Reminiscing

Hello,
I am a post graduate student currently researching Clubs/social events in Manchester around about 1940's, You don't have any information on this do you? To be more specific I'm investigating what it was like to be of ethnic minority residing in Manchester at this time also which socialising events were popular, what are they now .... I know its a long shot and a big task, its just I'm not having any luck researching this area, every lead comes to a dead end. Any help or info much appreciated.

C. Magowan
JMag903503 at aol.com

I'm a small time book publisher based on the Mediterranean border between France and Italy where 90 degrees of sunshine is currently cracking the tiles on my terrace, the wine is perfectly chilled, and the glare from the sea is blinding.

But finding your website has made me feel like upping sticks and immediately moving back to Wigan!

We're soon to publish a book by a Lancashire author who, by sheer coincidence, turned out to live over the road from one of my oldest pals, jazzer Willy Entwistle (Temperance Seven and Café Society). Willy and I lost touch twenty years or so ago, but we contacted each other immediately we discovered this new mutual friend, and he told me about your splendid website

Wow – I'd no idea the scene had become so lively again. In the sixties (when, as callow youths, Willy and I played whenever, whatever, wherever and with whoever we could), things were pretty hot. Our own favourite spot was old Jenks' Manchester Sports Guild cellar jazz club where we had to sign up as sky divers to get around some daft local by-law and hear some of the best music around.

Some of the bands we heard regularly are mentioned as still up and running in the list on your site. The names of individual musicians also had me tapping my feet.

Reading your list of bands, players and upcoming gigs, I felt like I'd stumbled through a time warp. So many of the guys still around and still active. Sadly, so many others have blown their last note and sunk their last pint of Number Five. Some very special names were conspicuous by their absence in your pages and silently sounded the only blue note during my cyber visit.

I was amazed when Willy sent me a picture of the current Temperance Seven line-up to spot – as well as Willy on alto - two other guys I met and became long-time pals with at the MSG – Derek Galloway and Johnny Tucker (both Manchester lads). Willy's also digging out contact numbers and addresses for other Northern music makers I've lost touch with over the years as a wordsmith gypsy … many of whom I'm sure you'll also know well, Fred.

They say nostalgia's not what it used to be, but this on-screen jive down memory lane has made my day. I look forward to checking in often and, some day, planning a crazy, hazy holiday in the North West with an itinerary based around the gigs you let us know about.

I would certainly be happy to provide a few reminiscences. I well remember the MSG and Jenks. He was a character on his own. Also the Eric Batty Jazz Aces at the Thatched Cottage in Market Street. They had Roy Williams on trombone - he played wonderful Kid Ory stuff in those days. Roy was very intrigued by our band (Ralph Watmough Jazz Band ) at that time, because we had no trumpet, we had alto sax as lead, with Bob Wright playing clarinet (he later joined the Zenith Six to replace John Barnes).

There used to be a tape (of the large variety - not a cassette) floating round of a session by the Watmough band at the Mardi Gras Liverpool (I would guess it was recorded in 1961 or 62), but I have never been able to trace a copy. It was recorded by the late Joe Shannon, and the band was on a strictly Basie small band/John Kirby kick at the time, but eschewing any saxes owing to the "dirty bopper" element in audiences of those days. The assembled alumni included Prof Stringer on clt, the late Tony ("Art") Reid on trumpet and either Harry Price or Mike Nash (if I had to swear on it, I would say the former) on tmb.

If anyone out there knows of a copy, I should be very interested.

Regards

Ralph Watmough
Lots of other memories where that came from!
07/06/03

I remember The Sportsmans, on Market Street, Manchester. Down the steep stars into the basement, with the very small bar immediately to the left and the tiny jazz room opposite to the right. Many local bands played there, but they had a strange (Scottish, I understood) licence and closed the bar at 9.30 p.m. The Club continued to the more normal 10.30 p.m. We would rush to the bar and order several pints each - thank goodness for the Britannia tables with the shelf underneath. (No drinking-up time in those days.) There we would store our extra drinks, to keep topping up our original glasses to keep them "live" for the rest of the evening and prevent the "management" from collecting them. A friend (to this day) and myself met a fellow fan in the Gents who was carrying three extra pints for himself, was bursting, but couldn't find any place to put them down. We assisted by relieving him of a pint each, and he became a friend for many further years. Another Jazz Club (short lived) was the White (Horse ?) on Spring Gardens. It was here we saw the first band to be brought to Manchester by Ken Colyer following his break with Chris Barber - and did we look forward to it!. It was better than expected and contained this strange Clarinetist who played out of the side of his mouth - Bernard Bilk.

Dear Fred, Regarding Mike Howarth's article I remember seeing this session. It would be in the mid 50s, I went to the Bodega to see Colyer and was informed they had double booked the place and that the venue was transferred to the 'Three Tuns Restaurant' on Spring Gardens. On arriving there I discovered it was not licensed. Being used to the 100 club in London which was also dry at the time I waited until Half time to slip out to the Post Office Club (which was also a jazz venue). I remember the band very well that night with Bernard Bilk, Ed O'Donnel and Alexis Korner (Skiffle). Happy Days.

So far, Left to Right =
?, Bob Stockley (sax), Warren Bromilow (pno), Harold Troughton (clt),
Harry Standon (tpt), Ron Pierce (tbn), John Pierce (dms)

Harold Troughton asks if anyone recognises the musicians in the photo he supplies.

It was taken around 1954 (I would guess) at the Cuerdley Arms, St Helens. On piano is Warren Bromilow, a stylish, modern-type player who to the best of my knowledge didn't go on to play in any regular bands after that period, at least not Dixieland ones. The trumpeter at the back is Harry Standon, who later played with the Riverside Dixielanders who had a long residency at the Cherry Tree in Culcheth.

The clarinet player is, of course, Harold himself, who for many years has kept the flag flying at various venues in the St Helens area and now also plays with the Blue Mags.

But whilst I remember the faces of a couple of the others, I can't put a name to them. Was the alto player one of the Collins family?

The photo brings back happy memories of a time when loads of young lads were putting together Dixieland and traditional jazz bands, often learning their instruments as they went along, and doing gigs in pubs and at local hops for 'ten bob' a man. It was a noisy, often raucous, music with a wild beat and a colourful history which just got into your blood and stayed there. What's more, the older generation thought it was cacophonous and decadent - a dangerous music associated with low dives, drugs and alcohol.

The Cuerdley was the first place in St Helens to run a jazz club. It took place in the upstairs room and I and some of my mates would go there under age and wallow in the sounds produced by Harold and the rest of the band. I remember on one occasion a trombone player turning up from distant Lymm who got more and more drunk as the evening progressed until his legs gave way and he ended on the floor still playing his trombone. On another occasion, John Higham appeared and, sitting in an old armchair, pointed his trumpet to the ceiling and, eyes tight shut and shoulder cocked à la Lyttelton, nearly blew the roof off on Muskrat Ramble.

It was a music that just set your blood tingling, so, inspired by great bands like the Humphrey Lyttelton outfit with Wally Fawkes, but also in no small part by Harold and his mates at the Cuerdley, I wanted to be part of it. The clarinet was the instrument that appealed the most, so one day I took myself off to Hessy's in Liverpool, where they well and truly ripped me off, raw youngster that I was, by selling me a simple system A clarinet. Some time later, I was the proud owner of a Bb Boosey & Hawkes Regent and doing my first gigs round St Helens. And, with a change en route to double bass, I'm still at it, like so many others who can tell a similar story.

So I say "Thanks" to Harold and his mates for helping to kindle that first enthusiasm.

Keith Allcock.

Bernard Bibby also recalls The Riverside Dixielanders at The Cherry Tree in Culcheth

Looking through your reminiscing pages brought back memories of playing with the Riverside Dixielanders there in the 1960s. The personnel was as follows:- Clarrie Henley guitar and piano (leader), Jack Toft, who was blind (drums), Norman????? (bass), Harry Mills (trombone), Harry Standon (trumpet) and myself on clarinet. We had some wonderful Wednesday evenings there, always a full house and a great atmosphere. I know that Clarry Henley is living in the Horwich area, I do see Norman (I think his surname is Simpson) occasionally, I have kept in contact with Harry Standon, he lives in Grappenhall, Jack Toft died many years ago and Harry Mills lives I believe in the Atherton area. I remember a wonderful evening when Roy Williams guested with us, we also had Nat Gonella (I missed the breaks in tiger rag), and Ken Doran from the Lymm Dam Jazzband also Tony Dunleavy. Pete Daniels (Merseysippi) plus many others. I wonder if anyone else who looks at your Website has any other memories of the Cherry Tree in the 1960s

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I remember listening to the Saints Jazzband in 1952/3 when they used to play in Manchester on a Saturday evening at the Grosvenor Hotel at the bottom of Deansgate, Near Exchange Station . Happy days. Does any one know if there are any of the original Saints still living? I have the CD's that Lake Records issued. They are great and take me back to when I was a teenager.

Kind regards
Mildred Finney
17/06/03

Mildred, On the subject of the Saints, Reg Kenworthy of Smoky City Jazz played with them, and this entry is from my Guestbook 2000 - Fred

From: Merton Kaufman, London, Ontario Canada Email: <thekaufmans@webtv.net>
Posted on: Saturday, March 25, 2000, 10:14 PM

Many years ago ( early 1960's ) I used to play drums with the Saints Jazz Band, our main gigs used to be at the Bogeda, in Manchester, we made a couple of 45's for Parlophone, "Roses of Picardy" etc also I played with bop group at the Club 43, at the Clarendon Hotel on Oxford St., it used to be run by a guy called Eric Scriven, the reason I am writing this is that I have lost touch with "that old gang of mine" so if anybody from the old days would like to get in touch, or can tell me how to get in touch with Eric Scriven I really would appreciate it.

With respect to the Saints article in Just Jazz Magazine written by Rod Hopton, Merton says, "One little note, I was on the Thank your Lucky Stars gig with Billy Fury and Karl Denver, and also at the Leofric in Coventry with the little Fiat 500. In Rod's article the dates seem to jump there and back a bit.

Rod Hopton was playing trombone with the Saints the night I proposed to my wife, almost 48 years ago, we were doing a gig at The St Andrews Hall in Glasgow, I proposed in the bandroom, but didn't get an answer right away, the thing that bothered me most was that on the journey home she slept with her head on Rod's shoulder most of the way back. How's that for a story?

