Smudger
master brummie
Footballers stil dribble today, especially when counting their money. Stan was born too early, if he was playing today he`d be getting the same dosh as the likes of Rooney.
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Memories of a Birmingham Musician (Drummer)!
- Thread starter norfolk brummie
- Start date
Footballers stil dribble today, especially when counting their money. Stan was born too early, if he was playing today he`d be getting the same dosh as the likes of Rooney.
norfolk brummie
gone but not forgotten
Posting #205 (Maurice), re: Big Band arranging, sparked off another memory for me.
In the 1930's Glenn Miller undertook a band arranging course with a man named Schillinger*, who had devised his own method of arranging. One of Miller's test pieces was a tune called Moonlight Serenade, which later, after a few alterations, became the signature tune of his Band. Maurice may be aware of this arranging method.
Bill Russo, the great trombone player, and arranger, with the Stan Kenton Band, obtained the world rights to Schillingers arranging method, which became a budding arrangers correspondence course. Bill set up a company for an arranging course in the UK with the pianist in our band, Gerry Ferroro. I did, briefly, meet Bill during one of his UK visits to see Gerry. Gerry, in his own right, was a wonderful big band arranger, and it was not unknown for him to be asked on the Thursday evening, for an arrangement, and to turn up for rehearsals on the Friday, with a perfect arrangement. Done with no mistakes, and no piano. He would arrange the whole thing straight from his head.
*May not have spelt the name correctly, but near enough!
Eddie
In the 1930's Glenn Miller undertook a band arranging course with a man named Schillinger*, who had devised his own method of arranging. One of Miller's test pieces was a tune called Moonlight Serenade, which later, after a few alterations, became the signature tune of his Band. Maurice may be aware of this arranging method.
Bill Russo, the great trombone player, and arranger, with the Stan Kenton Band, obtained the world rights to Schillingers arranging method, which became a budding arrangers correspondence course. Bill set up a company for an arranging course in the UK with the pianist in our band, Gerry Ferroro. I did, briefly, meet Bill during one of his UK visits to see Gerry. Gerry, in his own right, was a wonderful big band arranger, and it was not unknown for him to be asked on the Thursday evening, for an arrangement, and to turn up for rehearsals on the Friday, with a perfect arrangement. Done with no mistakes, and no piano. He would arrange the whole thing straight from his head.
*May not have spelt the name correctly, but near enough!
Eddie
norfolk brummie
gone but not forgotten
Maurice,
I did get your response, and the fact that you also took the course, Norman Dovey etc, but it has since disappeared off my screen. I have no ide what has happened, but anyway, nice to know that you realise what I was talking about!!
Eddie
P.S I have just found your reply in my e mail section!!!!
I did get your response, and the fact that you also took the course, Norman Dovey etc, but it has since disappeared off my screen. I have no ide what has happened, but anyway, nice to know that you realise what I was talking about!!
Eddie
P.S I have just found your reply in my e mail section!!!!
sospiri
GONE BUT NOT FORGOTTEN
Eddie:
Because of some problem, Warren did a backup but the backup was taken some two hours before that last posting and, of course, overwrote the disk and left the database short of those two hours of postings. Can't be helped, but as my posting was directed specifically to you, I don't have to try and repost it. Thanks for letting me know.
Maurice
Because of some problem, Warren did a backup but the backup was taken some two hours before that last posting and, of course, overwrote the disk and left the database short of those two hours of postings. Can't be helped, but as my posting was directed specifically to you, I don't have to try and repost it. Thanks for letting me know.
Maurice
norfolk brummie
gone but not forgotten
In the early 1950's Tony's Ballroom in Hurst Street, would close its door on a Saturday evening at 11.45pm. Then the wonderful jazz would commence!!
Colin Hulme's resident rhythm section were all great jazz fanatics, the tenor playing of Roy Reynolds and the trumpet of Bobby Harrison, all Colin Hulme sidemen, made it a wonderful small, but great, jazz ensemble. A few very privileged musicians were also allowed in for the sessions, including myself, and we would 'sit in' with the band. Freddy Adamson, the drummer in the Trio, at the Casino was one of the musicians that would also attend. Freddy later left the Trio in the Casino, for the drum chair with the Jack Parnell Band, taking over from Phil Seaman (quite a task), but before Kenny Clare joined the band.
