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Colin Richardson Interview
04/26/2010
11/17/2009
Colosseum and Jack Bruce at the Lanch - Excerpt from Jon Hiseman's forthcoming biography
January 24th 2010 will mark the 40th anniversary of the historic performances by Colosseum with The New Jazz Orchestra and Jack Bruce and Friends at the Lanchester Arts Festival in Coventry 1970.
I was lucky enough to have seen that concert at 18, sat squat legged on the floor of the Student Union main hall with thousands of undergraduates, hippies, and Coventry musos.
Colin Richardson, who has been interviewed on this site, was Colosseum's manager and Booking Consultant to the Lanchester Arts Festival in 1970 and '71. Colin is currently editing a biography about Jon Hiseman, written by Martyn Hanson. Martyn has written books on Tony McPhee of the Groundhogs, The Nice and ELP. More details here http://www.martynhanson.com/colosseum.html
Colin has kindly allowed us to present a preview of the biography here concerning the concert at the Lanchester Polytechnic.
No publication date has been set for the book as yet but it is hope that it will be out in the New Year sometime. If you were there or an organiser at the Lanch, leave a comment.
From the chapter - A Giant Leap for Colosseum - Martyn Hanson writes -
“This remains one of the best gigs I was ever involved in. I was so proud that all my old mates from Tamworth were there to see it.” Clem Clempson on the Lanchester Arts Festival"
A Giant Leap for Colosseum (An Extract)
“This remains one of the best gigs I was ever involved in. I was so proud that all my old mates from Tamworth were there to see it.” Clem Clempson on the Lanchester Arts Festival"
The first few days of 1970 found Colosseum back on the road doing TV and live dates in Europe, including their first gigs in France…2 shows at the famous Paris Olympia, where they received a standing ovation from a euphoric audience. The feeling of satisfaction at having acquitted themselves so well in such a prestigious venue was slightly tempered by having to be up and away early the following morning in order to make it to the next gig, which was at the Winter Gardens, Weston-Super-Mare. Back to earth with a bump!
The heavy work schedule continued, but with a slight difference. Wearing his agent’s hat, Colin Richardson was the booking consultant for the Lanchester Arts Festival, a student-run, mixed media project in Coventry… a role which, the following year, would give him the opportunity to bring off something of a major ‘showbiz coup’…the first ‘live-on-stage’ appearance of Monty Python’s Flying Circus…three shows at the Belgrade Theatre as part of the 1971 Festival programme. For the current year though, he had already booked the UK premiere of Jack Bruce & Friends, featuring American stars Larry Coryell and Mike Mandell, together with ex- Hendrix drummer Mitch Mitchell. Also on the bill were Colosseum and the New Jazz Orchestra, playing live together for the first time…an idea that partly stemmed from the NJO brass and reed sections playing on the studio version of Butty’s Blues. Given the
close musical relationship that had always existed between Neil Ardley and Jon Hiseman, it was a naturally symbiotic combination, which would prove to be both musically satisfying and exciting. For Jon it was all part of the plan, as he told Melody Maker: “When I formed Colosseum I was consciously trying to create an environment in which we could involve a band of this size.” His real ambition went even further: “The ultimate goal is to produce a 20-piece band whose members are individually as well-known as Colosseum. It’s impossible, of course”.
On the night, the New Jazz Orchestra opened proceedings with Dick, Tony and Jon in their ‘big-band’ roles. The Lanchester College newspaper reported: “The Mike Gibbs composition Rebirth, showed what a ridiculously accomplished set of musicians they were, while Dusk Fire, by Michael Garrick, had Tony Reeves playing the best bass solo I’ve ever heard”. The Guardian and Melody Maker echoed this praise in their reviews, MM going on to report: “Jon Hiseman swung beautifully through every number giving one of the most tasteful displays in drumming and stamping his style memorably on everything”. Ronald Atkins of the Guardian was equally impressed: “Few drummers in this country can touch Hiseman for sheer technique, and he obviously takes every chance to vary his patterns.”
