At some point I remember going to gigs at the ACAFESS on Moseley Road. Almost entirely a Black audience (except for me and some of the people who were with the band. The smoke was so bad that I couldn't breathe in there past midnight. The nights I went, Steve Ajao played but Andy Hamilton was a regular on a different night. I don't know how long he'd been a regular there but I get the feeling he'd been around a while. Then again this would have been the 80s and it's unlikely he'd been going there that long.
Viewfinder
master brummie
On the subject of drummers with a small kit and vast talent - guilbert53 mentioned Tony Williams, above - I must nominate Christian Vander, French leader of the band Magma. He was schooled in Coltrane-inspired jazz, and writes and plays music of tremendous force tinged with classical and east European folk influences. Truly a drummer's drummer, an exhilarating phenomenon on a small kit with an 18-inch bass drum.
Back to Phil Seamen (lovely to hear that you knew him personally, Eddie) and his disciple Ginger Baker. I was too young to have seen Cream in the 1960s, but as a teenager I played their albums continually and went on to become one of a generation of rock drummers inspired and influenced by Ginger's extraordinary skill and panache.
I did see him play with Baker Gurvitz Army at the Rainbow Theatre in Finsbury Park, but was disappointed by the band's somewhat turgid material. One night in the late 70s, after his stint in Africa, Ginger pitched up with a three-piece at the unlikely venue of the Bridge House in Canning Town, a small and unremarkable pub next to a flyover in the industrial wastes of east London. Several hundred of us were crammed in to the bar, excited with anticipation, when suddenly a woolly apparition loomed behind the frosted glass of a side window: Ginger was hammering at a locked door, trying to get in.
There was what seemed an interminable wait in wilting heat while Ginger and the band prepared themselves upstairs in the landlord's kitchen; I knew this served as the dressing room because I used it many times myself. (The Bridge House went on to establish its own record label and become a landmark venue in London's rock history.) Eventually the trio mounted the postage-stamp of a stage, Ginger dressed in flamboyant woven African garb, and began. I remember nothing at all about the other musicians, or even the music, but I will never forget Ginger's astonishing technique - rapidly crossing and uncrossing his wrists as he rattled round the toms - and my own sense of awe at standing just a few feet from the master at work.
I thoroughly enjoy all the posts on this thread: such wonderfully entertaining and informative tales from Eddie and Maurice. More, please!
Back to Phil Seamen (lovely to hear that you knew him personally, Eddie) and his disciple Ginger Baker. I was too young to have seen Cream in the 1960s, but as a teenager I played their albums continually and went on to become one of a generation of rock drummers inspired and influenced by Ginger's extraordinary skill and panache.
I did see him play with Baker Gurvitz Army at the Rainbow Theatre in Finsbury Park, but was disappointed by the band's somewhat turgid material. One night in the late 70s, after his stint in Africa, Ginger pitched up with a three-piece at the unlikely venue of the Bridge House in Canning Town, a small and unremarkable pub next to a flyover in the industrial wastes of east London. Several hundred of us were crammed in to the bar, excited with anticipation, when suddenly a woolly apparition loomed behind the frosted glass of a side window: Ginger was hammering at a locked door, trying to get in.
There was what seemed an interminable wait in wilting heat while Ginger and the band prepared themselves upstairs in the landlord's kitchen; I knew this served as the dressing room because I used it many times myself. (The Bridge House went on to establish its own record label and become a landmark venue in London's rock history.) Eventually the trio mounted the postage-stamp of a stage, Ginger dressed in flamboyant woven African garb, and began. I remember nothing at all about the other musicians, or even the music, but I will never forget Ginger's astonishing technique - rapidly crossing and uncrossing his wrists as he rattled round the toms - and my own sense of awe at standing just a few feet from the master at work.
I thoroughly enjoy all the posts on this thread: such wonderfully entertaining and informative tales from Eddie and Maurice. More, please!
sospiri
GONE BUT NOT FORGOTTEN
wam:
I have a great gap in my Birmingham presence from Jan 1961 (when I moved down to Dorset) until roughly 1988 (when my library work at both Birmingham and Aston Uni libraries necessitated periodic trips to those places). That was the period of the great upheaval when they had just got the Smallbrook Ringway underway and I came back to find I knew where Aston Uni was, but due to the massive change in road layouts, I couldn't find my way into the darned place! I ended up cutting up a bus and flouting several traffic regulations, much to the driver's annoyance, but got into there in the end. Now, having just about to got to know my way round the road system, it all starts again with the demolition of the library and goodness know what else!