One evening a young dark haired young man, with big horned rimmed glasses walked in, and said the he was appearing at the Hippodrome, next door. He had arrived in England from South Africa, and was Musical Director for Norman Wisdom, whose was appearing at the Hippodrome. He played piano, and was allowed to sit in on a session. What a great jazz pianist, he was!!
His name was Dave Lee, and he went on to play piano, and arrange, for the Johnny Dankworth Big Band, and he later became Musical Director at the BBC for 'That Was The Week, That Was'.
Roy Reynolds emigrated to the USA, and joined Stan Kenton, the resident pianist, Al Stone emigrated to Canada, and became a staff arranger with the Canadian Broadcasting Company, whilst Bobby Harrison left for the BBC Radio Orchestra, and became the Orchestra's principal soloist.
Those were wonderful jazz sessions, with the finest players, but witnessed by only a few Birmingham musicians.
Eddie
Colin Hulme's resident rhythm section were all great jazz fanatics, the tenor playing of Roy Reynolds and the trumpet of Bobby Harrison, all Colin Hulme sidemen, made it a wonderful small, but great, jazz ensemble. A few very privileged musicians were also allowed in for the sessions, including myself, and we would 'sit in' with the band. Freddy Adamson, the drummer in the Trio, at the Casino was one of the musicians that would also attend. Freddy later left the Trio in the Casino, for the drum chair with the Jack Parnell Band, taking over from Phil Seaman (quite a task), but before Kenny Clare joined the band.
One evening a young dark haired young man, with big horned rimmed glasses walked in, and said the he was appearing at the Hippodrome, next door. He had arrived in England from South Africa, and was Musical Director for Norman Wisdom, whose was appearing at the Hippodrome. He played piano, and was allowed to sit in on a session. What a great jazz pianist, he was!!
His name was Dave Lee, and he went on to play piano, and arrange, for the Johnny Dankworth Big Band, and he later became Musical Director at the BBC for 'That Was The Week, That Was'.
Roy Reynolds emigrated to the USA, and joined Stan Kenton, the resident pianist, Al Stone emigrated to Canada, and became a staff arranger with the Canadian Broadcasting Company, whilst Bobby Harrison left for the BBC Radio Orchestra, and became the Orchestra's principal soloist.
Those were wonderful jazz sessions, with the finest players, but witnessed by only a few Birmingham musicians.
Eddie
norfolk brummie
gone but not forgotten
Re: My posting #103......BLONDIE
This is a photo of the actual kit that I had built for Clem Burke, when they arrived, unknown, in the UK.
Eddie
This is a photo of the actual kit that I had built for Clem Burke, when they arrived, unknown, in the UK.
Eddie
norfolk brummie
gone but not forgotten
Showaddywaddy. With the first kit that the band used, and when they decided to have new drum kits, I suggested that as the band were from Leicester, we should present the old kit to a Leicester school. It is a photo of both 'Romeo' (playing), & 'The Duke' (Malcolm Allured), and myself at the presentation. The kids had a great time.The second photo is myself presenting the new kits to Malcolm and Romeo.
Eddie
norfolk brummie
gone but not forgotten
This third kit is one that I am quite proud of, and it was made for Brian Bennett, with The Shadows. They were due to appear in Paris. Brian wanted to play 'something special', so he called me. We sat down and came up with the idea of an Aubrey Beardsley finish kit. Beardsley was Brian's favourite artist. The kit was finished in a pink colour, with Beardsley type drawings on the drums. I had great difficulty with the drum head, but in the end, it was fantastic. This kit appears on the front sleeve of The Shadows in Paris LP. Brian later donated this kit to the Victoria & Albert Museum, in London.
Eddie
norfolk brummie
gone but not forgotten
In 1966, I was booked into the Cavern in Liverpool, for a drum clinic, for drummers. This is when I would talk about drums, drum technique, questions & answers, and finish with a drum solo lasting about 10/15 minutes. It was a great night, and had been organised by Frank Hessys Music Shop. In Liverpool Hessys was the 'Holy of Holies', for musicians, including The Beatles.
The man that ran The Cavern was Bob Wooler. Bob had been responsible for much of The Beatles early 'gigs'. In a way, he was their manager, not paid, and no contract, but a lovely man, an ex. railway worker, and DJ.
In their early days, Bob worked tirelessly on behalf of The Beatles, and was responsible for getting them into the Cavern Club. He really championed The Beatles cause.