This NJO gig was also something of a milestone for Barbara Thompson as she got her first chance to play a solo in public, in a duet with Henry Lowther. Jon recalls: “She played on Mike Taylor’s Study a very hypnotic slow ballad and it brought the house down. I learned the big lesson that night that you didn’t have to go in with a sharp stick to get an audience reaction. I couldn’t apply it to Colosseum as I always had trouble in keeping the tempos down, but I applied it to Barbara’s later career. She was fantastic that night, I was so proud of her.”
After the NJO left the stage, Dave Greenslade and Clem Clempson came on and Colosseum played their set. They
kicked off with Lost Angeles, by now considerably longer than the studio version, followed by the old Graham Bond staple Walkin’ in the Park. Next came The Machine Demands a Sacrifice, which featured Jon’s drum solo, inspiring the college paper to write: “For those of you who saw the first solo, the second was even better and for those who saw the second, Jon had been on stage for over six hours when he started”. It’s quite likely that most of the crowd were there to see Jack Bruce, but already they were experiencing some seriously powerful and memorable music…but the best was yet to come! the NJO musicians returned to join Colosseum for the final two numbers, the first of which was Butty’s Blues, featuring some forceful playing from Dick, but the highpoint of the performance was always going to be the closing piece, Valentyne Suite, scored for the augmenting musicians by Neil Ardley. At one point during the performance, Dave Greenslade was suddenly aware of the significance of the moment: “This was amazing for me Jon and Tony, as we had seen all those
great big bands all those years ago. And I found myself playing Hammond in the middle of this great brass section - it gave me a great buzz.” The suite’s climactic ending prompted lead trumpet Bob Leaper to hurl his trumpet high in the air, deftly catching it on its return flight. It was a fitting climax to a memorable collaboration. Jon congratulated Clem after the show saying it was the best he’d heard him play and the college paper also singled him out for his outstanding performance. There was good reason for Clem to be so fired up and playing so well that night: “This remains one of the best gigs I was ever involved with. I was so proud that all my old mates from Tamworth were there to see it.” Colin Richardson concurred: “It was an amazing concert…without doubt, one of the highlights of my music biz career.” The Guardian’s Ronald Atkins was amazed by the crowd’s good humour, as they sat shoulder to shoulder in stifling heat: “No one grumbled and no one collapsed; they sat quietly while the music played and clapped and cheered when it stopped. As a veteran of FA cup ties and smoky jazz clubs, I offer them my envious congratulations.”
Dick also considered it a milestone for Colosseum: “Of all the outrageous things to attempt – the NJO incorporated in the set, playing Neil Ardley’s arrangements to some of our recorded numbers. The hall was packed to the rafters and the reception we got started off as enormous and ended up gargantuan.” The Lanchester college paper went into overdrive: “But then, back came the NJO for the final 40 minutes of the best music I have ever heard here…words cannot do justice to the reality. Quite simply, it stopped the show.” The last word is from Jon: “Lanchester was just amazing. We played to a total of 5000 people in the two shows. Dave Gelly told me that was more people than he’d performed to all year.” The success of this collaboration ensured that there would be further such joint concerts later. Jack Bruce’s set was also well-received, with Jon joining the audience to dig it, enthralled by the drumming of Mitch Mitchell. “He was just wonderful that night – his was a talent I much admired but I think he got lost somewhere along the way.”
