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Memories of a Birmingham Musician (Drummer)!

I was there in Dublin in 1953 with John Headford and Robin Kendall I am sure Stan Levey was the drummer. As Eddy correctly said the reason for Kenton not playing in England was the unions problem. But I seem to remember seeing Kenton at the Brum town hall also Basie at one time?
 
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sospiri said:
Peter Erskine was with Kenton from 1972 to 1975 - his first professional engagement - or are you thinking earlier? This book records that Kenton played two Dublin concerts in 1953, but names Stan Levey as the drummer.

https://books.google.co.uk/books?id=r2CiSIXxpYIC&pg=PA142-IA9&lpg=PA142-IA9&dq=stan+Kenton+concert+-+dublin&source=bl&ots=Wca_wv1sZj&sig=XUu1333QrMHcWwfZInZ9kWEMbRY&hl=en&sa=X&ved=0ahUKEwioy62gyvLRAhWDVhQKHaebAr0Q6AEISjAE#v=onepage&q=stan Kenton concert - dublin&f=false

Maurice/Old Brit
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Thank you where did I get Pete from....memory...what's my name today?
Many thanks however
Bob
 
After Shelly Manne left the Kenton Band, the drum chair was taken over by left handed drummer, Stan Levey. I did not attend the Dublin concert, army duties came first.

Woody Herman also played Dublin. The reason for the Dublin concerts, and no U.K appearances, was due to the ban of U.S bands, in the U.K, brought on by disagreements between the American Federation of Musicians (A.F.of M.), and our own Musicians Union (M.U.)

Levey quit the Kenton Band in 1954, to work with the Lighthouse All Stars, but I am pretty sure that Levey was on drums, when Kenton toured the UK in 1956, after the ban was lifted. In return the Ted Heath Band, with the great Ronnie Verrell on drums, toured the U.S.A. The reason I am fairly certain that it was still Levey on drums, was because it was the first time that I had witnessed a big band left handed drummer. With British drummers, I was given lessons by Phil Seaman, toured on clinics with Kenny Clare, Ronnie Verrell a regular visitor to my home, and Jack Parnell living just down the road from where we live in Norfolk, so I loved each of them. Now all sadly passed on.

Somewhere in my previous postings I believe I have covered all of this era, with full details of the union problems, and the lifting of the ban.

I have no particular special favourite American drummer, Bob, but loved different drummers for different things. Gene Krupa was the 'Daddy'. He was really the first to bring the excitement of the drums to the forefront. Buddy Rich was arguably the greatest technician. Sonny Payne (Count Basie) was my favourite big band drummer, and Joe Morrello my favourite small group drummer

Eddie.
 
For our regular readers!:

Chico Hamilton & Stan Levey

Eddie
 

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norfolk brummie said:
After Shelly Manne left the Kenton Band, the drum chair was taken over by left handed drummer, Stan Levey. I did not attend the Dublin concert, army duties came first.

Woody Herman also played Dublin. The reason for the Dublin concerts, and no U.K appearances, was due to the ban of U.S bands, in the U.K, brought on by disagreements between the American Federation of Musicians (A.F.of M.), and our own Musicians Union (M.U.)

Levey quit the Kenton Band in 1954, to work with the Lighthouse All Stars, but I am pretty sure that Levey was on drums, when Kenton toured the UK in 1956, after the ban was lifted. In return the Ted Heath Band, with the great Ronnie Verrell on drums, toured the U.S.A. The reason I am fairly certain that it was still Levey on drums, was because it was the first time that I had witnessed a big band left handed drummer. With British drummers, I was given lessons by Phil Seaman, toured on clinics with Kenny Clare, Ronnie Verrell a regular visitor to my home, and Jack Parnell living just down the road from where we live in Norfolk, so I loved each of them. Now all sadly passed on.

Somewhere in my previous postings I believe I have covered all of this era, with full details of the union problems, and the lifting of the ban.