My one problem is that I am not sure who I was playing with on that gig. I married my wife, who's name is Barbara by the way, in August 1956, we were engaged about 6 or 8 months before that, which means that I proposed sometime in 1955. I didn't join The Saints 'till John Mills died which I believe was in 1960, I played with them about 2 years, my last gig with them was in 1962, (We came to Canada in 1964 not 1962 as Rod Hopton say in his article) in fact I recorded Roses of Picardy with them in April 1962, but then I see that Dennis Grundy was on a B.B.C. broadcast with them later in 1962, with Dizzy Burton on trumpet instead of Barry Dixon.

I have found that my memory plays tricks on me now, it happens when you are getting near 74, you don't feel old 'till you walk past a mirror. I can remember my childhood, but not what I had for breakfast yesterday.

I think the reason that I did that gig in Glasgow was that maybe John Mills was ill and I filled in for him that one gig. The Clyde Valley Stompers were on the same bill. It was some sort of Jazz Jamboree."

Also From: Geof Turner, Altrincham, Cheshire, England
Posted on: Wednesday, September 25, 2002, 10:04 AM

When I started work in 1951 in Manchester City Centre I first heard The Saints Jazz Band and it may be of interest that I still have the three original 78 rpm records made by the band on the Decibel Label which states "Lancashire Society of Jazz Music Series recorded at the Dixon Roadhouse Recording Studios, Oxford Road Manchester" The recording would have been made in 1950 or 1951 and of course many people in the Manchester area would have known Johnny Roadhouse. I also have the Parlophone 78 of a concert at the Festival Hall during the Festival of Britain in 1951 with The Saints on one side and The Crane River Band on the other. Thanks for an interesting site.

Dave Whistler says, I read the page about this band with great interest. One point not mentioned - Parlophone released a 78rpm record of the band playing 'I want a girl...' in 1951 from the concert mentioned. I have 2 great copies. So their recording actually started in 1951, not 1952.

An article from Just Jazz Magazine has now been reproduced on this site. Click here to view

Just read several of your articles on Ed Fish and The Saints Jazzband. I used to go to The Saint's rehearsals at a pub in Ashton-u-Lyne in the late 50s. John Mills, Fred Fydler, Mick McMama, Ed Fish and my favourite Alan Radcliffe were in the band at that time. I was also at the Louis concert at Belle Vue in '56 and have still got the original programme and Louis' autograph which Alan got for me. Unfortunately I got too interested in what was modern jazz in the sixties and lost touch with the band. However I did contact Alan again and he came to my 50th birthday do (Dave Donohoe band played) in 1987. I still feel that he was one of the best clarinetists in the country and was without a doubt the main driving force behind the band and I would dearly like to know the whereabouts of Alan if anyone can help. Thanking you in anticipation.

It was the inspiration of the Liverpool University Jazz Band that had persuaded me to blow a huge hole in my very limited funds on a set of drums. I particularly remember relaxing in the Students’ Union library and listening to the Armstrong influenced trumpet of medical student John Higham, downstairs in the Gilmour Hall. He was playing ‘Keeping Out of Mischief Now’. The band he led had earned a proud reputation on the local music scene and in university jazz circles around the country. Among its most outstanding members was bass player, Hugh Potter, named best individual musician at the annual Inter-University Jazz Federation band competition in 1957 and 1958. Years later, in 1970, John, by then well established in medical practice, joined the Merseysippi band. How I wanted to play with musicians like that. How I wished I had the ability! My musical education was minimal. An uncle in Yorkshire had introduced me to the rudiments of drumming but I never really mastered the arts of paradiddle and mummy daddy. My short stint as a trainee drummer with a silver band in Orpington, Kent had done little to improve my skill. But I had an ear for music of all kinds, from British folk music and Negro spirituals to popular classics. Now jazz had become a passion. I had joined the University’s jazz society, Rhythm Club, and I was desperate to play in a band.

Opportunity came when graduation began to take its toll of Liverpool University musicians, leaving vacancies that younger students were keen to fill. I heard that a new University band was being formed and I learned that it needed a drummer. My informant was a woman who was a year ahead of me in the geography course in which I was enrolled. She worked sometimes at a coffee bar, The Pack of Cards, near the Students’ Union, and was aware of what was happening there. She was also familiar with the local jazz scene. One day in the Students’ Union she introduced me to a group of young musicians who were forming a new band and they invited me to fill the drumming spot. They were a mixed lot, including students from various backgrounds. Over time there were personnel changes and I recall that among the academic and professional disciplines represented in the band at some time or other were medicine, engineering, veterinary science, dentistry, English, psychology and biochemistry. I was the only geographer in the group and later, as a post-graduate, the only Civic Design student. Liverpool University’s School of Architecture had its own jazz band and some other students played in local bands.

Except for me and a Shropshire lad, all the original players were from Merseyside or neighbouring parts of Lancashire and Cheshire. Standards of musical skill varied but most had training and some could play more than one instrument. We practised together in the Union, playing what was generally described as traditional jazz, although there were among us those who had learned to appreciate modern jazz, including bebop. The late Charlie Parker was my jazz idol and the Modern Jazz Quartet was my favourite combo at that time. We recognized that we were unable to play complex music of that standard and wisely stuck to trad, only later progressing into mainstream and even beyond.

The original group included trumpet, trombone, clarinet and piano, banjo or guitar and me on drums. We didn’t have a bass player to begin with but over the next few years several different students filled that role. During my time at Liverpool, the core group of musicians expanded and contracted. It assumed various forms, ranging from a trio and a Shearing style quintet, complete with vibraphone, to an eleven-piece band that included a full reed section and two French horns.

It was during one of our early practice sessions in the Union that a young woman came up and invited us to play at a function which was to be our band’s first gig. I felt elated. It was to be my public debut as a jazz drummer. We were even going to be paid. I was a professional musician at last! The occasion was a dance for student teachers and their guests at Barkhill, a women’s college in the suburb of Aigburth. How we got there I don’t recall. Very few students had cars in those days. Musicians and their instruments were usually stuffed into a small borrowed van. Sometimes we had to travel considerable distances with musicians and instruments leaving scarcely enough room for the driver. On a few occasions we travelled in this way to and from Manchester and I recall some journeys through fog so dense that visibility was down to a couple of yards.

The Liverpool college dance was quite a formal affair with at least some of the dancers in evening dress. Despite our inexperience as a group, we felt confident as we set up on the small stage. We had not prepared a programme but, like true jazzmen, we had in our heads many standard tunes, a legacy we shared as jazz aficionados. We began with a lively number and to our delight the audience started to dance. Some of the elegantly dressed young couples jived enthusiastically to our music and it felt great to be the drummer, driving the band along and exerting such powerful influence on the audience.

My newfound musician friends seemed pleasantly surprised at my drumming, one venturing to say that I was ‘a natural’. That boosted my confidence and I offered to sing a song I had learned from a Louis Armstrong record but which I had never before sung in public: Mack the Knife. After some hesitation, the band began to play the well-known tune and at the appropriate time the leader, no doubt feeling somewhat apprehensive, turned to me for my unrehearsed vocal contribution. Overcoming my nervousness and continuing to beat out the rhythm, I began to sing into the microphone beside me. What I did was an imitation of Louis Armstrong’s famous vocal performance and my attempt to reproduce that much-loved gravelly voice and exquisite timing was well received by band and audience alike. I basked in the enthusiastic applause I received and the story of my impromptu performance was spread about by a student friend who had been in the audience. This gave me quite a reputation for hidden talent and Mack the Knife has remained a party piece of mine ever since.

After that first public performance in Liverpool, band practices and gigs became a regular part of my University life. Most weeks there was a dance at the Students’ Union, sometimes two, and our group usually played as support band. On these occasions there was often a nationally famous British jazz band, such as that of Alex Welsh or Mick Mulligan. Invariably, there were one or two other supporting groups, usually including a top local band together with the University band. The principal band played in the Union’s large Stanley Hall, while the University band spent most of its time in the smaller Gilmour Hall. The latter was preferred by some couples who wished to smooch around the dance floor away from the wildly jiving dancers in the larger hall. The University band often took to the Stanley Hall stage while the main band enjoyed a break. There were even times when a third dance hall was used, the students’ cafeteria upstairs being temporarily converted for the purpose. It was there that I remember meeting the Architects’ Jazz Band, with its exuberant Irish drummer, Seamus McGonagle.

The most formal occasion at which the Rhythm Club Band played was the Science Faculty Ball on Friday, 13 March 1959 (see Figure 1). The Humphrey Lyttelton Band was the main musical attraction that evening. There were also two supporting groups, the Roger Fleetwood Quintet from the BBC Northern Variety Orchestra and the Rhythm Club Band. Our line-up was trumpet, trombone, alto sax, tenor sax(both reedsmen doubling on clarinet), piano, guitar, bass and drums. I do not know whether it was an instruction from the organizers of the ball or an idea of the band members but we were supposed to perform in formal attire for that special occasion.

I possessed no evening dress suit and was not prepared to pay for the hire of one. As the drummer tended to be hidden at the back of the band, it was agreed that my light grey lounge suit would be acceptable and I borrowed a clip-on bow tie from my landlord to match the appearance of the rest of the band as far as possible. While I greatly enjoyed this special occasion, it was frustrating to have one of Britain’s foremost jazz bands playing in an adjacent hall yet have little opportunity to see and hear Humph and his men in action.

Among the famous bands and musicians I did hear in the Liverpool University Students’ Union were some of those who came to play at dances and others who performed concerts organized by Rhythm Club. I have a vivid memory of Liverpool born George Melly, singer with Mick Mulligan’s Band, performing on the Stanley Hall stage. Melly appeared dressed in tight black sweater and black jeans and his rendition of ‘Frankie and Johnny’ brought roars of appreciation from the dance floor. As he sang this song of love, betrayal and revenge, he dramatized the performance with facial expressions and gestures. At one stage in the song, he turned his back on the audience and clasped himself in an embrace, his white hands seen clearly moving up and down over his black-clad back and buttocks as he writhed there, suggesting a passionate encounter between Frankie and Johnny. The bands hired for Union dances usually played traditional or New Orleans/Dixieland jazz. Indeed, at that time the so-called Trad Fad reached its peak. The British popular music world was dominated by bands such as those of Chris Barber, Alex Welsh and Acker Bilk. A jazz offshoot known as ‘skiffle’ was popularized by Lonnie Donegan, who became an influence on many youthful groups—including The Beatles.