Barbara had, in fact, played in Coventry on another occasion. In the early part of 1969 she had formed the Barbara Thompson/Art Themen Quintet. Art Themen was a very talented tenor saxophonist who had known Jon and Dick Heckstall-Smith for many years (he’s also Arthur Heckstall-Smith’s godfather). They played at the Belgrade Theatre and Melody Maker reported: “Opening with John Coltrane’s Promise they played some interesting modern jazz with Barbara and Art both blowing fluent tenor, soprano and flute.” The audiences tended to be on the small side, but Barbara enjoyed the artistic freedom. She told Melody Maker: “Musicians have got to get the idea they can make a living out of jazz out of their minds…it’s a pipe dream,” In spite of this remark, since her Cabaret experience, she had made the decision never turn down the opportunity to play jazz just because it didn’t pay. Barbara always kept several projects on the go, including composing music and writing arrangements. She also seems to have had a thing about drummers, as she also played on Keef Hartley’s album Battle of North West Six. To promote it, Hartley had performed a John Peel ‘live special’ with a 14 piece big band, which featured Barbara in the sax section. Two days after the memorable Lanchester Festival gig, Barbara made her first public appearance with Colosseum on Beat Club a German TV show, filmed in Bremen. Colin Richardson was a good friend of the producer/director, Mike Leckebusch having previously booked Manfred Mann and the Bonzos on the show. Barbara remembers she wore a strange outfit: “It was the time when the Indian Squaw look was really in, and the make-up department at the German TV station went to town on me.”
Barbara reprised her flute playing on The Machine Demands a Sacrifice which she had performed on the Valentyne Suite album. Clem, who had by now settled in and had gained in confidence, gave an inspired vocal performance.
1970 had certainly got off to a good start, but unfortunately, another crisis was already looming on the horizon!
Martyn Hanson
10/10/2009
Monty Python at the Belgrade Theatre - BBC Coventry Report
HOW COOL!
BBC RADIO COVENTRY COVER THE COLIN RICHARDSON MONTY PYTHON STORY
Hannah Tobin of BBC Radio Coventry and Warwickshire got in contact with Colin Richardson after Hobo had
uploaded an interview with Colin, part of which dealt with he's scoop of bringing the Monty Python team to the Belgrade Theatre in Coventry for the first ever live performance in 1971. Colin and also David Partridge (who was in the audience) were interviewed on BBC Coventry Tuesday October 20th 2009 on the Annie Othen show.Thanks to Rosie King at the BBC for allowing us to relay the interview on the site.
A little while ago I did a piece for the Hobo site on the Arts Festivals at the Lanch Poly (now Coventry University) in the early 1970's, involving the organiser Ted Little who went on to bigger things in the
Arts World.
As a result Colin Richardson got in Contact - I'd seen his name on the Lanch arts Festival Programme for 1971 as the BRON Agency Booking Agent but knew absolutely nothing about him. After many e mail and Skype exchanges I realised what a fascinating musical career he had had from early Jazz roots, through being night manager with for the Marquee club, through managing Colosseum, through Charisma and much more.
As Colin had been instrumental in booking some of the
major artists that played the Lanch Poly Student Union and had amazing background stories, as for example the bringing of Monty Python to Coventry for their first ever live performance, I decided to do a very full interview with Colin.
Here's Colin's full story on booking Monty Python for their first Live Gig in Coventry is on this site along with Colin's Interview pages. See the index to this site. Colin's Typepad is http://colinrichardsonjazz.typepad.com/blog/
08/09/2009
Colin Richardson Interview Part 7 - Artist Management / Journalism etc.
Following on from Part 6 of the Colin Richardson Interview - (Photos etc soon to be added to his post)
AFTER COLOSSEUM - EMA
When Colosseum folded at the end of October 1971, I left the Bron Organisation to set up the London office of EMA, the Swedish tour promoters that I had been working with on all of Colosseum's Scandinavian dates. I had a very good working relationship with Thomas Johansson, one of the directors, and he had broached the idea when he heard that Colosseum were breaking up. I liked the proposition and we agreed terms. I then had to find offices, organise equipment and furniture etc. Luckily, I had persuaded Jan, my incredibly efficient secretary/p.a. at Bron, to come with me and she helped with all the logistical stuff that had to be got together in very short order. We got some music press covereage and this brought forth a few record company contacts asking if we could manage their artists..Nat Joseph at Transatlantic and Dave Howells at MCA come to mind. Our main role though, was to effect the Musician Union's exchange requirements for the British name bands that EMA were importing, i.e. a 5 piece group playing 4 dates = 20 man/days, which had to be matched by a 3 piece Scandinavian group (like "Made in Sweden") playing 7 dates/21 man/days. This wasn't easy, as these bands were completely unknown in the UK, so would be working for very low fees, thus the cost of the tour invariably exceeded the income and this shortfall was covered by the Swedish company as an 'overhead'.
