Big Band Britannia

[Ian Thumwood]

Just seen that the next edition of "Jazz Line up" features a specially assembled big band in a live broadcast dedicated to "celebrating the British Big Band in all it's styles and guises." The line up of soloists includes an intriguing mixture of Stan Tracey, Wynton Marsalis, Bobby Wellins, Norma Winstone and Jason Yarde. Looking through this list of names, the overall impression is that we are firmly in Modern Jazz territory here and no doubt this will please several posters on this board.

Taking an overview of the subject, I think it is very easy to take a very sniffy view of the "British Big Band" and, in my estimation, anything recorded prior to the 1960's requires a very selective process of the jazz fan. Although there are odd examples of bands tackling jazz repertoire with success in the 20's, 30's and 40's and, in Spike Hughes, there is an individual who was as ahead of the game with orchestration as any of his American contemporaries, much of the music was not jazz. Many of the British bands of that era now sound particularly rank and whilst I will provoke the wrath of John Wright, are of little musical merit. I'm sorry but the likes of Lew Stone, Geraldo, Jack Payne would all be destined for the dustbin as they have no real footing in British jazz history. Such bands were no match for your Basies', Ellingtons and Hendersons. Even most American territory bands would have minced them! They may have played the odd jazz number but it was a marginal element of the material they cranked out. I hope Baker doesn't elect to pay hommage to this stuff!!!

By and large, the first name that always springs to mind is Ted Heath's band which is lauded in many quarters and was highly regarded by other band leaders in the States but treated with suspicion by the British jazz establishment. Dankworth's band of the same time was more highly prized and , having listened to a recent double CD compilation by Dad bought recently, they were under-rated. Other than this, the albums that Tubby Hayes cut with big bands were highly derivative but swing as hard as any British jazz ensemble of the time. "100% proof " is very good.

However, my perception is that British big bands seemed to suffer from some pretty stiff rhythm sections until the 1960's when musicians seem to get a better grasp of things. I grew up listening to big bands in the early 80's when the phantom of Ted Heath and his ilk still hovered over the world of British big bands in the form of ensembles led by Jack Parnell or Syd Lawrence. Both seemed hopelessly square and had nothing to do with jazz. In fact, I felt the preponderance of Heath sidemen in many ensembles tended to impart the sound of that band on many other big bands where they found employment. It is the sound of MacMillan's "Never had it so good" Britain and pea-souper smog over London. If there is a British Big Band sound, then this would be it (unfortunately.)

It would be interesting to see what selections would be chosen for an essential collection of British Big Band music. Until the 80's, I would have suggested the recommendations would be full of the usual suspects such as Dankworth, Gibbs, BoB and Westbrook. After this date, I think the British have asserted themselves much more thoroughly. Here are a few of my choices:-

1. Kenny Wheeler ~ "Music for large and small ensembles" (Marginally better than "Windmill tilter"?????)

2. Mike Gibbs~ "By the way"

3. Loose Tubes ~ "Delightful precipiece"

4. Colin Towns ~ "Later than you think" (with Norma Winstone but with a German big band so no sure if this should count.)

5. Peter Hurt ~ "Lost for words."


I think Mike Westbrook and Brotherhood of Breath would also need to be represented and, although I don't have it in my collection, have always been impressed by Stan Tracey's "Genesis."

Visiting Americans like Benny Goodman and Woody Herman also recorded with British big bands - a trend continued by the likes of Wayne Horvitz and Sam Rivers.

I would be fascinated to see recommendations for the "Top Ten" British Big Band records.

[Serial_Apologist]

It is the sound of MacMillan's "Never had it so good" Britain and pea-souper smog over London. .

And to think, back then you were a mere thought in your father-to-be's left t.... Ian

Thanks, though, for mentioning Pete Hurt's probably near-forgotten mid-80s recording in your list. He still plays in and around London, especially in Mingus Moves alongside Chris Biscoe, but it's been a good decade since he's led a big band of his own, I think.

S-A

[John Wright]

pre 1960.... Many of the British bands of that era now sound particularly rank and whilst I will provoke the wrath of John Wright, are of little musical merit. I'm sorry but the likes of Lew Stone, Geraldo, Jack Payne ...... have no real footing in British jazz history.