I have no particular special favourite American drummer, Bob, but loved different drummers for different things. Gene Krupa was the 'Daddy'. He was really the first to bring the excitement of the drums to the forefront. Buddy Rich was arguably the greatest technician. Sonny Payne (Count Basie) was my favourite big band drummer, and Joe Morrello my favourite small group drummer

Eddie.
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Eddie
Ronnie Verrell, of course, how could I forget after all those concerts at the Town Hall and his stickwork on Skin Deep, The Champ and Night Train. Of course the one big Drum man I forgot to mention was Eric Delaney, saw him at the Town Hall as well. Thanks for all the info just listening to the Chico Hamilton Quintet in Hi Fi, Chico, Buddy Collette, Fred Katz, Jim Hall (Another artiste who made a good recording of the Aranjuez) and Carson Smith. I liked all drummers for different reasons, but one of the great recording sessions was the Shelley Manne and friends My Fair Lady with Andre Previn on piano and Leroy Vinegar on bass with that tremendous start by him to I'm getting married in the morning. Keep the memories coming and the great one is that of all the oldies, the greatest is now 100years old Dame Vera Lynn.

Bob
 
Eric Delaney is another drummer that I worked with very closely. I last met up with him at the National Drum Show, in Birmingham, just before he died, aged 84.

In 1984, I was in London with Louie Bellson, Harvey Mason and Rick Latham, for a show. I left the guys at the theatre, and went out for a coffee. When I returned, the queue had started to build. Standing in the queue was Eric, and Kenny Clare. I grabbed them both, and took them into the theatre.

At the end of the evening. Louie, Harvey, Rick, Eric, Kenny and myself went for a three hour curry. It was the most wonderful evening, listening to, and talking with, these wonderful drummers.

Aaah ! The wonderful Vera Lynn. 100 years old in March, and just released a new LP.

Top that,............. if you can !!

Eddie
 
Aaah ! The wonderful Vera Lynn. 100 years old in March, and just released a new LP.

Top that,............. if you can !!

Eddie[/QUOTE]

Isn't that wonderful!!! A refreshing break from the flood of RIP's

Dave A
 
There's a name from the past, Dave A. I wouldn't say I was a fan, but I quite liked what I heard way back in the 1960s. My brother-in-law, who is still a working bass player in his 80s in the UK, picked up a couple of albums and he's probably still got the albums. If I remember right, Don Ellis was one of the early bands to play around with unusual time signatures. Checking on Wiki, I see he died in 1978 - almost 40 years ago - so it's not that surprising that his name has almost disappeared off the horizon.

Another one from that era who died even younger was vibes player/composer/arranger Gary McFarland. Worked with all the big names - Getz, Mulligan, Brookmeyer, etc - and was moving towards writing film & pop music when he was poisoned in a bar. Three or four years ago I picked up a copy of "This is Gary McFarland", a DVD of interview and music and I must watch it again.

Maurice
 
I was never a great fan of Don Ellis (although he was also a pretty good drummer).
His way out sounds, and odd time signature compositions, showed him to be a great musician/composer, and innovator. I seem to remember that he also played a four valve trumpet.

He was very much liked by a lot of musicians, but then, I am a drummer !!

Have to admit that I never listened to much by Gary McFarland, although he may be featured on some of my Getz/Brookmeyer/Mulligan LP's. Will have to check.

Eddie
 
Eddie,

I think both Ellis & McFarland died before they'd had a chance to mature and decide in which direction they wanted to go. In the interview I have seen with Gary, he made no secret of the fact that film music was the way he wanted to go. I can't speak for Don Ellis, I've never seen any interviews with him nor listened to his more recent albums - probably Dave A has.

Randy Newman's (Simon Smith & the Amazing Dancing Bear) output is now very much concentrated on film music and there are several others gone that way too.