Rhythm Club musicians, too, played trad, but their interests went far beyond that, something which was clearly reflected in their playing. Increasingly, the influences of swing, even modern jazz, could be seen in the instrumentation and heard in the music. The band that played at the Science Faculty Ball could be classed as mainstream, strongly influenced by the swing bands of the 1930s and 40s. The later Rhythm Club Quintet comprised vibraphone, piano, electric guitar, bass and drums (the influence of George Shearing being obvious). Named after a talented and influential engineering student who became Rhythm Club’s musical director, The John Rotherham XI (my choice of name) comprised two trumpets, two French horns, alto, tenor and baritone saxes, piano, guitar, bass and drums.

Inspiration came not only from records and local musicians. While at Liverpool, I went to concerts given by some of the jazz greats, including Kid Ory, George Lewis, Count Basie, Duke Ellington, Woody Herman, Miles Davis, Thelonius Monk, Art Blakey, Gerry Mulligan, Dave Brubeck and the Modern Jazz Quartet, while visits by the Jazz at the Philharmonic outfits enabled me to see and hear stars such as Roy Eldridge, Dizzy Gillespie, Coleman Hawkins, Stan Getz, Shelley Manne, Jimmy Giuffre, Sonny Stitt, Oscar Peterson and Ella Fitzgerald. On visits to London I attended concert performances by Basie, Ellington, Brubeck, Gillespie, Buck Clayton, George Shearing and others. And I went to the famous Ronnie Scott’s Club to hear Dexter Gordon and Art Farmer. The omission of Liverpool on Louis Armstrong’s 1959 British tour meant a Rhythm Club coach trip to Manchester’s Belle Vue in order to see the ageing jazz genius.

Many of the leaders of British modern jazz performed in Liverpool, not only at The Cavern, but also at the University. In this I played a role of which I am proud. The University’s Rhythm Club had a close relationship with The Cavern. It advertised Cavern events on its notice board in the Union and its members were allowed into the city’s leading jazz club at a reduced price. This arrangement was in place when I joined Rhythm Club but, when I became a member of the committee, I also negotiated with the Cavern manager to have visiting jazz bands play lunchtime concerts in the Students’ Union at relatively little cost. I suppose for the visiting bands their performance at the University was a practice session, but for those of us in Rhythm Club it was a wonderful opportunity to meet and hear some of Britain’s top modern jazz musicians. These included Dill Jones, Tony Kinsey, Bill Le Sage, Tubby Hayes and Ronnie Scott.

I remember particularly the arrival of the Jazz Couriers at the Students’ Union. Led by tenormen Tubby Hayes and Ronnie Scott, this was one of Britain’s foremost modern jazz groups. They seemed disgruntled because there had been no one outside to meet them and as they came through the Mount Pleasant entrance where a few of the committee members were waiting, I heard drummer, Phil Seamen, muttering something about being treated ‘like a f…ing bunch of f... ing Liverpool semi-pros’. Our genuine welcome soon smoothed things over and we all went to the Stanley Hall Green Room to prepare for the performance. There Phil Seamen
asked where he could go for a piss, but when we told him, he decided that it was too far to go, and made do with a wash basin that was handy.

I had been having some trouble with my snare drum and I brought it along to seek the distinguished drummer’s advice on the matter. His helpful response was, in essence, that I should get a new one.

By this time, The Cavern had become mainly a venue for Merseyside beat groups such as The Beatles, Gerry and the Pacemakers, the Swinging Blue Jeans and numerous others, as well as visiting groups. This meant that I rarely went to the Cavern, although I do have memories of a few jazz evenings there. Particularly exciting was the visit of American tenorman Zoot Sims playing with Ronnie Scott and his band. In a totally different vein, the blues duo of Sonny Terry and Brownie McGhee delighted the audience in a venue where amplified electric guitars, not acoustic guitar and harmonica, were now the norm. On another Cavern jazz night, I saw the Johnny Dankworth orchestra attempting to squeeze onto the tiny stage. Some of the musicians used an electric shaver to give themselves a quick trim before the performance, plugging in, presumably, where The Beatles and others usually plugged in their guitars and amplifying equipment. While I was there, Liverpool University remained relatively resistant to the rise of rock music and the Mersey Sound. Jazz continued to reign supreme and the Rhythm Club had the largest membership of any of the societies affiliated to the Guild of Undergraduates.

The big jazz event of the year was the annual band competition run by the Inter- University Jazz Federation, the IUJF. The competition was held in two stages. The first part, the semi-finals, took place in four regional centres, two for the North and two for the South. The finals were held either in London or a central location such as Birmingham. One of the 1962 semi-finals was held at Liverpool University, attracting to it student bands and their supporters from northern England, North Wales and Northern Ireland. Liverpool entered two bands, the Rhythm Club Quintet and the John Rotherham XI.

Among my duties as Rhythm Club President at that time was to take the two competition judges, men eminent in the British jazz world, to dinner before the start of the evening’s contest. We went to a modest Chinese restaurant. After the meal we hurried back to the Union, now crammed with jazz enthusiasts from all over the British Isles, impatient for the music to start. Without delay, and still wearing the raincoat I had on for my walk to and from the restaurant, I ran onto the Stanley Hall stage to welcome the musicians, judges and audience. I then introduced the young woman who was to announce the bands as they came onstage to perform. Chosen for her glamorous good looks, she wore a little black dress and clearly met with the approval of the male majority in the crowd.

The event was reported in a Manchester University students’ newspaper in which comment was made on the charming announcer’s pronunciation of bass, as in double bass, which she pronounced like Bass, the well-known brand of beer. I, too, received notice in the report which referred to my opening welcome, describing me as ‘a pleasantly nervous man who wore a rain coat and resembled a kind of jazzman’s Michael Foot’. I had no objection to being compared to the socialist politician and was happy to see myself later described by the student journalist as ‘a tasteful drummer’.

Indeed, the Rhythm Club Quintet played well that night, swinging through its three numbers, the boppish ‘How’s Trix’, the jazz waltz ‘Little Niles’ and a slow ballad, Cole Porter’s ‘All Of You’. As we played, we glanced at each other, happy with the feeling that musicians get when things are going well, and satisfied that, after all those practice sessions, we were performing close to our top form. It was Liverpool’s 11-piece orchestra that won the day, however, second and third places being given to groups from other universities.

To avoid excessive duplication of musicians in the two Liverpool groups, I had given up my original place in the larger band and let a newcomer take over on drums. Thus, despite Liverpool’s success, when it came to the finals at Queen Mary College, London, I was in the audience, not on stage. In the competition final the Liverpool band was unplaced but this in no way reflected badly on the musicians. The standard of musicianship in many universities at that time was remarkably high and some of those who took part in the IUJF competitions made names for themselves in the professional jazz world. Among them were Cambridge University’s Dave Gelly and Art Themen, who led the winning band in the 1962 competition finals.

Liverpool Rhythm Club’s activities were by no means confined to involvement with the annual IUJF band competition. There were frequent talks and record recitals as well as the occasional coach trip to hear jazz performances outside Liverpool. Nor did the student jazz musicians and jazz enthusiasts confine their musical activities to the University. University bands played in a wide variety of venues in and out of the city, including colleges and clubs, while some student musicians were members of local bands that were not directly connected with Rhythm Club. Notable among these were the Dave Lind and Dave Stone bands in which fellow geographer Phil Morris played trumpet. These dedicated jazz musicians of the old tradition were good friends of mine and I often went to listen to them in clubs such as The Iron Door and The Downbeat. Occasionally, they allowed me to sit in with the group for a couple of numbers, a generous gesture on their part as they regarded me as too much of a modernist for Black Chicago style bands such as theirs. I was, perhaps, too much of a jazzman for another Liverpool group with which I was associated for a while. Indeed, I was slightly embarrassed for my jazz associates to know that I was actually playing with a local pop or rock group. Today, however, I am happy to confess that I was an original member of Liverpool’s pioneer beat group, Cass and the Cassanovas, thus becoming a minor player in the story of the Mersey Sound.

Extract from Brian Hudson, 'University Jazz and the Mersey Sound: Student days in Liverpool, a memoir', Popular Music History vol. 1, no. 2 (2006), 215-226 (c) Equinox Publishing Ltd 2006. Reproduced by kind permission.

Anybody remember the Crosby Rhythm Kings from Liverpool? You can hear "Copenhagen" playing by clicking the play button below, it might just stir up memories. I'm grateful to Ralph Whatmough for sending me this recording taped in 1950/51. It features Alan Spedding on Trumpet (Alan now leads a Condon style band in the Bristol Area), Pete Burkhill on Clarinet (Pete is at present playing tenor sax with Terry Perry's Big Easy Band), Denis Roscoe on Alto Sax (also plays occasionally with Terry Perry), Bix Roscoe on Trombone (Bix is no longer with us), Ralph Watmough on Piano ( currently living in France, see later items), Pete Green on Banjo (anybody know where he is?), and Paddy Glover on Banjo (Paddy lives in Skipton and no longer plays). - Fred Burnett

Recently, someone said to me "Why did Merchant Taylors School, Crosby produce so many of Liverpool's jazz musicians in the 1950s?" I was slightly surprised, because I had never thought about it before, but the question set me wondering.

I myself had come to jazz (in the widest sense of the word) in the 1930s. As a child I would listen to Radio Luxembourg, which broadcast the bands of Roy Fox, Ambrose. Lew Stone et al. By the end of the War, I had progressed to Benny Goodman and Fats Waller. I was a jazz lover, but not yet manic.

Then one Wednesday afternoon, when interest at Merchant Taylors was devoted to sport, my old friend Harry Garlick and I decided to play hookie and listen to some records. We went to his house, where he proudly produced a new acquisition; it was a Parlophone reissue of At the Jazz Band Ball and Sorry! by Bix Beiderbecke and his Gang. The bell-like notes came at me like (as Eddie Condon was later to say) a girl saying yes.

From that moment I was enslaved. I went out at once with my 3s 6d. and bought the only other Bix record available at that time - Royal Garden Blues and Jazz Me Blues. Even the blue and gold Parlophone label seemed a thing of beauty!

Before long, we wanted to play jazz ourselves. Harry preferred to listen rather to play, but there were other teenagers in the school willing to have a go.
We formed a band. Some of the members of that band are still active on the northern jazz scene, for example Pete Burkhill (clt, ts), Roger Myerscough (clt), and Derek Vaux (bs). Others, such as Steve Voce, are music journalists .