Ha! Ian, I agree with you! but Stone, Geraldo and Payne were dance bands, not jazz bands. They played jazz numbers occasionaly for their fans and because the musicians (who moonlighted to play jazz) enjoyed playing them. The dance music played by the great British Dance Bands did, though, have merit as dance music so should not be tossed in the dustbin as they are considered superior (compared to 'sweet' US bands) examples of music arrangement for the dance band instruments, particularly Lew Stone and Ray Noble, and other arrangers like Ben Frankel, Phil Cardew, Sid Phillips, Peter Yorke, George Melachrino, and remember Benny Carter worked with Henry Hall.

Musicians did moonlight to play jazz and it's worth listening to as you say, Spike Hughes, but also Nat Gonella's band, Danny Polo's (he was American), Six Swingers, George Chisholm, Arthur Young, and for big bands check out Ken Johnson and Carl Barriteau (both Caribbean but definitely swinging) and also Lou Preager and Geraldo in the 1940s.

[Ian Thumwood]

John

What I think is intriguing is that in Britain the "swing " element seemed to be so diminished and whilst I agree with you that the British dance bands might be considered the equivalent of or even superior to the "sweet" or "Mickey Mouse" bands in the States, the more jazz orientated groups often sound stilted. When I was a teenager, I heard a track by Ken Johnson's band (it might have been a version of "Tuxedo Junction") and was amazed that such a band modelled on it's black, American counterparts could exist in London. I think it wasn't until Ted Heath's band reached maturity in the mid-fifties that there was a band in this country that could function mechanically as a similar outfit in the States but, even then, jazz was not really a huge element of what this band was about even if it swung and played with polish. You could argue the same with American equivalents such as Les Brown, Billy May, etc. I suppose it did;t suffer from the old rickety-tickety British rhythms . (There is a great story about Ray Nobile bringing his English drummer to a recording session with the likes of Bud Freeman in the States in the early 30's and the American's couldn't play for laughing when the heard the drummer play behind them.)

It is also probably fair to say that the difference between what was and wasn't jazz was not quite so defined in the 30's and 40's but my late piano teacher who did play with some of these bands (Eric Winstone was one) often commented that the leaders had no real understanding or grasp of jazz. Growing up in the 1980's, I was weaned on big band jazz and had the distinct impression that British big band music was demonstrably inferior to that played in the States and, to my young ears, it was the lack of swing and the missing jazz element which marked these bands down so poorly. Having never seen a band like Ted Heath's play live as the leader had died before I was born, my perception was that this was a band to be more ashamed of than admired even if today I can appreciate the band's musicianship and professionalism. However, people of my father's generation and even older very much valued it's work - to some Heath was the English equal to Glenn Miller. Given the ability of the musicians Heath employed, it was inevitable that so many studio bands of this era were made up of Heath sidemen and whilst I would certainly qualify myself in writing off everything recorded by a British big band prior to the 1960's, the spectre of this band is astonishing. Even a good record like Humphrey Lyttelton's band with Jimmy Rushing where the orchestra played several excellent charts by the wonderful Buck Clayton had a touch of "Heathness" about it.

Looking through the playlist for the Guy Barker gig, there are some interesting choices by the likes of Dankworth, Stan Tracey, Chris McGregor, etc whose work should be celebrated. Alot of the repertoire seems to be post 1960's too. Growing up listening to the BBC Radio biug band in it's 1980's heyday, it was also possible to hear charts by other arrangers from the UK that are probably under-appreciated too such as Allan Ganley, Dick Walters, and the bloke who arranged the charts for Tubby's big bands, Jack Sharpe. The one arranger I loved more than any other was Steve Gray whose charts seemed to be far more modern than anyone elses and has a unique style of writing for the saxes which was immediately recognisable. When I was about 16/17, it was SG's arrangements which opened my ears to more adventurous styles of writing and away from the swing/ be-bop that I listened to at the time. Definately a name worth celebrating and some one who was capable of working with soloists as diverse as Georgie Fame or Abdullah Ibrahim.

[John Wright]

Hi Ian,

the more jazz orientated groups often sound stilted.

But how many of those I list above have you listened to?

I do agree, though, that some of the Brit recordings have no comparison with what the American black bands were playing in the 30s, or even the likes of Jimmy Dorsey etc., but some of those I list are worth a listen, and some of the players were North American like Danny Polo, Max Goldberg, and earlier Sylvester Ahola.

Ken Johnson's band and was amazed that such a band modelled on it's black, American counterparts could exist in London.