My last drummer has a vast collection of jazz, but being a drummer, they all have to have a bass player and a drummer. Being an ex-keyboard/vibes player, I can spend hours listening to the Gary Burton/Chick Corea duet albums - no bass or drums - or to their solo albums. But being such great musicians, you don't notice the missing rhythm section.Or at least I don't! From the point of view of performing, I always preferred a full rhythm section, if only to have someone to bounce your ideas off.

Maurice
 
Having just spent over an hour listening to Don Ellis at Montreux in 1977 - since he died the following year I presume there is nothing much available after this session - I was not impressed. Far too many drummers, brass riffs & repeated pedal notes ensured that you couldn't hear most of the other musicians. If he had not have died, I feel sure he would have gone bankrupt from trying to run bands that large. The trombonists sounded as if they all wanted to be Frank Rossolino, but he could have blown them all off the stage with ease. To my mind there was no structure to his arrangements and despite all the dots, they sounded more like head arrangements. Sorry Dave A, just not my cup of tea - noisy and brash.

Maurice
 
Just read the passing of pianist/singer Al Jarreau, aged 76.

Had a brief chat to him, many years ago, at a music trades exhibition in Los Angeles.

A very talented musician. He won Grammies for jazz, popular music, and rhythm & blues.

I understand that he had retired after fifty years of travelling.

R.I.P Al Jarreau.

Eddie
 
Eddie
A talented and entertaining singer, jazz, ballad and even that strange music they play nowadays. Did you also see that drummer John Steel the only original band member still playing with the Animals was 76 recently?
Bob
 
Hi Eddie,

Yes, I spotted that on the keyboard forums yesterday, but as other members had said recently that they didn't want any more RIPs, I left it. Continuous touring must be very stressful and has led to many musicians leaving bands that have been associated with for years. I see that one of my favourite guitarists, Larry Coryell, has now played his last regular gig at the age of 70. It doesn't mean that he won't be heard any more, just that bookers should no longer assume that he is generally available.

R.I.P Al Jarreau

Maurice
 
sospiri said:
Having just spent over an hour listening to Don Ellis at Montreux in 1977 - since he died the following year I presume there is nothing much available after this session - I was not impressed. Far too many drummers, brass riffs & repeated pedal notes ensured that you couldn't hear most of the other musicians. If he had not have died, I feel sure he would have gone bankrupt from trying to run bands that large. The trombonists sounded as if they all wanted to be Frank Rossolino, but he could have blown them all off the stage with ease. To my mind there was no structure to his arrangements and despite all the dots, they sounded more like head arrangements. Sorry Dave A, just not my cup of tea - noisy and brash.

Maurice
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I'm sorry to say this Maurice, but you sound just like my dad...
Dave A
 
Dave A,

We're all entitled to our opinions and, of course, I respect yours, but on this topic it won't change mine. :-)

Individually I'm sure there were some very able musicians in that band, but many of their talents were wasted by the bandleader simply because you couldn't hear them. There's a saying that in a symphony orchestra a triangle will cut through almost anything, but in, I think, the last number of that set, the lady vibes-cum-general percussion player was hitting the triangle for all she was worth, yet only occasionally could you hear it. Her vibes playing even less. I'm not saying that she's another Gary Burton or Joe Locke, but Don Ellis didn't give her a chance. I guess I'll just have to sound like your Dad and I rest my case!

Maurice
 
No problem Maurice, I'm not about changing people's minds or opinions. The love of music is a very subjective thing, but regardless of choice, is very rewarding...my comment was more about the delivery than the opinion. I'm quite sure that somewhere in the musical myriad that has evolved over the years, there is something we can both enjoy, even love...
Dave A
 
Onceabrummie said:
Eddie
A talented and entertaining singer, jazz, ballad and even that strange music they play nowadays. Did you also see that drummer John Steel the only original band member still playing with the Animals was 76 recently?
Bob
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Hi Bob,

John Steel was one of our Premier drum endorsers, in the sixties and seventies. Somewhere in a great pile of drum related material, I have photographs of John. Must dig them out.