We played jazz during the lunchtime break, in a little-visited room at the top of the servants' quarters in what had formerly been the headmaster's house. However, one unfortunate day, when we were in the middle of a vocal version of "Spider Crawl", the headmaster entered and observed rather sarcastically that he was quite unable to observe any spiders anywhere. That was the end of rehearsals at the school.

In those days, jazz was a dirty word, and was frowned on by the authorities. Happily things are now quite different there, and the school possesses a sixteen piece big band. However, I often wonder whether the old days were better. It is a proven fact that jazz thrives in adversity.

Alongside these activities there was the Crosby Rhythm Club, which met every Sunday evening to play and discuss the latest jazz reissues. The rhythm clubs had a national umbrella organisation, and with a view to joining, we went over to the Wallasey Rhythm Club to obtain more information. It was there that I first met the late Richard Goodwin, known universally as "Uncle Dick", the leader of the embryo Merseysippi.

The Crosby Rhythm Kings struggled on for a while after we left school, playing local Tennis and Rugby Club dances, and occasionally as interval band at the West Coast Jazz Club. We co-opted a few personnel. such as Bix Roscoe from Southport, who were not "old boys" of the School, but musicians drifted away to join other bands, and we played for the last time in the spring of 1954.

Another band to fold a little later was the Tishomingo Jazz Band. They had, amongst others, Bob Wright on trumpet, Martin Downer on clarinet, Fred Robinson on trombone and Ron Cooper drums. I joined them on banjo, and for some reason unknown to me, I found myself landed with the thankless job of leader and organiser. The Tishomingo tag was abandoned, and we became the Ralph Watmough Band. One night, Fred and Bob were walking home to Bob's place, where Fred was spending the night. A passing policeman looked at Fred's case and said "What have you got in there?" Fred answered truthfully "A trombone, a toothbrush, a safety razor and a pair of pyjamas." "A likely story", said the cop. "Open up". My great regret is that I was not there to see his face!

Eventually, Fred resigned and was not replaced; instead, Martin took the head on alto sax, with Bob playing George Lewis-style clarinet - an unusual but effective combination. Our favourite venue with this line-up was the Thatched House in Manchester - home of the Eric Batty Jazz Aces (with Roy Williams) and the best home-made ham and egg pies in the North. The members were somewhat bemused by the sight of an alto sax leading a New Orleans style outfit! One day, Martin was in the toilet, when a member of the audience said to him "You've got a good band there, but really the saxophone is not a jazz instrument!" Poor Martin was foolish enough to repeat this to the other members, and did not live it down for many years!

Liverpool in the 50s was a musical cauldron. Apart from John Pritchard with the Philharmonic Orchestra, there was music at the Philharmonic Hotel, famous for its ornate Victorian loos. Then there was Ralph "Hank" Walters and his Dusty Road Ramblers playing country and western, and folk music at a club at the top end of London Road, where the Spinners held sway. Ray Ennis played Rock'n Roll in Garston; he was later to join the Blue Jeans - a far superior rock group to the Beatles in my opinion.

On the jazz scene, the leaders were without doubt the Merseys, who were at the Temple on Dale Street. "Worshipping at the Temple" became the favoured substitute for Sunday Evensong. The University Band were the winners of a competition in 1955 which provided the enviable prize of a gig at the Festival
Hall. Then there was the Muskrat Jazz Band, which played the Washington, underneath the famous Guinness Clock, the Kinkajou Club run by Neil English in Slater Street, two doors away from the Marlborough Hotel and the 21 Club in Croxteth Road, where my band was in residence. With the opening of the Cavern Club in 1957, the MJB, the Muskrats and my band merged their club interests, playing the one venue on three nights at the weekend. Later, the Muskrats broke away, and began a very successful residency at the Temple, while in 1959, my band moved to the newly opened Mardi Gras Club, playing opposite a new band - Kenny Ball.

The Mardi Gras was considerably "posher" than the other Liverpool Clubs. It had both a band room and a recreation room - the latter containing a full-size snooker table. In the spring of 1960, Mike Farren out trumpeter passed away under sad circumstances , and we were forced to look for someone else. While we were looking, we were fortunate enough to obtain the services of one Syd Lawrence, who was then lead trumpet with the BBC Northern Dance Orchestra (the NDO never played at the weekend). My wife Doreen was playing snooker with Kenny's bassist Vic Pitt when our band struck up. Kenny, who was sitting nearby , looked up surprised. "Who's that on trumpet?", he asked. "Our new trumpeter", Doreen lied. Kenny opened the recreation room door and looked out aghast. Then he said "You little ******, it's Syd Lawrence. You really had me worried!"

Thanks to the Mardi Gras residency, our band began to travel throughout the northwest, North Wales and the north Midlands. One regular visit was to the Manchester Sports Guild, and the formidable Jenks. We played opposite John Dankworth at Leeds University. Kenny Baker sat in with us at Paddy McKiernan's Bodega Club. However, all good things have to end, and our end came in the form of the Beatles and other Merseybeat groups, which had an effect of the club scene rather akin to the 1929 Wall Street Crash. With no residency to keep us in form, the band eventually split up.

For some reason, Gordon Vickers's Wall City Jazz Club in Chester remained largely unaffected by these events, and in 1964. One day, our ex-banjoist Joe Shannon phoned me. "I'm playing with the Wall City Band" he said. The pianist has just left and Gordon [Vickers] says the job is yours if you want it". I grabbed the opportunity.

The Walls played all sorts of venues, including the ballroom on the top floor of the CIS tower in Manchester. There was an express lift. After one gig, at which the MJB's banjo player Ken "Nob" Baldwin depped, he, Ian Ashworth and I took the lift. We were joined by two well dressed ladies. The lift took off at a great rate. Nob, who is renowned for his outrageous remarks, exclaimed "Cor! It doesn't half make your bollocks feel heavy, Nob!" The ladies' faces were a picture!

That same night, returning to Chester in the band bus, we espied a fish and chip shop, and went in. Stan Thomas, who played clarinet and was a champion gurner. His secret was to take out his false teeth by sleight of hand, gurn and act drunk, then return his false teeth. This he did for the people in the queue. They laughed uproariously, but to Stan's puzzlement, continued to laugh after he had finished. He had slipped his teeth into his mac pocket where they had caught up with a used bus ticket without his knowledge. It was several moments before he realised.

One summer evening we were due to play for an NCO's mess dance at Saighton Camp, near Chester. Alan the drummer called to say he was unwell. By some wonderful turn of fate, a customer arrived in Nearby Kelsall, where Ian had a caravan park. It was Eric Delaney. On asking if there was any room, he received Ian's reply, "Nothing if you'll dep with us tonight. In fact, we'll pay you". The deal was struck, and Ian phoned round for a spare drum kit. It was a wonderful evening. - Ralph Watmough

Dear Fred

Regarding the comments on jazz at Merchant Taylors School, and Ralph's notes, I would like to add a bit more. The version of 'Copenhagen' was recorded in September 1951, above Aldridges shop in Southport, along with some other titles. In 2000 I thought it might be a good idea if we tried to re-create some of the original titles on modern equipment, using as many of the original jazz-men as possible. There seemed to be little enthusiasm for that, but (at that time) a lack of equipment to play 78s meant that some of the original band would like to have a 'millennium' copy on CD. I asked them to send their 78s to me, and, with Jonathan Lane, a professional recording engineer in Bristol, I selected the least worn acetates for transcription onto CD format. Some of the tracks feature later members of the band, and I still have the original 78s if any of the band wish to have them back.

I attach a photo of the 'Crosby Rhythm Kings' playing at a local tennis club dance, in the hope that it is not too dark. L to R are Robin Glover (bjo), Ralph Whatmough (p), Alan Spedding (tpt), Maurice Deeprose (drs), Pete Burkhill (clt), ANO (gtr), Pete Green (tb at that time), Bill Roscoe (I think, on tuba).

By April 1952 I had joined up with two other ex-MTS to form the basis of a quintet, aimed at playing 'Chicago style' jazz, mainly to satisfy a demand for music for dancing. The two others were Maurice noted above, who was a talented drummer, later to join the Bill Gregson swing band at the 'Tower ballroom' in New Brighton, and Derek Hughson, an accomplished pianist who has carried on playing in the Liverpool area. The other members were Mick Murphy (t/clt), Jim James (alto/clt), both of whom could play almost anything, and (when it could be afforded), a bass player who arrived at gigs in his taxi, and picked up fares on his way home. Mention of Liverpool University elsewhere on your site reminds me that, during 1954 and 1955, we played a large number of gigs in the Students' Union on Wednesday and Saturday nights during term time.

National Service for Derek and I broke up the band, and I didn't play in public again until 1985 when my wife, Susan, 'volunteered' me to organise a jazz band to play at a fund-raising church concert here in Gloucestershire. The history of this band can be found in 'My kind of town', a glossy book of recollections of jazz in Bristol compiled by Bristol drummer Dave Hibberd, whose wife, Jean, is a stalwart of the Bristol Jazz Society. I have recently re-formed my band, see alansjazzmen. com, which also carries some sound samples, and a useful link to the Bristol Jazz Society.

Regards to all, Alan Spedding

I remember the Bags Watmough Band very well . I was a member for a few years ...... 1961/62. The line up was Mike Nash trmbn Pete Birkhill clrt we had an ever changing trumpet, and I can't remember one single name. On Banjo and guitar ...... sometimes simultaneously, Joe Shannon , Kevin Cunningham on bass, Ralph on Piano of course and me on Traps.

I came into the band to replace Tony Carter who was due for some National Service and although I was a bit of a novice I was given my big chance. Thanks Ralph .

I received quite an education during my time with the band . Things like ... never get to the bar first and give up the drums and take up something a little more portable.

Unfortunately I had to make a choice between playing in the band or a career in the print , so I left, just in time for Tony Carter to take over again. I left Liverpool soon after and settled down south. I now live in Nottingham and have a full kit in the spare bedroom.

Best wishes Ralph
Sidney Francis Smith (Big Sid Catlett)

Michael Meadowcroft emailed to say, - Do add to the list of jazz musicians from Merchant Taylors' School, Jim Wright on banjo. Jim arrived at jazz in Leeds a bit later than the others - after he'd left/been expelled from Merchant Taylors. Jim plays with the Yorkshire Post Jazz Band and had a spell with Max Collie. Second: the Southport jazz scene began earlier than most with Dave Wilson's Dixielanders who broadcast on BBC north-west in the 1940s, even before George Webb appeared in London. When I was playing in Southport in 1959 with the Bienville Jazz Band (photo left), Dave was doing elder statesman gigs around the area, including a club at the Formby Lighthouse, and Sunday afternoons at the Lakeside Cafe on the beach at Ainsdale.