So I have no idea where ACAFESS is, but I'm sure you had some great times, even if the wearing of a some form of respirator might have been appropriate to cope with the smoke.
Maurice
I have a great gap in my Birmingham presence from Jan 1961 (when I moved down to Dorset) until roughly 1988 (when my library work at both Birmingham and Aston Uni libraries necessitated periodic trips to those places). That was the period of the great upheaval when they had just got the Smallbrook Ringway underway and I came back to find I knew where Aston Uni was, but due to the massive change in road layouts, I couldn't find my way into the darned place! I ended up cutting up a bus and flouting several traffic regulations, much to the driver's annoyance, but got into there in the end. Now, having just about to got to know my way round the road system, it all starts again with the demolition of the library and goodness know what else!
So I have no idea where ACAFESS is, but I'm sure you had some great times, even if the wearing of a some form of respirator might have been appropriate to cope with the smoke.
Maurice
norfolk brummie
gone but not forgotten
In 1982 I was undertaking a drum lecture tour of Germany. I was driven around the country in a mini bus.
Both the German driver , and the roadie that I was given, spoke very good English. I spoke a little German.
It must have been around the May period because Aston Villa were playing, I think, Bayern Munich, in the European Cup Final.
I happened to mention that, coming from Birmingham, Aston Villa was one of our local teams.
This started a lot of ribbing from these two German guys. "Aston Villa have no chance" etcetera.
On the night of the Cup Final we were playing some town, I cannot remember where, but during my drum show I was on automatic.
Although a Blues supporter, I was thinking "Dear God, please don't let Aston Villa let me down".
I was relying on my two guys to get the result, and when I came off stage, I looked at their faces, and something told me that their German team had lost.
ASTON VILLA DID WIN!!!!!
I really enjoyed the rest of that tour.
Eddie
Both the German driver , and the roadie that I was given, spoke very good English. I spoke a little German.
It must have been around the May period because Aston Villa were playing, I think, Bayern Munich, in the European Cup Final.
I happened to mention that, coming from Birmingham, Aston Villa was one of our local teams.
This started a lot of ribbing from these two German guys. "Aston Villa have no chance" etcetera.
On the night of the Cup Final we were playing some town, I cannot remember where, but during my drum show I was on automatic.
Although a Blues supporter, I was thinking "Dear God, please don't let Aston Villa let me down".
I was relying on my two guys to get the result, and when I came off stage, I looked at their faces, and something told me that their German team had lost.
ASTON VILLA DID WIN!!!!!
I really enjoyed the rest of that tour.
Eddie
norfolk brummie
gone but not forgotten
Two more photos:
The first b/w photo is with Pete York, the drummer with The Spencer Davis Group (Keep on Runnin' & Gimme Some Lovin'). On the back is written, London - 1982. We were good friends, and Pete worked a lot with me. He is a great drummer.
Pete married a very beautiful German girl, and now lives in Germany. He formed his own band called Hardin/York.
The second photo looks like a half drunken me with Ric Lee, the drummer with Ten Years After. On the reverse is written, Brighton 1974.
Ten Years After took part in the 1969 great Woodstock Festival. Their epic 11 minute version of Goin' Home, at the Festival, has gone down in rock history, and is shown in the Woodstock film. Some years later, in the mid eighties, I pulled into some service station, and a voice shouted "Eddie Haynes". I looked around, and there was Ric, in a beautifully tailored suit and tie!
Just to confirm that I was not drunk, and that someone had given me that awful red velvet jacket to wear!!
Eddie
sospiri
GONE BUT NOT FORGOTTEN
Eddie,
I like the German story. Aston Villa beating Bayern Munich - that's a once in a lifetime event on its own!!!
"Keep on Runnin" I remember very well and it became a good standard to get any function going. I thought you were just trying to impress us with that red velvet jacket!
Maurice
I like the German story. Aston Villa beating Bayern Munich - that's a once in a lifetime event on its own!!!
"Keep on Runnin" I remember very well and it became a good standard to get any function going. I thought you were just trying to impress us with that red velvet jacket!