Amazing yes, but remember there was not the same demand for jazz in Britain. The British public WANTED dance bands. The jazz records, mainly issued by Decca and Parlophone, did not sell well in comparison. So remember that Ian, there's not much recorded jazz in 1930s Britain because there was no great demand. The one exception, regarding popularity, seems to be Joe Daniel's Hot Shots 'Drum-Nasticks' records which have sold very well (on Parlophone) and I have good number of their records.

There is a great story about Ray Nobile bringing his English drummer to a recording session with the likes of Bud Freeman in the States in the early 30's and the American's couldn't play for laughing when the heard the drummer play behind them.

I wouldn't say it was a 'great story', just an often-repeated story by people who haven't listened closely to Bill Harty's drumming. I don't know how old-fashioned his style was but you can hear him on all British-recorded Ray Noble records 1930-1934, which sold very well on Victor in USA, so Ian, listen to a few of them and THEN tell me what a great laugh his drumming is.

And listen to some of Joe Daniels' drumming records. I think some were issued in US at the time.

often commented that the leaders had no real understanding or grasp of jazz.

Yes I could agree, but again that comes down to the fact that the popular band leaders were those who played dance music, not jazz. I really don't see the point of continuing to compare British dance bands with American jazz. Compare British dance bands with US sweet bands and there might be a worthwhile discussion out of that

Having never seen a band like Ted Heath's play live as the leader had died before I was born, my perception was that this was a band to be more ashamed of than admired even if today I can appreciate the band's musicianship and professionalism. However, people of my father's generation and even older very much valued it's work - to some Heath was the English equal to Glenn Miller.

I'm not a fan of Ted Heath, basically too big and loud for me.

I'd rather compare the likes of 1940s Joe Loss, Lou Preager, Geraldo, even Carroll Gibbons, to Glenn Miller. Yes Miller influenced them, particularly the reeds sound, but I regard the sound of Geraldo and Carroll Gibbons as very special.

One 1930s British arranger you should listen to is Sid Phillips; many of the swing instrumentals by the Ambrose Orchestra are arranged/composed by Sid Phillips. He was clearly influenced by Raymond Scott so if you like his quirky stuff I'm sure you'll enjoy Sid Phillips' 1930s arrangements (he went sweet and corny in the 1940s unfortunately).

All the above dance bands (and the jazz list previous post) can be heard on my podcasts. The playlists are here:

http://www.r2ok.co.uk/playlists.htm

And then you'd have to download each podcast, and skip the first 15mins if you aren't into 1920s, early 30s, and the music-hall comedy stuff the Brits loved in those days


Cheers,

[aka Calum Da Jazbo]

many thanks for your great efforts John ... i am an Ambrose fan meself ...

i recall seeing the Dankworth band at the RFH in the early sixties, they were incredibly good Ian; worth remembering the reviews they received for their performance at Newport:

But the overriding impression is of just how good Dankworth's ensemble writing was – a mix of hard-slammed big band riffing and richly layered Ellingtonesque colouration that nourishes a constant sense of anticipation. The band rapidly works up some heat on the bluesy Firth of Fourths; Don't Get Around Much Anymore represents Dankworth's harmonic sense at its most acute; and by Doggin' Around and Take the A Train the band is exuberantly at ease. A UK jazz milestone.

http://www.guardian.co.uk/music/2010/apr/15/john-dankworth-live-at-newport

[Serial_Apologist]

This'll have to do - hope it works.........

http://www.youtube.com/watch?v=EGMWrite6OE0&feature=related

Can't seem to find any utube stuff from the London Jazz Scene the 30s Ace of Clubs LP I bought my father in the 70s - 1 side Ambrose, the other Lew Stone. Some of these tracks - Abrrose's Embassy Stomp, Deep Henderson; and Stone's Blue Jazz, not to mention Serenade for a Wealthy Widow, with its "audacious" strings of unresolved augmented sevenths, undoubtedly swing or are curiosities to say the least. For dad it brought back tea dances at the Strand Palace, and "asking the ladies for a fox trot". Ahem.

S-A

[Serial_Apologist]

It didn't - tsch!

[Ian Thumwood]

John / SA

Thanks for the response ~ I will go through this in more detail over the weekend, including listening to the podcast.