He was also responsible for promoting their record of 'My Bonny Lies Over The Ocean', and played it endlessly at his DJ venues. It was Brian Epstein, who asked Bob to play it to him, and the rest is history
Bob also helped bands like Gerry & The Pacemakers, The Mersey Beats, The Four Most, Johnny Kidd & The Pirates, Freddie & The Dreamers. He even had Cilla Black (as she became known), working in the Cavern Club.
After the finish of my drum clinic, Bob, another couple of friends, and myself, sat around until the early hours, talking about the early days, and how Bob had missed out on all the talent around him. Bands that he had helped, and supported, and in the end, poor old Bob had nothing to show for it. He was not bitter, just a 'If only I had known' type of attitude.
Eddie
The man that ran The Cavern was Bob Wooler. Bob had been responsible for much of The Beatles early 'gigs'. In a way, he was their manager, not paid, and no contract, but a lovely man, an ex. railway worker, and DJ.
In their early days, Bob worked tirelessly on behalf of The Beatles, and was responsible for getting them into the Cavern Club. He really championed The Beatles cause.
He was also responsible for promoting their record of 'My Bonny Lies Over The Ocean', and played it endlessly at his DJ venues. It was Brian Epstein, who asked Bob to play it to him, and the rest is history
Bob also helped bands like Gerry & The Pacemakers, The Mersey Beats, The Four Most, Johnny Kidd & The Pirates, Freddie & The Dreamers. He even had Cilla Black (as she became known), working in the Cavern Club.
After the finish of my drum clinic, Bob, another couple of friends, and myself, sat around until the early hours, talking about the early days, and how Bob had missed out on all the talent around him. Bands that he had helped, and supported, and in the end, poor old Bob had nothing to show for it. He was not bitter, just a 'If only I had known' type of attitude.
Eddie
norfolk brummie
gone but not forgotten
From a Liverpool newspaper, circa 1961. Bands appearing, and the venues. Note that at the bottom of the first column, it says Bob "Big Beat" Wooler.Eddie
norfolk brummie
gone but not forgotten
Many years ago, at various music shows, I would meet up with Rick. Rick was at the shows selling advertising space for the magazine he worked for called BEAT INSTRUMENTAL. He was also an enthusiastic drummer, and loved talking about drums and drummers. He and I would often go and have either lunch, or a coffee, and talk drums.
His favourite saying, in his London accent, was always "Good, 'ere. innit?"
Later on, in the 1970's, he started his own music magazine called INTERNATIONAL MUSICIAN, and when I offered him the opportunity to take on my promotions campaign for Zildjian cymbals, he jumped at the idea. He really loved the name Zildjian. Rick would come to my home, and we would sit and work out the various campaigns. Later on, When I retired, I lost touch with Rick, but noticed, in yesterdays paper headlines that the billionaire publisher, RICHARD DESMOND, had just given one million pounds to UKIP.
How times, and people, change.
Eddie
His favourite saying, in his London accent, was always "Good, 'ere. innit?"
Later on, in the 1970's, he started his own music magazine called INTERNATIONAL MUSICIAN, and when I offered him the opportunity to take on my promotions campaign for Zildjian cymbals, he jumped at the idea. He really loved the name Zildjian. Rick would come to my home, and we would sit and work out the various campaigns. Later on, When I retired, I lost touch with Rick, but noticed, in yesterdays paper headlines that the billionaire publisher, RICHARD DESMOND, had just given one million pounds to UKIP.
How times, and people, change.
Eddie
norfolk brummie
gone but not forgotten
Drum Show in Turin - (Torino), Italy, during a tour of drum clinics around the country. The audience, of Italian drummers, are waiting for me to start the show.
Earning my 'crust of bread'Eddie
norfolk brummie
gone but not forgotten
Outside the Zildjian Cymbal Factory at Quincy, nr. Boston, Mass, U.S.A. The sign reads:AVEDIS ZILDJIAN, CYMBALS SINCE 1623
I was very proud (a kid from Brum), to be the only European working for this great company. Although the company was founded in 1623, they only commenced their U.S. factory production, in 1929. However, they did have the right to say 1623, and they are, reputedly, the oldest established company in the U.S.A. Quite an achievement for such a huge, and commercially minded country. The name is so famous that even the great composers, Beethoven, Wagner & Mahler, wrote music that featured Zildjian cymbals. Today, the company cymbals are featured by many of the worlds leading percussion players, including drummers.