After getting things set up and running as smoothly as possible, I began to realise that the cost of running the office, together with my and Jan's salaries, was quite a burden on the parent company and there wasn't much in the way of income either, About this time, I was approached by Tony Stratton-Smith, boss of Charisma Records, who asked if I interested in joining the label. So I suggested to Thomas that costs would be greatly reduced if I handed everything over to Norman Haines, who had been working with us while managing "Gringo", an MCA artist who had conveniently just broken up. I knew Norman could easily run things from his own apartment, which would save on office costs, plus he would be quite happy with a lower salary than EMA were paying me.
So the transfer was effected and I joined Charisma..
MY CHARISMA YEARS (1972 -76) AND MY SUBSEQUENT RETURN TO ARTIST MANAGEMENT
I spent 4 years with Charisma Records, most of them as International Manager, which meant that I travelled a lot, mostly around Europe, liaising with the various label licensees and their press/promotion departments. I also made several trips to America, once with the 'boss', who insisted we flew First Class and took a suite at the Algonquin Hotel,
where the famous "New Yorker" writers (James Thurber, S.J.Perelman,
Robert Benchley, Dorothy Parker etc etc...) met for their 'round table' meetings. The main Charisma artist at the time was, of course, Genesis...who were just beginning to really take off when I joined in June 1972. They were exciting times and I thoroughly enjoyed working with Tony Stratton Smith. I had a lot of respect for his way of working, which was often bold and sometimes risky, but always interesting. His musical maxim was "anything good of its kind" and he gave a lot of artists a chance who wouldn't have got the time of day from most other labels. Charisma release many 'off-the-wall' albums, like those from Sir John Betjeman and Bo Hansson's "Lord of the Rings", not forgetting the fabulous Bonzo Dog Doo-dah Band/Vivian Stanshall and Monty Python releases. It was good to have the opportunity to work with such a variety of artists, especially the last two, as our paths had already crossed back in my Bron days. I have fond recollections of touring in Germany with the Bonzos and a flying promotional visit to Copenhagen with the two 'Python' Terrys (Jones and Gilliam) to do some press interviews.
After 4 years though, I sensed that things were changing somewhat. 'Strat' wasn't around quite as much and eventually announced that he was bringing in someone to be 'him' on a daily basis, as he wanted to spend more time with his other love; 'horse-racing'.
Right about this time I was approached by Bruce May (brother of Ralph McTell), who suggested that, if I joined his
company, working with people like Bert Jansch, John Martyn, Ralph etc...I would also have the freedom to bring in other artists of my choice. At the time, Neil Ardley, my old friend from the NJO days, had just recorded his best and most commercial album to date "Kaleidoscope of Rainbows" and I saw a chance to be involved with getting Neil a recording & publishing deal, if I accepted Bruce's offer. So I did.
At first, it seemed that I had made a sound choice. My first job was to fly out and join Ralph McTell on his Australia/NZ tour, which was a fantastic experience, the climax of which was his appearance at the Sydney Opera House. The Ardley album eventually came out on Gull, a newly formed label run by two guys I knew when they both worked at MCA..Derek Everett and David Howells. They were enthusiastic jazz buffs and were very keen to release Neil's album. It garnered some amazing reviews (for a jazz album), Melody Maker comparing it to a jazz version of "Tubular Bells". High praise indeed. It sold well enough, but its market was always going to be fairly limited. It did, however, establish Neil as one of the most innovative composer/arrangers around.
But, after being there almost a year, I began to feel that perhaps it might not have been such a good decision after all and when a US tour for John Martyn hit problems with the support funding promised by his American label boss..I found myself in an impossible situation, which ultimately led to my parting company with Bruce May Management.