I have listened to a bit of the British scene form this era although not with the interest or passion that I would for American jazz groups of the same period. It is fair to say that there are elements of jazz tucked away in there and many of the names listed are familiar even if I have never really explored this music with much enthusiasm. Pop empheria was always part of the jazz scene in those days but the bands by the likes of Fred Elizalde featuring Danny Polo (1920's "New York style" as epitomised by Red Nichols), Spike Hughes, Sid Phillips, Ken Johnson, Benny Carter's British records and Harry Parry have all, at times, made me realise that jazz was not non-existent in the UK at this time. As good as these bands may have been when performing jazz, it is fair to say they weren't in the same league as the bands I listed above or indeed some of the less celebrated big bands in the States at that time whether it be Andy Kirk, Benny Goodman or Jimmy Lunceford. Some of the recordings like "Blue jazz" were, in fact, arrangements by Americans such as Gene Gifford who was the principle arranger for the Casa Loma orchestra at the time whereas Reginald Forsythe had experience in the American big band scene even if his work was more compositionally inspired than jazz inspired. (He was still considered interesting enough for Willem Breuker to record his "Serenade for a wealthy widow" in the mid 1980's) It is interesting to see what elements of the music the British band-leader appropriated for themselves. Later groups like "The squadronnaires" could swing if they wanted albeit in a Bob Crobsy-esque fashion but I would tend to agree with Calum as suggest that Dankworth was really the first bandleader to earnestly follow a jazz policy with any genuine success. I've heard records by some Bebop inspired groups on the late 40's but hav never felt these were that successful even if they were sincere in their endeavours. The recordings by Dankworth definately suggest that he had nailed it. Curious to see Nat Gonella's name listed as he was a familiar figure in the Gosport jazz scene until his death and lauded in "Trad " circles even if his music was ridiculed by the generation of my piano teacher who cut their teeth on American swing before being seduced by Be-bop and the changes in the music that ensued. For many on the 30's, Gonella (just as with George Chisholm perhaps) may have been the archetypal jazz musician of their era to an adoring public but the flirtation with popular culture was perceived to have robbed them of their "jazz credibility" with later generations who took their cues from Parker and later Coltrane. Even though Gonella fell under the spell of a Black jazz musician (Louis Armstrong), an element of vaudeville always seemed high in his priorties so that his reputation never quite endured in serious circles. I have a biography of him which recounts his trip to the States where he sat it with some pretty heavyweight jazz musicians and bands of the time as well as making some recordings with the likes of Benny Carter and john Kirby. This makes it clear that he impressed his peers on the other side of the Atlantic yet even his reputation as the greatest British jazz star of his day is totally dwarfed by the reputations enjoyed by a later generation such as Tubby Hayes, Joe Harriot or Stan Tracey. However, Gonella was more of a small group artist than anything else so maybe not really such a good example for this debate. Harking back to the comments of my teacher, he was very sceptical of the merits of the Dance bands in which he was forced to earn his living (and pretty contemptuous of Gonella's abilities too for that matter. )Maybe British jazz musicians were more compromised by "commerciality" than their American counterparts who have transcended these limitations? The "rubbish" commercial dross sometimes turned out by the likes of Armstrong or Calloway seems much easier to forgive than the British equivalent. Fans can always find something wonderful in an Armstrong performance but maybe have less patience with a British record of the same era. I don't know.

I can't speak with authority on this matter but have always felt that British jazz never really had a big band tradition as existed in the States for the reason that the jazz element was always frowned upon by the band-leaders of the 1930's / 40's which seemed to make the jazz musicians employed in their ranks hostile to playing in big bands in return. The negative comments Stan Tracey made about Heath's band are typical. Playing small group "Modern jazz" had more cache and this attitude has probably only disapated since the late 60's and only really kicked aside by the 1980's when a group like "Loose Tubes" defined the British jazz scene of the time.


Where I would differ from John in my outlook is that, for me, the jazz element is essential for big band music. There are bands which were hugely musical and performed only a proportion of jazz in their repertoire which I would argue have genuine merit (Claude Thornhill is the best example - again Danny Polo played clarinet in this band) but the kind of music put out by labels such as Capitol in the 1950's almost parallels the McCarthy era paranoia in it's rejection of "Liberal" jazz innovation. Unfortunately, I will struggle to agree with John on this issue even if I can respect his undoubted knowledge and enthusaism for his subject.

[John Wright]

Thanks Ian. Yes I agree it can be hard to find records of early British jazz of comparable-to-US merit, but it can be found.

As I say, if 95% of British dance band music was not intended to be jazz then I can't see how it can be 'dismissed'. Dance music was part of British culture, the masses loved it, the top bands were hugely successful, hundreds of their records were issued in USA, Europe and the rest of the world, they played all the hits of Hollywood and Broadway, and several record companies' existence depended on it.