I undertook many world tours promoting Zildjian Cymbals, but photographed here, in Melbourne, with Bob Zildjian, Company Vice President, who accompanied me on this tour throughout New Zealand, and Australia. His father was the owner of the Company. Bob was an incredible man, and he could walk into a room full of people, and immediately become the centre of attention. he was very charismatic, and a wonderful personality.For the uninitiated. Zildjian is one of the most famous names in the world of music. From the moment I joined the Company, a whole new, and wonderful world, opened up for me. The great singers, Bing Crosby, Frank Sinatra, Rosemary Clooney, Ella Fitzgerald, The great bandleaders, Count Basie, Benny Goodman, the worlds greatest drummers, the worlds best rock groups etcetera, even attending conventions and meeting beautiful ladies like Natalie Wood. I have been with Bob when he has met, at various times, friends like Leonard Bernstein, Woody Herman and ex. Prime Minister, Ted Heath. They all wanted to talk to him, and consequently, I was very privileged to have a coffee, or lunch, with these people. A wonderful working life.
Eddie
sospiri
GONE BUT NOT FORGOTTEN
Eddie,
You were a very lucky man to have an occupation that you really enjoyed. The ones that I had that I really enjoyed - and I had many different occupations over nearly 60 years - didn't make any really good money! After switching permanently to computing in 1980, I made money, but the jobs weren't nearly so enjoyable.
Maurice
You were a very lucky man to have an occupation that you really enjoyed. The ones that I had that I really enjoyed - and I had many different occupations over nearly 60 years - didn't make any really good money! After switching permanently to computing in 1980, I made money, but the jobs weren't nearly so enjoyable.
Maurice
norfolk brummie
gone but not forgotten
Maurice,
I am intrigued, in the nicest way. You are an excellent musician. Your arranging achievements alone prove that. I would love to hear some of your stories, and why, or how, a fellow 'Brummie' boy finally found himself living in Crete. That sounds like a story in itself!!
Regards, Eddie
I am intrigued, in the nicest way. You are an excellent musician. Your arranging achievements alone prove that. I would love to hear some of your stories, and why, or how, a fellow 'Brummie' boy finally found himself living in Crete. That sounds like a story in itself!!
Regards, Eddie
sospiri
GONE BUT NOT FORGOTTEN
Eddie,
I've always taken this to be your thread and I am thoroughly enjoying hearing the stories of your musical life and encounters. My life has been one of many occupations as well as musical and perhaps that was its downfall, but it was the way I chose to live it. Working backwards, the story of how I came to be in Crete is a relatively simple but longish one.
One of my many interests, interwoven into some of the last 30 years or so of my life, was mine research, more precisely metalliferous mine research, i.e. silver, lead, copper, and similar mines mainly in North Wales & the Yorkshire Dales, i.e. derelict. So my holidays were usually taken in these beautiful areas. I would drive up as close as I could to the site of one, park the car, my late wife would lock herself in with her book, and I would go off exploring with maps and other documents, suitable footwear and lights, etc., and thoroughly enjoy myself, returning after two hours or so, and without taking too many chances as I was on my own.
One time we got back from one such holiday in the early 1990s and my daughter, then unattached and living at our home in Bournemouth, asked if she and her cousin could go on a cheapie week's holdiday in the sun, but with us. Despite protesting that I'd just had a fortnight's holiday in the Dales, she kept on until I relented. I told her to go into one of my former employers, Cooks, see what was available at short notice and cheap, and phone me at the office to discuss, and I would come in at lunchtime and pay. Well on offer were three places, including Malta, so we thought we'd opt for that, but by the time I got into Bournemouth, Malta was no longer available, but we could have a week in Crete, accommodation allotted on arrival at the deadly hour of 3:00am, and we chose that.
To cut a long story short, my daughter & her cousin wanted to go clubbing in Aghios Nikolaos every night and that was not our scene. The following mornings, we were up bright & early and they were fast asleep in bed! We all used to go for a coffee about 8:00pm every evening and on the last evening my daughter introduced us to her future long term boyfriend and father of my two eldest grandchildren. Eventually after much toing & froing she moved to Crete and we were taking holidays here three of four times a year. When she got pregnant, she eventually moved to Bournemouth and he followed in time for the birth, getting a job as a tiler and staying for more than three years.