Maurice
norfolk brummie
gone but not forgotten
Its an awful photo, but just about a year ago, I took a phone call from my old friend Jason Keyte, a real 'Brummie', living down here in sunny Norfolk.Jason now runs his own drum business, and is also a fine drummer. He used to work in Birmingham for 'John The Drum', at Birmingham Drum Centre. Some of you may remember John. He lived in Hall Green, but sadly no longer with us.
The phone call was to ask me if I wanted to go and see Gerry & The Pacemakers at Cromer Pier Theatre. It was a free night out, organised by Gerry's drummer, Nick Woodgate. I decided to go. Jason also asked me if I knew Gerry, and I told him that I did, from years ago, and that I also knew his brother Freddie
I had no idea that I was about to be 'set up'.
We arrived for the show, beautiful evening, as you can see from the photo's. First half of the show went fine, and I was quite relaxed.
Came the second half, to a packed audience, when Gerry suddenly said "Where is Eddie Haynes. Come on, stand up you old b*##@r!".
I stood up, very embarrassed. "Ah, there you are, we have all got older!".
After the show, we went backstage, where Gerry and I sat talking for around half an hour about 'The Good Old Days', with the other guys joining in.
Eddie
norfolk brummie
gone but not forgotten
A gathering of a few of my drummer friends when I did a London clinic, in 1980. The drummers are as follows:L/R..Ted McKenna (Sensational Alex Harvey Band); Kenny Jones (The Faces/The Who); John Mayer (The Buzzcocks); John Adams(a manager); self; Bob Henrit (Argent); Ian Mosley (Marillion); Norman Sheffield (a manager); Steven Aguila (National Youth Jazz Orchestra); At the drums, Ron Bowden (Kenny Balls Jazz Band).
Managers always want to get in on the act!!
Eddie
Viewfinder
master brummie
A terrific line-up, Eddie! I can still recall being mightily impressed by Ian Mosley's drumming with Daryl Way's Wolf at the Camden Roundhouse in 1973, before he joined Marillion.
norfolk brummie
gone but not forgotten
Viewfinder:
Your post recalling Camden has just reminded me of something:
At the Roundhouse, I think it must have been about 1970/71, during the New Musical Express Poll Winners concert, which featured many top groups.
I had left my Hayman drum kit on stage, until the end of the show. After packing it all up, a couple of roadies took my kit out to my estate, and put the kit in my car.
About an hour later, I was up in the dressing room enjoying the usual 'after the show' benefits, when I looked out of the window, just in time so see about four lads taking my kit out of my car.
"Hey, fellows, those idiots (or something stronger), are nicking my drum kit".
About eight of us ran out of the Roundhouse, charging down on the thieves, who just dropped all the drums and ran off. I got the whole lot back. The roadies had not locked my car!!
Eddie
Your post recalling Camden has just reminded me of something:
At the Roundhouse, I think it must have been about 1970/71, during the New Musical Express Poll Winners concert, which featured many top groups.
I had left my Hayman drum kit on stage, until the end of the show. After packing it all up, a couple of roadies took my kit out to my estate, and put the kit in my car.
About an hour later, I was up in the dressing room enjoying the usual 'after the show' benefits, when I looked out of the window, just in time so see about four lads taking my kit out of my car.
"Hey, fellows, those idiots (or something stronger), are nicking my drum kit".
About eight of us ran out of the Roundhouse, charging down on the thieves, who just dropped all the drums and ran off. I got the whole lot back. The roadies had not locked my car!!
Eddie
sospiri
GONE BUT NOT FORGOTTEN
Eddie,
These days that's a musician's worst nightmare and is often under discussion on the Keyboard Corner Forum. With keyboard players these days carrying around several keyboards, pedals, amps and stands running up to many thousands of pounds, it can be a huge loss. Add to that all the software, samples and settings that are loaded, sometimes irreplaceable, it's not just a matter of money either.
In the States, the guys are also worried about keeping their gear at home, particularly those living in urban areas, installing all sorts of alarms in the hope of deterring wouldbe thieves.
Glad you got your drum kit back - you were very lucky.
Maurice
These days that's a musician's worst nightmare and is often under discussion on the Keyboard Corner Forum. With keyboard players these days carrying around several keyboards, pedals, amps and stands running up to many thousands of pounds, it can be a huge loss. Add to that all the software, samples and settings that are loaded, sometimes irreplaceable, it's not just a matter of money either.
In the States, the guys are also worried about keeping their gear at home, particularly those living in urban areas, installing all sorts of alarms in the hope of deterring wouldbe thieves.