The Bienville Jazz Band, of Southport, vintage 1959, was started by pupils from King George V School, plus others. From left to right: Michael Meadowcroft (clarinet and soprano sax), Dave "Tich" Partington (on that curiosity of the era, the tea chest bass), Barry Dixson (trumpet) who is now in Australia and no longer plays, John Sheville (drums), Dave Hood (guitar), Roy Watkins (piano), and Neil Freeman (trombone), who is now Professor of Theatre at the University of British Columbia in Vancouver, and no longer plays. Alas, I have no idea where either Dave, John or Roy now are.

Later in Southport I played with the Riverside Jazzmen whose leader was an electrician whose appropriate name was Bill Bent! Bill would insist on being paid in cash before the gig started and would then proceed to drink it all

as the evening progressed! It would be beyond the call of duty to remember these Southport based bands.

In those days the Queen's Hotel on the Promenade was the main jazz club. There is, I believe, still a Southport band, with Dave Dixson on reeds, that plays at the Hesketh Arms. - Michael Meadowcroft
August 2003

The narrow entrance and the grimy steps down into that hot, smelly, crowded, noisy cellar might have been compared to the gates of Hell. To me, a 19-year-old student newly arrived in Liverpool, it was more like discovering Heaven. The Cavern had opened only a few months earlier and that night in 1957 its resident group, the Merseysippi Jazz Band, was playing. This was how I had always imagined a real jazz club to be, a dingy cellar filled with devotees listening to inspired musicians. Until then, my experience of jazz had been confined to radio broadcasts, a few records—78s, EPs and LPs, some films like The Glenn Miller Story and The Benny Goodman Story, and one jazz concert—Louis Armstrong and the All Stars at London’s Empress Hall in 1956. The vast, impersonal venue was better known for boxing matches and the revolving stage on which the band played which caused the sound to come and go. Here at The Cavern, with local musicians inspired by Louis, the atmosphere was just right, the band and the audience tightly enclosed in the basement of a converted warehouse. In company with fellow enthusiasts from Liverpool University, I descended into that secular crypt which was soon to become sacred as one of the most famous music venues in the world.

The recent addition of the Crosby Rhythm Kings to the memory page prompted affectionate memories of a true jazz eccentric-the late Bix Roscoe who plays trombone on that very competent rendering of "Copenhagen" all those years ago. I was privileged to have known Bix and played with him many times during the more recent past-- 1976-1990 when there was a lively home-grown traditional jazz scene in Southport which sadly is no more.

It began with the formation of Formby Jazz Club in 1976. The club met weekly at the British Legion, and anyone who played an instrument at whatever level was welcome to have a go. From these meetings the nucleus of a performing band developed which became the Alt River Jazz Band. They played at the Crown Hotel in Birkdale for several years before moving to the Marine, later called the Tara, in Coronation Walk.

After the formation of the Alt River, there remained enough surplus musicians at Formby Jazz Club to create a second band. There is a very small stream which runs through Formby and flows into the River Alt. This stream is known as Dobbs Gutter. So the Dobbs Gutter Jazz Band began playing at the Sands pub near Ainsdale beach, and later played for many years at the Royal Clifton Hotel.

The Alt River members were George Lapsley (Tpt), Dave Blackledge (clt), Kevin Bargen (bjo), Jeff Lewis (tmb) and Roy Swift (dms), (now both Rioters ), Mike Mcloughlan (pno) and Norman Cuff (bs) (now both Wirrorleans).

The Dobbs Gutter comprised Don Evans (tpt), Dennis Clarke (tmb), Ricky Whiting (pno), Ian Patterson (Bs), Wilf Jenkinson (bjo) (now Yarrow River), John Rothwell (dms), (now Silver Bell) and myself (clt) (now Mathew St). Later members included the late Al McDowell (tmb) (founder of the Wirrorleans) and Tony Ormesher (bjo) and Rae Owen (bs) (now both Chicago Teds).

As a total novice, the Alt River was the first band with whom I played in public, first as a sitter-in and later as a dep. Bix Roscoe invariably appeared at most gigs, often with an array of instruments, a valve trombone, flugelhorn, mellophone, euphonium, banjo. He always sat in. If he wasn't invited, he got up and played anyway! Bix was a natural musician and his knowledge was encyclopaedic. He often gave the audience erudite lectures on the history of the tune about to be played and its composers which often took longer than the tune took to play! Off the bandstand, you could not have an ordinary conversation with Bix, because he spoke like a textbook all the time, but you always came away knowing something new. His vocals were equally eccentric and entertaining. When he sang "Shiek Of Araby" he didn't wait for the response from the rest of the band" He's got no pants on" He confessed to it himself!

A vast number of guest musicians from all over the region and further afield were regular visitors to Southport. Digby Fairweather, who held jazz workshops at the Arts Centre throughout the 80s regularly dropped in for a blow, and both the Alt and the Dobbs played interval spots for Humph and for Kenny Ball on more than one occasion. Looking at my old diaries of that period, I cannot believe how busy we were. Anyone in Southport organising any kind of function seemed to want one of the local bands.

This brief reminiscence of the Southport jazz scene would not be complete without mentioning an unsung hero---- a gentleman called Bill Scott, a fan of both bands who regularly invited them to perform for friends at his home, where he made recordings on what was then "State of the Art" equipment. He then generously donated copies of these soirees to every musician and guest. I still have several of these recordings and other people will have many others. They would make an interesting archive if collected together. When both bands died a natural death in the very early 90s, it was Bill who kept the flame alive by forming the Southport Melodic Jazz Society. This still organises regular concerts and its influence went a long way to bringing about the recent highly successful Southport Jazz Festival. So although there are no longer any traditional bands specifically local to Southport, it's good that the music is still alive there, and I have so many happy memories of being a part of it. I hope others have memories to share.

Fred

My father, Bill Scott (mentioned in 'Southport in the 1970s' by Phil Yates), died peacefully at home in Dorset last week.

Are there any survivors of the long-standing jazz sessions at the Marine Club, Coronation Walks, Southport, 1980s? Roy Swift was always on drums. Front line varied; George Lapsley (tpt), Alan Pendlebury (tbn) were regulars with Kenny Doran(tpt) and various clarinettists. Once, the entire Blue Mags arrived and gave a stunning performance of Jelly Roll Morton and King Oliver Stuff. Somebody once told me there was a dubious sort-of club upstairs, above the jazz club but I never had the courage to find out".-

19/03/07 - HI Fred,

I am somewhat saddened by the memories of Frank Farrington of the Alt River JB days at the Crown in Birkdale and the Marine in Southport. He only seems to remember the "novelty" guests, and the Blue Mags, who appeared there on one occasion only for a special anniversary only.

This was a regular band, led by George Lapsley on trumpet ( good NO stuff !! ) which played at these venues and others for something like 15 years ( I was in the band on drums for the best part of 10 years). It was not just a bunch of guys who turned up and had a blow !!! Sure Bix was a bit of a novelty, and had been a good jazz player in his day, But by this time he was well past his sell-by date a good musician, evidenced by his work and standing in the Banks Brass Band. I remember him depping with the band for a full night on one occasion - a good first half but the second half was a different matter when his lip/stamina went altogether.

There were some very good nights in Southport in those days, and the Alt River should be given full credit for the entertainment provided (free!! ) over all those years. After all, when they began at the Crown in 1978 (?), there had been no jazz to speak of in Southport for very many years. Surely Frank has some good memories of hearing the band play ?

Regards, Roy Swift

Good to hear from Frank Farrington ( and his wife Dorothy) from whom I hadn't heard for years since I left the Alt River Jazz Band, which was the band he referred to as playing first at the Crown Hotel, Birkdale, Southport and later the Marine Club in Southport in the late 80's to join the WirrOrleans Jazz.

I played most of the sessions there for the 10 years or so I was with the band - hence his comment on me "always playing ", tho' I did stop sometimes !!! A regular dep for me was Billy Morton, so sadly now out of action because of a stroke.

George Lapsley led the band on trumpet, and the regulars were Dave Blackledge (Clt), Mike Mclachlan (Pno), Kevin Bargen (Bjo), Norman Cuff (Bass).After Jeff Lewis left while we were at the Crown, Frank Robinson was on trombone for some time, then Dave Park from Preston. Later, there was a rota of trombonists each month - Alan Pendlebury, Bob Hambleton, Brian Oldham (with of course the lovely Carole on vocals), Dave Renton and Dave Park.

Deps and guests included Ken Doran and Hughie Gerrard (Tpts), Phil Yates (Clt), Wilf Jenkinson ( Bjo), Digby Fairweather (Tpt), Red Price (Tenor), Harold Troughton (Clt), Keith Smith (Tpt) at various times. The list is a long one !!!

It was a most enjoyable time. There had been no jazz to speak of in Southport for many years and the sessions were very popular. Sadly, the attendances were affected by the start-up of jazz at the Hesketh Arms in Churchtown, with the importation of bands from Manchester and further afield. The band continued into the early nineties, still led by George Lapsley but with different personnel in the main.

I am still playing, mainly with the Rioters Dixieland Jazz Band ( and still looking for gigs - see Deps list here) along with Phil Yates and Jeff Lewis, and Norman & Mike have most recently been with the Wirrorleans. Kevin continues to run his Folk band, and Dave has retired from playing jazz. George spends a lot of time in Portugal where he plays from time to time with a bunch of ex-pats !!!

Thanks to Frank Farrington for bringing back these happy memories.

Regards, Roy Swift

re Frank Farrington's letter, there are some survivors of the Marine Club sessions. The band was the Alt River band, I replaced Kevin Bargen on banjo for the last 2 or 3 years at the club. Roy Swift is playing with the Rioters, Mike McClashlan (piano) and Norman Cuff (bass) are with the Wirrorleans and I'm with the Yarrow River band. The dubious club upstairs was nicknamed the Zoo, and if you'd seen the clientele you'd know why.

Great to hear Roy Swift is still playing. A very good drummer and raconteur. Is Ken Ratcliffe (bass) still around ? He was another Marine Club Regular, and who can forget Bix Roscoe, a complete crackpot from Hesketh Bank, who played an odd slide/valve trombone?