Due to some quite sad circumstances they split up and he returned to Crete and both married someone else. A few years later my wife died, I moved up north for a year or so, and on moving back south met up with Jan, a widow. Shortly before that I'd been to Crete again and had looked into buying a cheap cottage and doing it up and moving here. It didn't happen like that. When Jan and I decided that we wanted a more permanent arrangement, she said "Where do you want to live?" as she wanted to get away from Wiltshire. In short, we came here for a holiday, she liked it, and we came back to look for a property, twice as it happened because the first sale fell through. The story of the renovation of that property is here https://www.janmo.com - go to Limnes->House build ->Page 1
You did ask, Eddie!
Maurice
I've always taken this to be your thread and I am thoroughly enjoying hearing the stories of your musical life and encounters. My life has been one of many occupations as well as musical and perhaps that was its downfall, but it was the way I chose to live it. Working backwards, the story of how I came to be in Crete is a relatively simple but longish one.
One of my many interests, interwoven into some of the last 30 years or so of my life, was mine research, more precisely metalliferous mine research, i.e. silver, lead, copper, and similar mines mainly in North Wales & the Yorkshire Dales, i.e. derelict. So my holidays were usually taken in these beautiful areas. I would drive up as close as I could to the site of one, park the car, my late wife would lock herself in with her book, and I would go off exploring with maps and other documents, suitable footwear and lights, etc., and thoroughly enjoy myself, returning after two hours or so, and without taking too many chances as I was on my own.
One time we got back from one such holiday in the early 1990s and my daughter, then unattached and living at our home in Bournemouth, asked if she and her cousin could go on a cheapie week's holdiday in the sun, but with us. Despite protesting that I'd just had a fortnight's holiday in the Dales, she kept on until I relented. I told her to go into one of my former employers, Cooks, see what was available at short notice and cheap, and phone me at the office to discuss, and I would come in at lunchtime and pay. Well on offer were three places, including Malta, so we thought we'd opt for that, but by the time I got into Bournemouth, Malta was no longer available, but we could have a week in Crete, accommodation allotted on arrival at the deadly hour of 3:00am, and we chose that.
To cut a long story short, my daughter & her cousin wanted to go clubbing in Aghios Nikolaos every night and that was not our scene. The following mornings, we were up bright & early and they were fast asleep in bed! We all used to go for a coffee about 8:00pm every evening and on the last evening my daughter introduced us to her future long term boyfriend and father of my two eldest grandchildren. Eventually after much toing & froing she moved to Crete and we were taking holidays here three of four times a year. When she got pregnant, she eventually moved to Bournemouth and he followed in time for the birth, getting a job as a tiler and staying for more than three years.
Due to some quite sad circumstances they split up and he returned to Crete and both married someone else. A few years later my wife died, I moved up north for a year or so, and on moving back south met up with Jan, a widow. Shortly before that I'd been to Crete again and had looked into buying a cheap cottage and doing it up and moving here. It didn't happen like that. When Jan and I decided that we wanted a more permanent arrangement, she said "Where do you want to live?" as she wanted to get away from Wiltshire. In short, we came here for a holiday, she liked it, and we came back to look for a property, twice as it happened because the first sale fell through. The story of the renovation of that property is here https://www.janmo.com - go to Limnes->House build ->Page 1
You did ask, Eddie!
Maurice
norfolk brummie
gone but not forgotten
Indeed, I did, Maurice, and it is a wonderful story. I love it, very succinct, but it tells me a great deal about your life.
I am sure that life on Crete is wonderful. We have been to Malta, Corfu, Cyprus, Sicily, Gibraltar, but never Crete!!
I have a few more musical stories to tell, but it is always lovely to hear other 'Brummie' stories, of life after the early years. It that an idea for a new thread?!
Eddie.
I am sure that life on Crete is wonderful. We have been to Malta, Corfu, Cyprus, Sicily, Gibraltar, but never Crete!!
I have a few more musical stories to tell, but it is always lovely to hear other 'Brummie' stories, of life after the early years. It that an idea for a new thread?!
Eddie.
sospiri
GONE BUT NOT FORGOTTEN
Eddie,
Thanks. Maybe I'll come up with a few musical bits later, but most are in a performing context and unless there's a story attached to them, it would sound like too much of a name dropping list! And if you ever fancy visiting Crete, give me a shout. After last year's 10,000 km drive around Europe, I feel more a break this year!