Glad you got your drum kit back - you were very lucky.
Maurice
Viewfinder
master brummie
Yes, that was a close one, Eddie. My worst loss was a case of cymbals - a cherished mix of Paiste and Zildjian - half-inched while our roadie was loading the van after a gig in east London. As Maurice indicates, I probably got off quite lightly compared to musicians with compact electronic gear and irreplaceable software. The insurance company - remember Canworth's? - paid out a good proportion of the value, but cymbals having such individual qualities I never did replace them entirely to my satisfaction.
Old Boy
master brummie
Hi All,
I continue to enjoy this thread. Thankyou Eddie for starting it. I am no musician although I did play a bugle in an ATC band. However it strikes me that there must be enough musicians on the Forum to form an orchestra to rival all others. What should we call them?
Old Boy
I continue to enjoy this thread. Thankyou Eddie for starting it. I am no musician although I did play a bugle in an ATC band. However it strikes me that there must be enough musicians on the Forum to form an orchestra to rival all others. What should we call them?
Old Boy
Smudger
master brummie
I`m no musician either Old Boy, but if you need someone on the triangle then I`m up for it. What should we call ourselves? Howsabout "The Brumbeats" or "The Brumbles" Yes I know I`m daft!
norfolk brummie
gone but not forgotten
Viewfinder:
Drums can be replaced, but cymbals are individually chosen, and though they can also be replaced, it is not always easy to get the right sounding cymbal again.
As a clinician for Paiste, Export Sales Director and clinician for Zildjian, and Vice President of Sabian, cymbals have always been my speciality, so I am aware of how you must have felt when your own set was stolen.
Martin Drew, sadly no longer with us, who was for a long period, the drummer in the Oscar Peterson Trio, always took his cymbals on board the plane. Would not allow them to go into the hold. It was no unknown for Martin to pay extra for a seat for them!!!
Eddie
Drums can be replaced, but cymbals are individually chosen, and though they can also be replaced, it is not always easy to get the right sounding cymbal again.
As a clinician for Paiste, Export Sales Director and clinician for Zildjian, and Vice President of Sabian, cymbals have always been my speciality, so I am aware of how you must have felt when your own set was stolen.
Martin Drew, sadly no longer with us, who was for a long period, the drummer in the Oscar Peterson Trio, always took his cymbals on board the plane. Would not allow them to go into the hold. It was no unknown for Martin to pay extra for a seat for them!!!
Eddie
norfolk brummie
gone but not forgotten
Smudger, you are not daft, you are very smart. Don't need a roadie for a triangle!!!
Eddie
Eddie
norfolk brummie
gone but not forgotten
Many years ago, the great British drummer Ronnie Verrell was staying at our home, and we chatted about many things. Being the drummer with the great Ted Heath Band, and later as a top session musician, Ronnie met many famous people.
The following story Ronnie assured me was true, and much later, in a TV interview with Michael Parkinson, Peter Sellers related the same story.
After WW2, and before he found fame with The Goons, Sellers played drums in a jazz band. He had reached the stage where he was unsure of whether to continue playing as a drummer, or take to comedy work, for which he was very talented.
One evening the band was playing at Birmingham Town Hall, and Sellers had some of the audience sitting on the stage behind him.
In the middle of one number, he was tapped on the shoulder, and a Birmingham voice said "Can yow play Underneath The Arches?"
Sellers snapped back "We do not play that sort of music", and carried on playing. Later, in the middle of a special number that required Sellers full attention, the youth again tapped him on the should, "O'ill arsk yow agin. Can yow play Underneath The Arches". Sellers really snapped, and in an angry voice said "And I'll tell you again, WE DO NOT PLAY THAT SORT OF MUSIC". "Huh, S*@t Face!" said the youth.
That was it, Sellers turned to comedy.
Eddie
The following story Ronnie assured me was true, and much later, in a TV interview with Michael Parkinson, Peter Sellers related the same story.
After WW2, and before he found fame with The Goons, Sellers played drums in a jazz band. He had reached the stage where he was unsure of whether to continue playing as a drummer, or take to comedy work, for which he was very talented.
One evening the band was playing at Birmingham Town Hall, and Sellers had some of the audience sitting on the stage behind him.
In the middle of one number, he was tapped on the shoulder, and a Birmingham voice said "Can yow play Underneath The Arches?"