It wasn't great timing! The record industry was going through tough times on the back of the oil crisis and the resulting vinyl shortage. No-one was hiring and nobody in a good executive position was moving! I was also pretty unimpressed with the new wave of "punk" bands that seemed to have blown all the established rock groups temporarily out of the water! So, I considered my position for a while, thinking "something will turn up". Well, after about a year...something did. An old friend from my earlier association with Phonogram, Ralph Mace, who was now working at RCA, phoned me and offered a 3month consultancy position covering the up-coming European tours for David Bowie and Jefferson Starship. It appeared that their International Manager had departed suddenly leaving them with no-one to ride 'shotgun' on these two important tours.
THE "JOURNALIST" YEARS
Almost at the same time, a German promoter that I had worked with briefly (well, one booking of the Who, actually) tracked me down and asked what I was doing. I tried to put the best possible 'spin' on my situation...but ultimately, I had to admit, I wasn't doing anything much! He then told me that he was, in fact, the publisher of a major German musician's magazine called "Fachblatt", which he compared to International Musician in the States, in that it was about the technology..instruments, amps, PAs etc. and would I be interested in working as a journalist for the magazine. He ignored my assertion that I wasn't, and never had been, a journalist, saying that, with my background and experience, I could get to the kind of musicians that he wanted interviews from and all I had to do was ask the right questions...which he would brief me on, to start with. Well, I decided to give it a try, but explained that I couldn't start right away as I had already committed to the 3 month stint with RCA, . So, I worked the 3 month contract, which I will gloss over, as it could almost be another book in itself! Then, ironically, I was offered the job permanently, but I decided to stick with the journalist plan and, somewhat regretfully, passed on the RCA offer.
So, using a few of my contacts, I very quickly got interviews with people like Pete Seeger, Harry Nilsson, Mark
Knopfler of Dire Straits and old mates like Manfred Mann and Dave Greenslade. Then Phil Collins, Mike Rutherford and Tony Banks of Genesis were enlisted and a bit later on, an Abbey Road interview with Paul McCartney! I also persuaded another old mate, Jon Hiseman, to contribute a regular drum column. Things had got off to a pretty good start. I continued getting good interviews, some in Germany and then I made a trip to the States, where I brought off what I thought was a terrific coup. A photographer I was using for pictures to go with the interviews, told me that International Musician had secured an exclusive interview with Keith Richards. As it turned out, I knew a guy at IM from the time he had worked at Atlantic Records in L.A. I made contact and asked if Fachblatt could buy the German language rights to the article. He invited me up to meet the
Publishers and negotiate directly with them. I got the deal for $500, which I thought was a 'steal'. Following through, I then negotiated an running option to reprint any interview printed in
International Musician and the sister mags, Contemporary Keyboards and Frets, on condition that they didn't appear until 3 months later. What I hadn't realised at the time was that, this deal effectiively rendered my role redundant, a fact which eventually dawned on Fachblatt's publisher. At that point, I was history! So was my 'journalist career'!
By this time, I was thoroughly disillusioned with the whole music biz... its shallowness and cynicism..its lack of any entrepreneurial foresight and the prevalence of "suits"; (accountants and lawyers) who seemed to be calling all the shots. I had had enough!
More photos on Colin Richardson's Typepad Blog http://colinrichardsonjazz.typepad.com/blog/
Monty Python's First Ever Live Performance - Belgrade Theatre, Coventry - The Story behind it! PT 6
Colin Richardson - the booking agent from Bron responsible for booking many of the acts for the Coventry Lanchester Arts Festival in the early 70's tells the story of how 'How a modest little Polytechnic in Coventry came to be favoured with such a prime coup as hosting the first ever live performance of Monty Python's Flying Circus?'
PART 6
'Live' Python found at Belgrade Theatre, Coventry!
By Colin Richardson
1971 Lanchester Arts Festival included many well-known artistes on the 10 day programme of events, including Elton John, Ralph McTell, Caravan, blues legend Big Boy Crudup, Leon Russell and Andre Previn (conducting the London Symphony Orchestra), but the high point of the student-run mixed media festival that year, was without doubt, the first 'Live on Stage' performance of Monty Python's Flying Circus.