Maurice
Thanks. Maybe I'll come up with a few musical bits later, but most are in a performing context and unless there's a story attached to them, it would sound like too much of a name dropping list! And if you ever fancy visiting Crete, give me a shout. After last year's 10,000 km drive around Europe, I feel more a break this year!
Maurice
oldbrit
OldBrit in Exile
Eddie. Like Maurice, I also took a different path. As you know the reason that I left Brum for the USA was to try and get into the music business. Of course I found that the competition was very strong and that I just did not have the talent to compete. PLUS not been a US Citizen, to get any union gigs was out of the question. So I had to take another path. To get into the States, at that time you had to have a sponsor, someone who would guaranty that you would have a place to live and a job. My Grandfather and his brothers moved over to the USA in the early 1900s So they offerd to sponsor Reg Hudman the drummer and myself. We arrived in March 1957 in New York and took the bus to Wallingford Connecticut. to my Uncle Gus. We left a month later for California. I got job with a Cadillac Dealer as a credit manager. Did some gigs with non union bands. Left in 1961 on a trip to Colorado and fell in love with the state. Moved there in 1962 Became a credit manager for Used car dealer in Denver Colorado. Met my wife Marcia (Married now 52 yrs) at a party in Aurora. Colorado and got married in 1963. Worked in the Credit, Finance and Investigation business all my life. Two children. Paul now a Captian in the Navy and Sarah a CFO of a Conctruction Company. Six Grandchildren. HAPPY and content at this point. John Crump
sospiri
GONE BUT NOT FORGOTTEN
John,
Interesting story and, like me, you may not have achieved what you originally wanted to do, but you were and are nevertheless content with how your life ended up. I too looked at moving to northern PA in the first years of this century and spent quite a bit of time there, but decided in the end that there were too many problems to actually make it work. by then it would not have been feasible to make it work musically. I like their open spaces, but I don't think I could really live in their cities.
Maurice
Interesting story and, like me, you may not have achieved what you originally wanted to do, but you were and are nevertheless content with how your life ended up. I too looked at moving to northern PA in the first years of this century and spent quite a bit of time there, but decided in the end that there were too many problems to actually make it work. by then it would not have been feasible to make it work musically. I like their open spaces, but I don't think I could really live in their cities.
Maurice
norfolk brummie
gone but not forgotten
John & Maurice,
Great stories from you guys, and to know that Birmingham, and music, in one way or another, shaped your future lives. It is good to know that you are both settled down, albeit thousands of miles apart, but thanks to this great forum, we can still tell stories, and chat away, quite spontaneously. Do not stop.
Eddie
Great stories from you guys, and to know that Birmingham, and music, in one way or another, shaped your future lives. It is good to know that you are both settled down, albeit thousands of miles apart, but thanks to this great forum, we can still tell stories, and chat away, quite spontaneously. Do not stop.
Eddie
norfolk brummie
gone but not forgotten
In the 1950/60's, the BBC TV COME DANCING show was one of their flagship programmes. It was run in conjunction with Mecca Dancing, and Eric Morley, a Mecca director, was the man responsible for ensuring the programme was a success. (Morley was also responsible for the Miss World contest, which was later taken over by his wife, Julia Morley).
I will try to explain a little more about the Come Dancing programme.
The programme went out on a Thursday or Friday evening, and it was an hour show. It would compete one region of the BBC against another. For instance, BBC Wales might have competed against BBC England North West region, or London region against BBC England South West. The dancing, which was undertaken by professional dancers, would represent their own region, and would be relayed live from the competitors own area...say Cardiff for Wales, and Manchester or Liverpool for the North West. Each region had to compete in a number of dances, including all the regular dances, quick step, foxtrot, waltz, tango, samba, old tyme, and formation dancing. For each dance, the region in question would select their best dancers. The bands would perform live for the dancing, and there would be a band in each region. For instance, BBC Wales v. BBC London: the TV camera would keep switching from Cardiff to London, and back, in order to cover each dance sequence, and judges, in some TV studio, would mark down the points for each dance. In those early days of TV, this was quite a task for the TV technicians, but they always got it right...I think.
In those days, the BBC were also very strict on the standard of the bands playing at each venue, and would only use bands that had an established BBC performance history.