The small group records led by Benny Carter were mostly excellent, and most of the musicians with him are British, including Ted Heath trombone. I mentioned Carter worked as an arranger for Henry Hall (BBC Dance Orchestra) in the mid 1930s, but unfortunately only a handful of Henry Hall's 1936 records bear the hand of Benny Carter as his employment was mainly to provide arrangements for Hall's touring band, and not recorded.

Sad that so few of Carter's arrangements were recorded but it has always been said that the BBC handed over ALL the BBC DO arrangements/scores to Henry when he left the BBC in 1937, so it is believed that the Hall family still have them.

[Ian Thumwood]

John

Been ploughing through the podcasts which, I must admit, are more interesting to me for the historical content than the music. The historical research you have done is amazing. There is a lot of really interesting information on your website but I'm afraid I remain unconvinced by the programmes I've listened to. The best track was easily a medley of blues by a band I had never heard of although the soloists included musicians such as Freddie Gardner and the ubiquitous Danny Polo. On the whole, the early , 1920's tracks seem to be best - there was an acoustic recording from 1924 called "Maybe" by Leslie Jeffreys which does not seem to far removed from some of the old Carroll Dickinson / Erskine Tate recordings which feature the legendary Freddie Keppard. I would totally agree that there is no discernable difference between Armerican and British bands of this era but that it probably a reflection on the state of jazz at that time. It was a shame that British jazz never followed a similar trajectory to in the States - I would add that my listening to your programme you can quickly appreciate why the likes of Shostokovich or Martinu thought they also wrote in a jazz idiom. Your programme does cover a wide base and suppose reflects the variety of music these bands churned out. Shame that the British public couldn't find the room for a 100% committed jazz orchestra and I would tend to reiterate my comment that the hostility jazz musicians felt to these bands probably resulted in a reluctance to form such ensembles in earnest until the 1960's in fear that the integrity of small group jazz might be lost.

The playlist of repertoire for the Guy Barker gig does look intriguing though! One of my favourite Chris McGregor tracks appears to be on the programme.

I am curious to learn that is you have such a vaste collection, a fair proportion must be of some extremely interesting and obscure American territory bands. That would be a programme I would avidly listen to!

Incidentally, it was curious to see photos on your site of the bandleaders Sidney Lipton and Eric Winstone, both of whom were former bosses of my piano teacher. He was extremely critical of these bandleaders both for the music they played and the fact that they often expected "favours" of the girl singers. One British bandleader mentioned by Calum had a particularly bad reputation for this! I think his most severe criticism was left for Billy Mayerl even though I think it was as a member of his club he managed to establish a good enough reputation to work as a musician and study at the Guildhall where he knew Sir Colin Davis.

[John Wright]

Been ploughing through the podcasts which, I must admit, are more interesting to me for the historical content than the music. The historical research you have done is amazing.

Thanks Ian. I have all the important necessary reference books which give me dates and personnel where known, and the record labels themselves are good for some information like composers, though the internet usefully confirms the full names of composers, and also info on films, Broadway and Hollywood sources of the tunes. I've collected and researched the music for over 30 years now.

but I'm afraid I remain unconvinced by the programmes I've listened to.

Still not sure what you are trying to convince yourself about?? Are you trying to convince yourself that British musicians/bands did not make good efforts to play jazz? Or are you just saying that British bands failed to play like American bands.

If it's the latter, I don't know why you think British bands should have played like American bands.

The British record-buying public who wanted the 'real thing' got that from American records. Most of the Ellington, Dorseys, Goodman, Basie, Armstrong records were issued in Britain on HMV, Brunswick, Parlophone and Decca records, and fans could see some of those musicians on tour here.

The best track was easily a medley of blues by a band I had never heard of although the soloists included musicians such as Freddie Gardner and the ubiquitous Danny Polo.

Ah, that would be Arthur Young's combo, yes an excellent arrangement by him and good jazz for sure, the other side will be heard in show #114 end of March, very interesting you will find.

So you weren't impressed by Six Swingers, Joe Daniels or George Chisholm. I enjoy them, but as dance bands as much as for the jazz content. Also Harry Parry, though his clarinet I don't think is great - apparently he was always pissed at sessions so he got something of jazz right

On the whole, the early 1920's tracks seem to be best

By 'the best', I think you mean they sound similar to American bands. The jazzier British hotel bands and session bands of the 1920s did have a higher content of American musicians, like the Staritas who all came from Boston, as did Carroll Gibbons, Frank Guarente is on some records too, Sylvester Ahola and Adrian Rollini and others.