Bix was, in local dialect, "three sheets to the wind" but he had a phenomenal knowledge of early jazz, and could sing the Louis Armstrong Hot Five numbers, switching to Lil Hardin's vocals with a knotted handkerchief on his head. I once played sousaphone next to Bix when he sang Elvis Presley's "Wooden Heart" in German, this time wearing a monocle.

Can I correct some of your info. re. Dobbs Gutter in 1976 please. I can assure you that the band had occasional practises in my house, and I am married to the guy who not only named it, but led and guided it until 1978 - the trombonist Alan Wilde.

Don Evan - trumpet
Jim O'Rourke - piano
Lovely Dave - clarinet ( can someone remind me please) & alto sax
Ricky Whiting - piano and my friend
Peter Dunne & Peter Pemberton - drums
The man who made love to his double bass - another Dave I think
Bob Willets - clarinet
Don Bell -trumpet
Marion Wroe - vocals

& I don't forget those who came along either with ambition or expertise from a professional career.

My abiding memory of this line up is of their enthusiasm and creativity - and a great sense of fun and the welcome they gave to any musicians who wanted to share a love of jazz.

It would be great if any of these folk would contact us - or perhaps they're listening to Humph tonight, as we are.

Hi Fred

I was interested in Phil Yates's comment about Bix Roscoe sitting in whether invited or not . I believe this habit originated in the Picton Hall concerts at Liverpool on Sunday evenings. When the Mulligan Band came to town, they would march round the auditorium while playing the final number. Bix would join in on the end of the column, and end up on stage.

He would bring out his trombone again on the train back to Southport and give an impromptu concert. After the first "happening", other musicians who lived along that line would bring their horns too.

Ralph Watmough

Since I sent you

an email re Frank Wilson I have found, after much searching, a photo of Frank Wilson taken about 1948 at the Southport Rhythm Club. Perhaps you may wish to put the photo of Frank on your web site.

Frank played in and around the Southort area with Dave Wilson’s Dixielanders, Dave was no relation to Frank, they were an outstanding band, in that era most of the gigs were dances etc, they also had a regular gig at the old Southport Pier Pavillion, it is possible that they were one of the first bands to play jazz in that style.

John Chilton's Who’s Who of British Jazz states the band was formed in the early 40s and played Manchester Rhythm Club in 1943. Frank will be 85 in 2008. He was playing very well last year in London.

Eric Lister lived in Southport for many years and I remember him well, I cannot remember were I heard him playing apart from the Southport Rhythm Club, which I helped run along with 5 others including Eric Moonman who later became an MP.

I do hope the old programme from Manchester Jazz Club will be of some interest. - Alan Grubb, IOM

What a wonderful website. I used to go to the Picton Hall in Liverpool on a Sunday evening to see the great trad bands, the first one I saw was Freddy Randall just before I went into the RAF. When I came out in 1957 the Cavern (the best of cellars) was the place to go for trad jazz before the Beatles came on the scene. I have attached a photo of the original stage at Picton Hall which I took about 12 months ago. It had become the International Lending Library (you can still see several books on the photo). The Picton Hall was always a great venue for jazz being in the round, the library itself is now closed so I don't know what plans they have for it .

Dear Fred, It was great to see the picture of Picton Hall. I remember all the Sunday concerts with Ken Colyer, Chris Barber, George Melly , The Merseysippi etc. When the Picton closed concerts were transferred to The Empire, & Pavilion Theatres and I saw Louis Armstrong at the old Liverpool stadium. I still have copies of all the programmes from the concerts I attended. They make all the memories return from those great days.

In regard to Derek Harrison's comments on the Picton Hall. I was given the very first Grundig tape recorder (it weighed three stone!) and I used to lug it to the Picton where most of the bands let me record them. Freddy Randall was the exception saying, as was his habit with every such request, that I could record as long as I gave him the tapes to take away afterwards and check that they were OK. Since the tapes cost two quid each (a lot in the '50s!) I thanked him and declined. The tapes ran in the opposite direction to tapes later and today. I found the only one from that period that has survived the other day - Big Bill Broonzy recorded at the Temple in Dale Street, muffled through being converted from running one way to the other! I had but no longer have, some wonderful recordings made at the Picton by the Mulligan-Alex Welsh cartel.

I was in the happy position of being a steward at Louis's Stadium concert. So I was able to walk round the circular corridor in the arena so that the band on the revolving stage was always facing me.

My daughter Louise (called after Louis) was a few months old, and I have a photograph still signed 'To Louise from Godfather Louis Armstrong'.

I interviewed Trummy Young and Barrett Deems later at the Adelphi. The Deems piece was in the Melody Maker. Trummy told me that initially he had left the US for Hawaii to escape tax problems following his time with Lunceford. When Hawaii became the 49th State he was in trouble because the IRS came after him. Joe Glaser paid his debts on condition that he worked indefinitely in the All Stars. By the time he came to Liverpool he was very sick with a stomach ulcer that couldn't be cured. The travelling was desperately bad for him, but Glaser wouldn't let him leave.

Glaser's charity was further demonstrated when the band went to Africa. Velma Middleton had worked for Louis for about 20 years. Her massive overweight made her a universal joke. When the All Stars were in Africa she had, at one venue, to climb up and down a huge open air backstage in the midday sun. After doing this a few times she had a stroke and was taken to the pretty inadequate local hospital. Glaser and Louis thought it was too expensive to hire a plane to fly her out, so when the band moved on, they left her there. She died in the hospital.

I found Steve Voce's memories of the Armstrong concert at the old Liverpool Stadium, most interesting, as I too, played a very small part in that concert. I was recruited by a lady who was a solicitor's managing clerk, to help with the "cash" side of things (I was a trainee accountant) but found the venue more suitable for wrestling than for jazz concerts! However I did watch the band being paid (in cash) and Louis signed a programme for me which I straight away lost only for it to be returned to me just a few years ago when the very same lady was scoring for Prestatyn cricket club and I was umpiring for St Asaph cricket club. Small world.

What a great site! As you may recall I found out about Jazz North West through my long standing friend Simon Jones, who mentioned it to me when passing on the sad news about Bill Williams. Since then I have been wading through all the postings, debates and features.

All this has rekindled a desire within me to get playing some jazz again and earlier this week I dug out my old directory of musicians and made some phone calls. I spoke to most of the original members of my band The Santa Fe Syncopators and all of them to a man were keen to get blowing again. So, with all this new found enthusiasm and after almost a decade of silence a phoenix may well rise from the ashes and all because of your website!

This photograph is of the Syncopators playing at the Whitewater Hotel in the summer of 1996. The line up L-R Mike McLachlan, Charlie Walcom, Phil Yates, Bryan Cunliffe, Paul Marks, Tony Ormesher and Simon Jones.

The second photograph taken at the Albert in Southport in 1997 shows L-R Simon Jones and Bix Roscoe.

I was very interested reading the articles on the Southport jazz scene. I too remember a lively scene in the town in the late 80s and early 90s and became a part of it myself during the 90s.

My first introduction to traditional jazz came at the Hesketh Arms in January 1987 when I went along quite by chance to find an all day jazz fest in full swing. The day of jazz had been organised by the then landlord Dave Everatt. It was mid evening before I got there to see the Merseysippi Jazz Band and The Chicago Teddy Bears. So inspired was I that the following morning I went to the local music shop and bought a trumpet.

During the months that followed I recall going to see Al McDowells Wirrorleans at The Railway in Tithebarn Street Liverpool, where I was introduced to Phil Yates, Roy Swift and the late Alan Jackson (cornet). Alan lived in Southport at that time and was most helpful in teaching me the rudiments of the instrument. He had an enormous collection of recordings, sheet music and chords which he freely shared with me. We remained good friends until his untimely death in (I think) 1993.

I remember the Monday sessions of the Alt River Band at the Marine Club (what a dive!). Tuesday nights could be spent at the Southport Arts Centre Bar or the Brooklyn Caravan Club. Wednesdays were spent at the Hesketh Arms. If I wasn't at the Railway on a Thursday then I would travel to the Eagle and Child in Upton to listen to the Panama Jazz Band where I became friends with the late Bill Williams who managed to eventually persuade me to sit in with the band. Friday nights were spent in the plush surroundings of the Royal Clifton Hotel listening to the Dobbs Gutter Band. On the weekends I don't recall any regular venues but there would be plenty of one off gigs particularly in the holiday season. Jazz pretty much every night of the week, that's how it was back then.

Reading the other postings I recognise a lot of the names of the musicians from that time and indeed in later years I would come to share the stand with many of them. I'm sure many of them will remember me, invariably the youngest person in the place, a skinny kid with a mop of hair which (along with all these venues) has now sadly all gone!

Other names that I might be able to add include drummer Bryan Cunliffe who told me that he used to play with the River Alt when they played at the Crown. Dennis Kirkpatrick was also largely involved in the Southport scene and was someone I would gig with in the future. Could "the man who made love to his double bass" mentioned in Linda Wilde's posting be none other than the late Don Gee?

Eventually all the venues turned their back on jazz and by the mid nineties there was only the Hesketh Arms left. However, in 1997 for the first six months of the year my band The Santa Fe Syncopators enjoyed a regular Thursday night residency at The Albert. The band at that time comprised of me on trumpet, Simon Jones on Trombone and occasionally Sousaphone, Phil Yates and Gerry Owens shared the clarinet duties with reedman Howard Murray being a regular dep, Mike McLachlan was our pianist, Charlie Walcom on bass, Jason Higgins Banjo and Bryan Cunliffe or John Shevill on drums. The sessions were reasonably popular and we were surprised and disappointed when the management called a halt to our performances.

Several people have written about the late great Bix Roscoe the multi instrumentalist and vocalist who was "more nutty than a fruit cake". Dear old Bix was no stranger to us and was a regular member of the audience at the Albert during our sessions there in 1997. Phil Yates has summed him up absolutely perfectly in his posting. I recall Bix coming along one night with his trombone and a complete set of band charts for his composition Trombone Sauerkraut written and arranged under the alias "Otto Weinmann". Despite our reservations he insisted we add it to the night's set list. Unfortunately (or should that read fortunately) our efforts on the multi themed rag were never committed to tape. However, I have recently unearthed some recordings from that era made by a lady called Pat who was a regular in the audience. On a recent trip to Cumbria I nearly crashed the car when listening to us playing "So Do I". Bix unexpectedly and almost certainly uninvited sang the entire chorus in German! Happy times indeed.