In November 1961, Norwich was selected as the venue for the BBC TV Eastern region. The band selected for the live show was the Jan Ralfini Band, who had a thoroughbred history of BBC work. I was the drummer for the evening. A well paid show for the musicians, but a lot of hard work. Afternoon rehearsals with the dancers, checking tempos, selecting appropriate music (which the band had to read). Sound checks, camera positions, cables, TV monitors, dancers all over the place, TV timing, Come Dancing intro/exit signature tunes, and a bunch of musicians just going through their routine, as we did every evening, whilst around us chaos reigned supreme. After the rehearsals, a bite to eat, change into our band uniform, and then go and play live TV for one hour.
That evening we were against the West Midlands, from Birmingham or Coventry, cannot remember which. The band representing the West Midlands was Colin Hulme and his Orchestra. The Birmingham area dancers were much better than the Norwich area dancers, and as usual, Birmingham (West Midlands) won!! However the Norwich based band was very good. The dancers could not blame the band for their performance, but somehow, these dancers, dressed up like Christmas Trees always tried.
Much different to Strictly Come Dancing, which is nothing like the old Come Dancing era. . Now we have a panel of judges each trying to outsmart the other, scantily clad females, half naked male torsos, and they all jump around like performing seals. Ah well, that's show business, and the BBC's attempt to out view 'that other channel'. Not the same as the old days!!!!
Eddie
I will try to explain a little more about the Come Dancing programme.
The programme went out on a Thursday or Friday evening, and it was an hour show. It would compete one region of the BBC against another. For instance, BBC Wales might have competed against BBC England North West region, or London region against BBC England South West. The dancing, which was undertaken by professional dancers, would represent their own region, and would be relayed live from the competitors own area...say Cardiff for Wales, and Manchester or Liverpool for the North West. Each region had to compete in a number of dances, including all the regular dances, quick step, foxtrot, waltz, tango, samba, old tyme, and formation dancing. For each dance, the region in question would select their best dancers. The bands would perform live for the dancing, and there would be a band in each region. For instance, BBC Wales v. BBC London: the TV camera would keep switching from Cardiff to London, and back, in order to cover each dance sequence, and judges, in some TV studio, would mark down the points for each dance. In those early days of TV, this was quite a task for the TV technicians, but they always got it right...I think.
In those days, the BBC were also very strict on the standard of the bands playing at each venue, and would only use bands that had an established BBC performance history.
In November 1961, Norwich was selected as the venue for the BBC TV Eastern region. The band selected for the live show was the Jan Ralfini Band, who had a thoroughbred history of BBC work. I was the drummer for the evening. A well paid show for the musicians, but a lot of hard work. Afternoon rehearsals with the dancers, checking tempos, selecting appropriate music (which the band had to read). Sound checks, camera positions, cables, TV monitors, dancers all over the place, TV timing, Come Dancing intro/exit signature tunes, and a bunch of musicians just going through their routine, as we did every evening, whilst around us chaos reigned supreme. After the rehearsals, a bite to eat, change into our band uniform, and then go and play live TV for one hour.
That evening we were against the West Midlands, from Birmingham or Coventry, cannot remember which. The band representing the West Midlands was Colin Hulme and his Orchestra. The Birmingham area dancers were much better than the Norwich area dancers, and as usual, Birmingham (West Midlands) won!! However the Norwich based band was very good. The dancers could not blame the band for their performance, but somehow, these dancers, dressed up like Christmas Trees always tried.
Much different to Strictly Come Dancing, which is nothing like the old Come Dancing era. . Now we have a panel of judges each trying to outsmart the other, scantily clad females, half naked male torsos, and they all jump around like performing seals. Ah well, that's show business, and the BBC's attempt to out view 'that other channel'. Not the same as the old days!!!!
Eddie
Come Dancing Birmingham Locarno 1950s. View attachment 97612
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sospiri
GONE BUT NOT FORGOTTEN
Eddie,
You got that description pretty well spot on as I remember it, though I never took part in any of that series. Of course, anyone who performed on the BBC or ITV musical programmes in those days had to have passed the appropriate audtion - no miming or any of that nonsense. The BBC in London used one of their buildings at Shepherds Bush and ITV used a building in Bond Street. No one was excused, including The Beatles. In fact, I did my audition with the Johnny Whatmough Quartet for the BBC on the very same morning as The Beatles did theirs, which was when we first met them. Nice guys.