In the 1920s many American records were issued in UK on Columbia and HMV, from Fletcher Henderson, Red Nichols, Dorsey Brothers, Bix, and the 'hot bands e.g. Sam Lanin, Whiteman etc. Not many black bands, but a few.

It was a shame that British jazz never followed a similar trajectory to in the States

Again, I think that's an odd statement. Why should British musicians/bands have played in American style? There was more than one 'jazz' in America, so quite rightly there was a British jazz too.

I should also add that there was only one 'radio' in 1930s Britain, the BBC, and they weren't keen on jazz. They even banned broadcast of 'scat singing' for a while until Louis Armstrong's very successful tour in 1933 told them the public DID like scat singing. and of course te popular Bing Crosby all scatted...

I would add that my listening to your programme you can quickly appreciate why the likes of Shostokovich or Martinu thought they also wrote in a jazz idiom.

Ha ha, yes I conclude the same there

Your programme does cover a wide base and suppose reflects the variety of music these bands churned out.

Yes for sure, I like all the music from the era and play it all, good and bad, romantic or silly, hot or sweet. If I didn't play any comedy stuff some listeners would complain, or keep sending me requests for daft stuff, so I play something daft most shows. And if I only played hot stuff or instrumentals then folks would ask where are all the waltzes and sentimental singers and sweet bands.

Shame that the British public couldn't find the room for a 100% committed jazz orchestra

I can understand your disappointment. The nearest 100% British jazz outfit in the 1930s was Joe Daniels'. The other jazz combos on my podcasts were studio ensembles with musicians moonlighting from their hotel band jobs.

Most of the popular bands toured, and their stage performances were an opportunity to play hotter music, which they did, but the theatre audiences also wanted to hear the sentimental singers and the comedy sketches etc etc. Harry Roy's band was probably the most popular touring band because they did everything equally well. Unfortunately Harry Roy himself did most of the singing (they were also resident at the May Fair hotel and made a pile of records for Parlophone too).

and I would tend to reiterate my comment that the hostility jazz musicians felt to these bands probably resulted in a reluctance to form such ensembles in earnest until the 1960's in fear that the integrity of small group jazz might be lost.

I'm not so well-informed of the post WWII scene, I'd have to read up on all that.

I am curious to learn that is you have such a vaste collection, a fair proportion must be of some extremely interesting and obscure American territory bands. That would be a programme I would avidly listen to!

I have a good American collection, not just records issued in UK but I also collected hundreds or records in Ohio and New York when we lived in those places in the late 1980s. Don't have many 'territory bands' (if we have the same definition there) but I do have a lot of the 1925-1930 bands.

Yes if I had time I would do some American music podcasts, but a few of my US colleagues do that already.

Sidney Lipton and Eric Winstone, both of whom were former bosses of my piano teacher. He was extremely critical of these bandleaders both for the music they played and the fact that they often expected "favours" of the girl singers. I think his most severe criticism was left for Billy Mayerl.

Yes, both Lipton and Winstone went 'sweet' in the 40s and 50s, and yes band leaders were no angels, even Bert Ambrose had a thing for young blondes, like Evelyn Dall and Kathy Kirby, but I'll leave those stories to the biographers.

This discussionis is great Ian. But as I keep saying I don't see why jazz scholars TODAY expected British musicians of the 1930s to have played only American jazz; jazz is free to play as you wish is it not?

Back to big bands, and again, up to end of WWII I think you might enjoy some of the British 'swing' product, from Joe Loss, Geraldo and Carroll Gibbons.

[aka Calum Da Jazbo]

listening to the programme over the course of a working day, so a little bit at a time, must say i find the performances excellent .... and messrs J & G nicely enthusiastic ...[and no BBC Big band]

[John Wright]

The best track was easily a medley of blues by a band I had never heard of although the soloists included musicians such as Freddie Gardner and the ubiquitous Danny Polo.

Ah, that would be Arthur Young's combo, yes an excellent arrangement by him and good jazz for sure, the other side will be heard in show #114 end of March, very interesting you will find.

I've just uploaded podcast Dance Band Show #114 with the part 2 of Bundle of Blues by Arthur Young's Youngsters, and I think any jazz fan will be impressed by that arrangement of three 'blues'.

http://www.r2ok.co.uk/dancebands114.mp3

36Mb


John W