Ironically the only regular traditional jazz venue now left in Southport is the Albert.

Paul Marks

Who, Where and When

Harold Troughton took this photograph,

He knows who and where but not quite when, do you?

It was taken in the North West of England

The personnel on the photo supplied by Harold Troughton on your website is of the late-lamented Freddy Randall Band, which included Bruce Turner and Lennie Hastings (ooyaooyaooya!).,

Ralph Watmough

I was born on 12th December 1936 in a bungalow named "The Anchorage" in the village of Greasby on the Wirral Peninsula which is just across the river from Liverpool, England. The big news at the time was the abdication of King Edward VIII, but I was unaware of such goings on. If the Pringle family would have had their way I would have been named, as the eldest son of the eldest son, John Crester Pringle. My mother Isabel Edith Florence Laverick-Platt either had a warm spot for Anthony Eden or felt that as she had so many names someone should atone, hence Anthony is my one and only Christian name. Over the years I have found that I am only called Anthony by teachers and managers when I am in trouble, and more lately, by telemarketers trying to sell me something. Tony is much preferred as a mode of address.

In 1939, right at the start of World War II, my parents broke up and my father took me to live with my grandparents – his parents. Looking and thinking back I am amazed that they took me on. They had brought up nine children of their own and along came me just as they were in sight of their youngest heading off for pastures new. My dad and grandfather were away somewhere in Wales working at a secret armaments factory under a mountain. My grandmother and my 6 aunts did a wonderful job of looking after me, for which I was not always as grateful as I should have been, but certainly am now.

Sometime soon after that a German bomb landed in our garden and we took off to our cottage in Wales, away from the bombing. While we were away another bomb destroyed the block of houses at the end of our road and blew all the windows out of our house, the soot came down the chimneys and all my childhood toys were lost.

Apart from that excitement life was, as I remember it, very good. My grandmother played piano and my youngest aunt had a record collection. I sort of remember Glen Miller, but have vivid recollections of "Woodman Spare That Tree" and Pistol Packin' Mama". I started piano lessons, but gave them up because my friends called me a sissy. I played a little piano by ear - I would pick out Handel's Largo and other tunes that my grandmother played. At times my Dad visited and I remember him at times trying guitar and piano accordion - it mustn't have taken because it didn't last. Lastly, there was my grandfather, who would from time to time break out with politically incorrect tunes recalled from his earlier days or from some popular music hall artist. At some point someone gave me a Ukulele – my favorite tune was Drink To Me Only and I could play some George Formby numbers – no jazz there!

I have always thought that being a fan of New Orleans style or traditional jazz was like catching a very obstinate bug - once you've got, it stays with you forever. I swear it feels like that is the way it has been with me. I can still remember my friend Dave Burnley calling me to come over to his house to hear these great records given to him by his uncle. This was back in 1955 or so, and he had been given a bunch of 78s. I can remember like it was yesterday my first experience with real New Orleans jazz - the first sides that I listened to were Jelly Roll Blues and Doctor Jazz by Jelly Roll Morton his Red Hot peppers followed by Just A Closer Walk With Thee and High Society by Bunk Johnson on the HMV label.

Wow! I could not believe that music like this ever existed. This was nothing like Sid Phillips on BBC radio or what I had heard on Voice of America over short wave radio. On the way home I went into Strothers, our local record and music store, there I found a copy of 29th and Dearborn and Sweet Mumtaz by the Luis Russell Hot 6. I immediately recognised names like George Mitchell on cornet (still one of my favourites), "Kid" Ory, and Johnny St. Cyr. I bought it and headed home - you have to understand that at this time I had no way to play my find. The next week I bought a Garrard turntable and then went to the Army Navy store where I purchased a pair of earphones that looked like they dated back to the second world war. I hooked it all together and for weeks would just play the two sides - I was really hooked.

Soon after I traded in my old Ukulele, that I had played for some time, for a banjo and started to learn to play jazz tunes. I also had a Guitar and because of this I used Guitar tuning on my banjo – not the best approach. Eventually I dropped both these instruments and only ever played one band job on banjo as a substitute with another band – after one set I had cramp in my left hand. At the end of the evening I retired from rhythm section work.

Shortly after my indoctrination into jazz someone talked me into going to hear a local band. The Panama Jazz Band was playing at the Roycroft Hall in Wallasey not too far from where I lived with my grandparents. I can remember my first impression when they started playing. I was aghast. The trumpet player, a very nice guy, had to be the worst trumpet player that I have ever heard. I am sitting there thinking that I could do much better myself. This was based on nothing at all, my never having tried to play any wind instrument. The evening was saved when another trumpet player arrived to much excitement. It was Ken Sims who would later be with Cy Laurie's and then Acker Bilk's bands. When he played it sounded great and I decided there and then to get a cornet. The same week I bought a copy of the Melody Maker newspaper and sent away for a cornet. It cost £12, did not have a spit valve and came in a beautiful curved wooden case with exquisite brass fittings.

The Druids Jazz Band (circa 1957) at the Roycroft Hall, Wallasey
(From left to right – John Dunlop (bass); Tony Davis (manager);
Roy Harshorn (drums); Brian Williams (clarinet); Tony Pringle (cornet)
Vic Sanderson (banjo); Roy Penney (trombone).

I started to teach myself to play. I spoke with Ken Sims who recommended a teacher, but after a few lesson I stopped going to him. He told me that playing jazz would spoil my tone. A clarinet player at work taught me something about chords and I started to learn some tunes. At some time in 1956 or so I got an offer to join the Dolphin Jazz Band. After my first gig I walked home with Brian Williams who had played clarinet with the band and he introduced me to Roy Penny and Vic Sanderson. The next night these guys came over to my house and we had a session. Vic had a lousy banjo so I loaned him mine and taught him some chords and off we went. Brian played like George Lewis on the Bunk Victors and Roy played like Jim Robinson. We called ourselves the Druids Jazz Band. We must have driven my grandparents crazy practicing every night of the week and then going to the local pub to talk about the music. They were great times.

We had our first gig soon after. We were booked to play at a workingman’s club on the dock road Birkenhead, the neighbouring town. We only knew about 12 tunes and half of them were spirituals and we used a Tea Chest bass with one string! The gig lasted 5 hours and I lost track of how many time we repeated ourselves. The audience was not entranced.

Pretty soon we added drums and string bass (this last replacing the Tea Chest bass) to the Druids Jazz Band and in 1958 we became the resident Saturday night band at the Cavern and on Fridays at the other big jazz club in Liverpool – The Mardis Gras. We played intervals for Ken Colyer, Acker Bilk, Sandy Brown and other leading bands up from London. That’s how I got started! In 1967 I immigrated to USA, in 1969 I met Tommy Sancton and we started The Black Eagle Jazz Band and in 1971, After Tommy and Jim Klippert departed us, we formed the New Black Eagle Jazz Band, but that’s a story to be told in another hand dodger.

I'm attaching a scan of a 40+-year-old photo that my Dad (a local photographer) took and which was published in the Leek Post and Times. I was wondering if you have ever came across Keith Pendlebury, who played at Leek Jazz Club quite a few times in the early 1960s. He was from the Manchester area and was a terrific pianist. I got to know him and Marcia McConnell quite well, partly because of going to the jazz club (that's a very youthful me on the right of the picture peering over the top of the piano) but also because my sister worked at the same mill as Marcia -- who was fired when the boss found out she was singing jazz at night (it couldn't happen today). - Ed Jackson www.edjackson.ca/barber

I recently received a letter from my old band leader of yesteryear Preston born George Jackson, who with his wife Muriel, celebrated their Golden Wedding Anniversary this year. George is now 72 years young, and during the 50's, 60's and early 70's did so very much for our kind of music in the north of England.

Older jazz fans will remember with fond memories the Jackson-Bradshaw band based in Preston in the 50's. When Ivor Bradshaw sadly died, George took over the mantle of the band with much success. Some of the fine musicians who played or depped with the band included Drummers:- Mo Green, Don Bridgewood, Alan Butterworth, Eric Dean. Bassists:- George Littlewood, Derek Pierce. Pianist John Featherstone, Banjoist/Guitarists:- Dave Potts, John Parkinson, Mike Reddin. Clarinets/Sax:- Maurice Gavan, Bob Crosby, Mart Rogers, Dave Mott and Harold Salisbury. I think the above musicians would agree that they gained so very much from George's enthusiasm and musical knowledge of jazz.

I joined the Jackson Band during the mid sixties, shortly after my army service, and jazz fans will remember the old Manchester Sports Guild run by Mr Jenks, where the band played many gigs there during this period. The band recorded a compilation of Christmas songs for George Bucks New Orleans label. Tony Davis played the CD on his much missed Tony's Trad Time", on several occasions at Christmas time. The late sadly missed John Featherstone organised the recording, and I believe the CD is still selling well in New Orleans after all these years. If I remember at the end of the recording session, there was still a few spare tracks, so George and Mart Roger recorded a stunning version of Froggie More Rag and a few other numbers. I would love to get hold of it.

I hope these few lines have brought a few happy memories back, and a few tributes to the Unsung Heroes of our music. when I spoke to Digby Fairweather a few months ago, he re-iterated the famous lines of the late John Lennon, "WHEN WE GET TO LONDON THAT WILL BE THE END OF TRADITIONAL JAZZ", of words to that effect.

Dear Fred,George Jackson : He made a record years ago with John Featherston playing piano, Don Bridgewood drums, Derek Pierce Bass, Mike Reddin banjo. They had insufficient tracks to complete the LP and I can't remember what happened to his reed man but I was invited to join the band for the recording of the last two or three tracks. I still have a copy and it came out good.

Mart Rodger

Getting lots of pleasure from the site and just been browsing and while I hesitate to contradict Mart Rodger, the session he referred to with George Jackson (cornet), Derek Pierce (bass), Mike Reddin (banjo), John Featherstone of blessed memory on piano - incidentally his widow June, who used to work in Hime & Addison was well when I last spoke to her - and myself on washboard, was not to pad out a George Jackson LP but to fill up a Zenith Six tribute to Jelly Roll Morton. It was recorded in Macclesfield and was PROPER jazz. No rehearsal, a chat beforehand in the studio in Macclesfield and we ripped off Froggie Moore and Doctor Jazz and I do not think I ever heard Mart and George play better, they sparked off each other. Another person mentioned a CD of it, but I am pretty sure it was only issued on LP, but not 100 per cent certain.