Sellers snapped back "We do not play that sort of music", and carried on playing. Later, in the middle of a special number that required Sellers full attention, the youth again tapped him on the should, "O'ill arsk yow agin. Can yow play Underneath The Arches". Sellers really snapped, and in an angry voice said "And I'll tell you again, WE DO NOT PLAY THAT SORT OF MUSIC". "Huh, S*@t Face!" said the youth.
That was it, Sellers turned to comedy.
Eddie
sospiri
GONE BUT NOT FORGOTTEN
Eddie,
Brilliant story and I seem to remember that that retort was also used as the punchline to another story by a musician. I think the story on this occasion was told by Ronnie Scott, but escapes me for the moment. Unfortunately many of the stories that musicians hear are not repeatable on a family friendly website! Being out of the business for quite a number of years, I also tend to forget a lot of them.
Maurice
Brilliant story and I seem to remember that that retort was also used as the punchline to another story by a musician. I think the story on this occasion was told by Ronnie Scott, but escapes me for the moment. Unfortunately many of the stories that musicians hear are not repeatable on a family friendly website! Being out of the business for quite a number of years, I also tend to forget a lot of them.
Maurice
oldbrit
OldBrit in Exile
Talk about that one. Reg Hudman and I where in New York. Two young English so called muscians. We where lost and asked a black man walking down the street. " How do we get to Carnegie Hall" He replied " PRATICE MAN PRATICE! Drum roll please Eddie . Well I thought it was funny! John Crump Parker. Colorado USA
norfolk brummie
gone but not forgotten
"Philly" Joe Jones was a great black American drummer, having worked with Charlie Parker, Dizzy Gillespie, and many of the other jazz 'greats'.
Sometime around 1979/80, he called me to say that he was appearing on a big jazz show in Paris, and could I arrange a drum kit for him. This I did, and after the show, he called me to thank me. At this point we had never met each other.
Around 1980/81, I was in New York, and spent some time with Keith Copeland, who played drums in the Billy Taylor Trio. Previously Keith had been the drummer with Stevie Wonder, and I had met Keith in Bermuda when he was working there. Later he came to the UK, and stayed at our home.
One evening he took me to see his father Ray Copeland, who had played trumpet in the Count Basie Band, and Ray suggested that Keith take me down to Harlem, and hear some good music in the jazz clubs. Knowing that this was the black area of New York I was a little apprehensive, but Keith assured me that everything would be fine, so off we went. Saw Joe Williams sing the blues, Al Haig play the piano (that is another story), and Dexter Gordon, who had returned from Europe. I was the only white guy in the club.
During the evening/early morning, we met up with "Philly" Joe Jones, and he said, quite openly, to Keith, "Who is the 'honkie?"
Before Keith could explain, I said "I will handle this". Keith looked blank, but I turned to "Philly" Joe and told him that I was the guy that had arranged his drum kit for the Paris 'gig'. "Philly" Joe threw his arms around me, and said to Keith "This guy is OK, lets give him a real good time!"....Which they did. Lovely guys, and I was treated great in Harlem.
Eddie
Sometime around 1979/80, he called me to say that he was appearing on a big jazz show in Paris, and could I arrange a drum kit for him. This I did, and after the show, he called me to thank me. At this point we had never met each other.
Around 1980/81, I was in New York, and spent some time with Keith Copeland, who played drums in the Billy Taylor Trio. Previously Keith had been the drummer with Stevie Wonder, and I had met Keith in Bermuda when he was working there. Later he came to the UK, and stayed at our home.
One evening he took me to see his father Ray Copeland, who had played trumpet in the Count Basie Band, and Ray suggested that Keith take me down to Harlem, and hear some good music in the jazz clubs. Knowing that this was the black area of New York I was a little apprehensive, but Keith assured me that everything would be fine, so off we went. Saw Joe Williams sing the blues, Al Haig play the piano (that is another story), and Dexter Gordon, who had returned from Europe. I was the only white guy in the club.
During the evening/early morning, we met up with "Philly" Joe Jones, and he said, quite openly, to Keith, "Who is the 'honkie?"
Before Keith could explain, I said "I will handle this". Keith looked blank, but I turned to "Philly" Joe and told him that I was the guy that had arranged his drum kit for the Paris 'gig'. "Philly" Joe threw his arms around me, and said to Keith "This guy is OK, lets give him a real good time!"....Which they did. Lovely guys, and I was treated great in Harlem.
Eddie