Many of those groups that were at the forefront, during the British domination of popular music, have passed on. Those that are left are well into their seventies. and long may they still play!

Eddie
 
On Tuesday, we lost a very dear friend. Margaret Williamina (Willi) Zildjian. Willi was the wife of Robert (Bob) Zildjian.

To most of the folk on the BHF, the name does not mean much, but in the world of drums, it is arguably the most famous on the planet. What Rolls Royce is to motoring, Zildjian is to percussion.

Bob died a few years ago, after a lifetime of achievement, including recognition in the Music Hall of Fame, but Willi was the one that drove him. She was a devoted wife, mother and good friend to thousands.

Pete York (Drummer, Spencer Davis Group), has just told me of a story by Willi, of coming down one morning, and finding Gene Krupa asleep on the settee.

At Sabian cymbals, Bob was the President, and I , the Vice-President, so Beryl and I had a very warm relationship with Bob & Willi. It was not always business, because we had some wonderful fun times together, including wonderful holidays at their homes in Bermuda, and Massachusetts, U.S.A.

Willi, like Bob, will be sadly missed by Beryl and I, the Zildjian family, and indeed, many friends around the world..

We will never forget you. R.I.P Willi.

Eddie
 

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Sad to hear that another Zildjian has gone so soon, but after the death of Robert it was perhaps expected. R.I.P. Willi Zildjian.

Maurice
 
In my professional career I was often at some jazz festival or other, mainly in Europe, or the States.

Drummers have a great reputation for mutual respect, and admiration, and we would meet up back stage for a chat, a drink, or a meal.

Photo One: Martin Drew, a very fine English drummer, and great friend of mine, is seen with the Oscar Peterson Trio, at the Berlin Jazz Festival.

Photo Two: The great American drummer, Butch Miles, seen with the Bob Wilgar Group at the North Sea Jazz Festival, at The Hague, in Holland. He is playing one of my Premier drum kits.

Photo Three: Another very fine American drummer, Jeff Hamilton, with the Woody Herman Band, at the Montreux Jazz Festival. Jeff and I spent a great deal of time together at this event, even spending a couple of hours sharing drumming ideas. (Photographs from my private collection)




Eddie
 

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Eddie,

Martin Drew was a lovely man with a great sense of humour and a brilliant drummer. So sad that that particular O.P. Trio have all passed on. Butch Miles & Jeff Hamilton I know by reputation only.

Maurice
 
And specially for Eddie, here's the Oscar Peterson Trio, with the great Dane, Niels Henning Orsted-Pederson on bass and Martin Drew on drums showing what they can do when Falling In Love With Love.

 
Thank you very much, Maurice. Wonderful music and memories. Three incredible musicians.

Although I first met Oscar Peterson in Berlin, I met up with him again, in Toronto, at a music fair. He was a very charming man.

Martin Drew was very particular about his cymbals, having spent hours selecting the right sounding cymbals for his type of playing. On one trip we flew together from Heathrow, and at the check in, Martin insisted on taking his cymbals on board as personal luggage. There was a few raised eyes as to why someone should want to take a few pieces of circular metal discs on board as personal luggage, but it all ended well.

Cymbals are beautifully manufactured by expert craftsmen, and each cymbal has its own particular shape, and sound. The very best cymbals cost a small fortune to buy. Martin would not allow his cymbals to be thrown into the luggage hold, or to disappear.

Eddie
 
Just listened to the singing of Ronnie Hilton on the Graham Norton Saturday morning radio show.
The record was "A Windmill In Old Amsterdam".

Pure commercial stuff, recorded around the mid sixties, and a hit for Ronnie.

I was reminded that Ronnie had a few hits around the fifties and sixties, with his commercial recordings, but in fact Ronnie was a very good singer, and working with him a couple of times on the club circuit, he would sing a great many of the old 'standard' songs, which he loved, and sang very well.
A pleasure to have worked with him.