On the 24th July 2003, Pete Vickers came across an old copy of the Preston Herald newspaper for sale in Preston, exactly 50 years old to the day. He also found this article inside it.

Ivor Bradshaw, Jack Harris, Colin Hilton (of Blackburn) and Harold Salisbury, George W. Jackson, Eric Hammond (of Preston), who, with Jim Smith of London, form the Gremmendorf Jazz Band attached to the 17th/21st Lancers, stationed at Munster are currently enjoying a busman’s holiday on leave in Lancashire. As well as specialising in hot jazz the young soldiers are members of the regiment’s military and dance bands. During their leave - augmented by R.A.F. musician John Parkinson - they have deputised for the Saints Jazz Band at the Bodega Restaurant, Manchester, and last week they played at Ashton-under-Lyne Palais de Danse. "Music’s a great life, even in the army, confided clarinet expert Harold Salisbury. And when we’re demobbed there’ll be a few emigrants from the Cotton County stalking up and down London’s Archer Street searching for professional outlets.

In between say 1958-1964 my brother Don (who changed his name to Richards for some reason) was a director and managed the Bodega approx the period 1956-1965. He used to rent out the large room to Paddy McKeirnan.As you will know, Sat night was trad jazz and average attendance was about 600 people.

I used to work there every Sat night with 3 of my other brothers, 1 in bar, 1 in cloakroom, and me in the jazz room.

During that time, I saw Ken Colyer,, George Melly, Mick Mulligan, Alex Welsh, the Dutch Swing College Band, Merseysippi, Kenny Ball, Acker Bill, Karl Denver and many I cannot remember.

We travelled there on train from Liverpool and used to have a drink first in Sinclairs, Fatted Calf, Listons, Long Bar.

There was also a guy called Paul Beatie who played there most nights, he played guitar.

In fact I wrote to George Melly last year asking if he remembered the club and my brother which he answered "of course he did" and I still have his letter. I read in my local paper (Ainsdale, Southport) that his last gig 6 weeks before he died was The Talbot Hotel in Southport.

As I worked the bar in the jazz room, I met all the bands but they wont have any reason to remember me, here are some of them.

MELLY : MULLIGAN : BALL : DONNEGAN : KARK DENVER : DUTCH SWING COLLEGE : LIGHTFOOT : ALEX WELSH : MERSEYSIPPI.

Does anyone remember those days?

George Roberts

I have just read George Robert's letter about the Bodega and it brought it all back. I started going to the Bodega in the mid 50's when I was 16. I remember you went down the stairs into a corridor where there was usually a long queue waiting to get in. As it shuffled forward I was always in a state of nerves wondering whether I could con my way in as I was 2yrs. under age ! I always made it apart from once when I was asked my age and replied without thinking 16. The next Sat. I was worried that they might remember me but with an average crowd of about 200 weekly I was alright. I used to occasionally venture into local pubs where everybody in those days drank Mild beer. I recall fighting my way through seemingly hundreds at the bar at the Bodega and saying ' a glass, please ' which was a standard request for half of Mild where I came from and, you've guessed it, being given an empty glass ! I was a real man about town. Two years later I was playing at the Bodega with the Dallas Jazz Band one Weds. when in walked Dizzy Burton and Bill Brennan from The Jazz Aces. At the end of the evening they asked me to join the band which was probably one of the best in Manchester. Yes I have many happy memories of the Bodega.

Hi - Enjoyed your jazz website(s). I'm now in Oz but grew up in M/cr and spent many happy hours on Sat nights at the Bodega. Fond memories of Alex Welsh, Ken Colyer, Chris Barber, George Melly and more. I recall Lonnie Donegan played banjo with one of the trad bands until he had a big hit song in the US with Rock Island Line. Wrote a story about those nights in my website which has other stories of growing up in Wythenshawe in the 50s. The web address is
http://www.geocities.com/awythiekid/ - Rod Smith

It was on Cross Street in Deansgate. You went down some stairs and you were in the world of 1950s trad jazz - Dixieland some called it.

It was a large room full of tables and chairs, with the proverbial bar of course. In those days there wasn't much awareness of the hazards of inhaling cigarette smoke. On a Saturday night the Bodega was so full of it the place looked like a typical Manchester smog. I shudder when I think how much of it I inhaled.

Still, it all added to the atmosphere, and what an atmosphere it was. A mass of bodies all swaying, foot-tapping, even jumping to the roaring trombones, piercing trumpets and piping clarinets of Alex Welsh & His Dixielanders, the Chris Barber Jazz Band, and Ken Colyer. Lonnie Donegan's banjo playing was part of it, and there was the wonderful knockabout singing style of George Melly when he was up north. There were others too but the names fade with the years.

It was interesting that Lonnie (as British as fish and chips) made a solo record of an American folk song "Rock Island Line" that shot to No 1 in the United States hit parade, and that was the end of his humble banjo-playing with the trad bands.

As Saturday night wore on everyone became tipsier including the band, and when ten o' clock came the place was jumping like a kangaroos conference.

It was a thrilling kind of music, played without any kind of written guide, just a bunch of musicians who knew each other's style intimately, and it all blended into a rousing, marvellously-free combination that would have held its own in New Orleans. Some of the musos had in fact been there.

Everyone loved George Melly. His speaking voice was cultured, very English, even BBC-ish, yet when he sang you'd really think he was a son of Uncle Sam. He wore a kind of black track suit in which he strutted the little stage like an arrogant peacock. When it came to the shooting bit in "Frankie and Johnny" he would crash to the floor like a felled tree and everyone roared. I never could figure out how he did it without injuring himself. My favourite was "Judge, Judge, Send Me to the 'Lectric Chair."

There was always an anti-climax to it all, because around ten when everything was in top gear, bells would ring, lights would flash, and there came a "last drinks" announcement, and the joy-killing news everything would end in about fifteen minutes. We were all victims of Britain's antiquated liquor laws! It was sad because the night was young as they say.

So that was the Bodega, circa 1955, and I'll always have fond memories of my teenage years and those swinging Saturday nights in that basement

Further to comments already made regarding the Bodega - I too spent many Saturday evenings watching Mick Mulligan with George Melly and Ken Colyer's band. Readers may be interested to hear that several years later, when jazz had been replaced with pop music, the Rainy City Jazzband did a 12 week residency there on Sunday evenings .

I'm John White, played string bass in RAF bands during N/S 1950/2, came out, got married, couldn't afford an instrument, so just listened for a few years ! Came to work in Manchester in 1960, checked out the local scene (Tommys, Black Lion, 43, MSG etc) for a bit then saw an ad in the M. E. News-"Bass for sale or swap Judo suit"

I wizzed along to Chorlton and pretended to be fairly uninterested in the REAL wood bass with ungigged varnish(!),but very keen to help the impecunious student to be a star in the belted world of martial artists. I showed him a few fivers and he said goodbye to the bass, which drove off with me at high speed, in a 2 door Ford Anglia! I often wonder if he and his mates (yes it was digs!) had a good night out instead!

After getting up to speed playing along with records for a bit, one night at the Black Lion the Panama turned up with no bass player; when I told Maurice (Pike) I'd got one he said well go and get it! The banjo player lent me his 'chord book' and I enjoyed it so much I forgot to order any beer, so I drank one of those on the piano top. Never did again, but I was truly hooked, and got asked for my phone number. I've still got my 'gigbook' full of names, but try ringing Didsbury 443 and see how far you get ! I hung up my 'plank' in 83 when we moved back to retire in Yorkshire, and took up the keyboard, which I play and communicate with others on the net.

I could trot out loads of stories, but thought it might be more interesting to catalogue the members of various bands I played / depped with on the jazz scene at that time. My memory is as fallible as yours but its an honest try at the dates and should provide a bit of fun for all 'mouldy figs' and er, what was the other one ?

BLUE LOTUS	DALLAS	PANAMA	RED RIVER	ZENITH 6
Alan Dent	Bill Smith	Maurice Pike	Doug Whaley	*****
John Hallam	Tony Foulkes	Gabe Essian	Eric Pizey	Eric Pizey
Mick(y) Cooke	Terry Brunt	Tony Dunleavy	Mick Knowles	Eric Brierley
*****	Tony West	*****	Neil Marr	Keith Pendlebury
Bill Carton	****	****	Dave Potts	****
****	Bob Jones	Don Bridgewood	Pete Staples	****

GED HONES	SMOKY CITY	DAVE MOTTS MSG	GORDON ROBBO 7
Ged Hone	Alan Dent	Bill Smith	Doug Whaley
Gabe Essian	****	Dave Mott	Brian Smith
Eric Brierley	Terry Brunt	****	Brian Crowther
Dave(Froggy)Moore	Tony West	****	Alan Hare
*****	Roger Brown	****	Colin Knight
Ian Rose	Bob Jones	Nev Taylor	Pete Staples

Dear Fred , I see spaces in the red river camp and the zenith 6, can I place my fathers name in one of each space. His name was Eric Pizey and was the drummer for at first the Red River Jazz Men of which I have a number of recordings and then went on to join the Zenith 6. He died in 1966 when I was 4 and my sister was just 8 weeks, in a car accident. Please check Google for my honesty, and ,or ask the band members. It's important for me and my family that my father should have some ,small recognition.

Thankyou
Roger Pizey

31/07/07 - Hi Fred

I came across your site accidentally but I was intrigued when I did as my memory was jogged. I like jazz but am not very clued up but I can add this.

In between say 1958-1964 my brother was a director and manager of the Bodega in Cross St, Manchester and on a Sat, he used to rent out the large room to Paddy McKenin. I used to work there every Sat night with 3 of my other brothers, 1 in bar, 1 in cloakroom, and me in the jazz room. During that time, I saw Ken Colyer,, George Melly, Mick Mulligan, Alex Welsh Dutch Swing College Band, Merseysippi, Kenny Ball, Acker Bill, Karl Denver and many I cannot remember. We travelled there on train from Liverpool and used to have a drink first in Sinclairs, Fatted Calf, Listons, Long Bar. In fact I wrote to George Melly last year asking if he remembered the club and my brother which he answered "of course he did" and I still have his letter. I read in my local paper (Ainsdale, Southport) that his last gig 6 weeks before he died was The Talbot Hotel in Southport. There was also a guy called Paul Beatie who played there most nights, he played guitar.

George Roberts

Jazz At The Bodega in the 50s ©Rod Smith