I was working with the same band when The Beatles toured England in 1963 and appeared at the Gaumont in Bournmouth towards the end of the summer season. It was the same night that the annual private "thank you" show for all artistes that had appeared in various Bournemouth theatres during the season took place and we were the band for that show for several years running. So that was the second time we got to meet up with The Beatles. Both Paul McCartney and George Harrison were big modern jazz fans, though not John Lennon or Ringo Starr, as were all of our band, so we got to have quite lengthy chats about jazz. We met up with them again the following year, but I can't for the life of me remember the occasion.
Getting back to the auditions, The Beatles needed to pass theirs for a specific programme - I can't remember which - whereas ours was purely speculative in the hope of getting some work. It eventually came about in October 1965 for a series for the BBC West of England Home Service featuring local bands and I still have a recording, though it does sound rather dated and scratchy. This was because it was recorded in St Peters Hall, Bournmouth, and for some reason the BBC were unable to supply us with a professional copy. Of course, by then we had FM Broadcasting, and our drummer, Bert Jackson, had an FM Tuner. So he recorded the eventual broadcast on a Ferrograph Stereo Tape Recorder and it was many years later transferred to cassette. I eventually digitised the cassette a few years ago, but it needs me to spend some time on it and remove all the pops and crackles - one of those jobs that I keep putting off until another day! However did I find time to go to work?
Maurice
You got that description pretty well spot on as I remember it, though I never took part in any of that series. Of course, anyone who performed on the BBC or ITV musical programmes in those days had to have passed the appropriate audtion - no miming or any of that nonsense. The BBC in London used one of their buildings at Shepherds Bush and ITV used a building in Bond Street. No one was excused, including The Beatles. In fact, I did my audition with the Johnny Whatmough Quartet for the BBC on the very same morning as The Beatles did theirs, which was when we first met them. Nice guys.
I was working with the same band when The Beatles toured England in 1963 and appeared at the Gaumont in Bournmouth towards the end of the summer season. It was the same night that the annual private "thank you" show for all artistes that had appeared in various Bournemouth theatres during the season took place and we were the band for that show for several years running. So that was the second time we got to meet up with The Beatles. Both Paul McCartney and George Harrison were big modern jazz fans, though not John Lennon or Ringo Starr, as were all of our band, so we got to have quite lengthy chats about jazz. We met up with them again the following year, but I can't for the life of me remember the occasion.
Getting back to the auditions, The Beatles needed to pass theirs for a specific programme - I can't remember which - whereas ours was purely speculative in the hope of getting some work. It eventually came about in October 1965 for a series for the BBC West of England Home Service featuring local bands and I still have a recording, though it does sound rather dated and scratchy. This was because it was recorded in St Peters Hall, Bournmouth, and for some reason the BBC were unable to supply us with a professional copy. Of course, by then we had FM Broadcasting, and our drummer, Bert Jackson, had an FM Tuner. So he recorded the eventual broadcast on a Ferrograph Stereo Tape Recorder and it was many years later transferred to cassette. I eventually digitised the cassette a few years ago, but it needs me to spend some time on it and remove all the pops and crackles - one of those jobs that I keep putting off until another day! However did I find time to go to work?
Maurice
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norfolk brummie
gone but not forgotten
Great stories, Maurice. Have enjoyed reading your posting.
The Beatles at the Gaumont Cinema, Westover Road, Bournemouth....Monday 19th to Saturday 24th August 1963.
It was always great to be involved in end of a season 'get together'. We did it in Bournemouth in 1961, with Ken Dodd, Alma Cogan, Joe (Piano) Henderson.
Keep the stories coming. That was great.
Eddie
The Beatles at the Gaumont Cinema, Westover Road, Bournemouth....Monday 19th to Saturday 24th August 1963.
It was always great to be involved in end of a season 'get together'. We did it in Bournemouth in 1961, with Ken Dodd, Alma Cogan, Joe (Piano) Henderson.
Keep the stories coming. That was great.
Eddie
norfolk brummie
gone but not forgotten
Maurice, Yes, I know Len, but have not seen him for years. About fifteen years ago, I gave him a couple of my pupils that lived in his area, south of Norwich. Lewis occasionally returns to Norwich to play at the jazz club, although again, I have not seen him for years.
Eddie
Eddie