Whilst on the subject of windmills, today I read that there is a fight to keep open 'The Windmill' pub, in Redmile, Leicestershire.

Probably does not mean a lot to our regular readers, but this pub was used extensively in the filming of the 1980's TV series Auf Wiedersehen, Pet. It appears that the current owner is retiring, and wishes to turn it into a private residence (what else is new).

I have great memories of this pub. It is situated in the Vale of Belvior, in middle of nowhere, no town, or village around, but overlooked by Belvior Castle.

In the 60's I was the resident drummer there for around nine months, working solid every weekend.

It was more of a concert hall than a pub, and would get packed out, with tables, drinkers, and dancers. The clientele came from miles around, and never any problems.

In the TV series it was renamed as The Barley Mow.

I hope they manage to keep it open. There has been a huge decline in pubs being closed, consequently live music suffering a great deal.

Eddie
 
Eddie,

As you know, many musicians who tour internationally get a pretty raw deal from airlines, especially string players with very expensive instruments. And keyboard players are no longer playing tonewheel Hammonds and grand pianos unless they have a sponsorship deal like Oscar had, first with Baldwin, then Steinway, and latterly Bosendorfer, where the sponsor agrees to provide the instrument of their choice at the venue at which they are playing. Now it is all very customised Korg, Kurzweil & Nord electronic keyboards shipped in expensive flight cases or else use rental keyboards at the venue and compromise on their performances.

I once backed Ronnie Hilton in cabaret at the Cumberland in Bournemouth, where we were the resident band - that would have been in the mid-60s. As you say, a good, polished singer.

I hope they manage to save your Windmill pub, it will be a shame if another venue disappears.

Maurice
 
During the early 1950's, in my musical career, a 'Dress Suit' was an automatic necessity in any musicians wardrobe. No dress suit, no gig.

Initially I improvised with a dark jacket, and dark trousers, but would always get 'the look' from other musicians in the band.

On my 21st birthday, one of my parents presents, was a brand new dress suit. I went, with my father, to a very good tailor, somewhere around the Holloway Head area. He made me a beautiful dress suit, in the latest 1950's fashion, which meant 'double silk type lapels'. Wearing it, I felt 'hip' & 'cool', and would arrive at the gig, feeling good, with my Musician's Union card tucked into an inside pocket.

Over the following years I managed to get through a few pairs of dress suit trousers, and I had to wear other band uniforms. Some great, some embarrassing, and everything in between, from the ridiculous 'sixties' creations, to sweat shirt and jeans. Throughout those years, the jacket remained with me.

Last evening I pulled it out of storage, and with memories flowing through my head, tried it on.

It fitted perfectly !!

Sixty three years after buying a fitted dress suit jacket, my body, and the jacket, still came together beautifully..

Today I feel good.

Eddie
 
Eddie,

I used to hate wearing dress suits, mainly because most of those gigs were straight dance or dinner/dance jobs with little opportunity for playing anything I deemed to be creative, i.e. jazz. Also because we were then just another rank and file "employee" like a waiter. When we had band uniforms, at least we felt different. Once I began running my own band, then it was always a band jacket, identical shirts and black dress trousers because as you've said, all musicians generally had those if I needed to augment the band or employ a dep.

Once we did long-term residencies then we didn't bother with the jackets and could wear identical "brighter" shirts and coloured trousers, a plum colour being our favoured colours. Of course, on straight jazz gigs, I wore whatever I liked. Long after I'd retired from performing, my middle son came to me and asked, "Dad, can I borrow one of your old band shirts please?". He knew which wardrobe they were still in so I told him to help himself, but added as an afterthought ?But why do you want that?". "Oh, I'm going to a bad taste party", he said.

We thought they looked smart. Obviously a generation later they thought differently! :-)

Maurice
 
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