How did a modest little Polytechnic in Coventry come to be favoured with such a prime coup? Here's how it happened.
I had been the Festival's booking consultant in 1970, working closely with Ted Little, the student organiser. We made
a good team, as he was always open to my ideas and suggestions, though quite firm of mind when it came to final decisions as to which act was chosen. I guess he must have been pleased with my contribution, as he retained my services for the following year.
At some point during the planning, he asked if it would be possible to book one or two of the Monty Python team to perform a couple of sketches from the cult TV show, as they were immensley popular with the student fraternity. I was doubtlful, as none of them had ever made any live appearances hitherto and I was pretty sure that they only produced their unique humour for the TV cameras. However, I said I'd see if there was any chance of one or more being interested. I had no idea who their agent was, but, as luck would have it, there fell into my lap a circuitous conduit to to one Python ear. It went like this: I had a little band going at the time...a quintet playing jazz and dance music around the club/college circuit and we had a singer by the name of Jean Hart,
who was an American living in London and she was the girlfriend (later wife) of the comedian Bill Oddie. Bill would occasionally 'sit in' with the band, singing a credible blues. He knew most, if not all, of the Python team, so I asked him (through Jean) if he knew how I could go about contacting their representative. To my astonishment, he offered to introduce me to Eric Idle (it's possible that he was sharing a flat with him at the time, though I'm not certain about that) and eventually I got the summons to attend his presence. Being a bit of a fan myself, it was with some trepidation, awe and downright nerves that I presented myself, but he very quickly put me at my ease with his relaxed and friendly attitude. He asked a few questions about what dates we had in mind, the Festival organisation, its history etc. I threw as many 'names' of artistes that had already been booked, or who had appeared in the previous 2 years and described how well run it was and he took it all in. I was expecting him to indicate who, if anyone, might be up for taking part, when he said something that had me almost fainting with inner excitment. It was along the lines of: "Well, your timing couldn't be more fortuitous (he could even have used the word 'serendipitous') as we've been discussing the possibility of doing something live on stage and, if we did, we would definitely do it outside of London, in case it didn't work for us. If you can find out whether ther Belgrade Theatre is available for a 3 night run, that would certainly increase the odds of us agreeing to do it, as we have all worked there before and know that it would be ideal for us".
In something of a daze, I promised to get back to him asap and left to find a phone to call Ted Little and give him the
astounding news. He didn't seem to take it in at first and kept asking which of the Pythons was I talking about. I said "All of them..the tout ensemble', the whole damn Circus!" After they brought him round, he checked the Belgrade's availablity and phoned me back to say that we could have 3 nights, bang in the middle of the Festival. I passed this on to Eric and, soon enough, the dates and the deal were agreed. For the life of me, I can't remember the details, except that the shows would start at 12 midnight and that the fee was extraordinarily reasonable. In a cloud of euphoria, I passed this incredible news to Ted. Tickets went on sale a few days later...and all three shows sold out in about 20 minutes!
Needless to say, the shows were a fantastic success, the student audience a proven fan base who already knew most of the sketches, not that this in any way diminished their noisy enjoyment of them. I recall that,on the first night, the entire front row was wearing 'Gumby' style knotted handkerchiefs...to the astonishment of the first Pythons onstage.
07/05/2009
Colin Richardson Interview Part 5 - Formation of Colosseum
Continuing with the Colin Richardson interview - we look at the formation of Colosseum in the late 60's and Colin's role in it. The story forms part of a long interview with Colin who played a part in bringing some of the top bands/acts to Coventry for the Lanchester Arts festival.
THE FORMATION OF COLOSSEUM
by Colin Richardson
A few months after joining Bron Artiste Management, July I think, I got a call from Jon Hiseman to tell me that he was forming a band and asked if I was interested in being the manager. Dick Heckstall-Smith had left John Mayall's Bluesbreakers in early June, but Jon Hiseman had stayed on with Mayall for several more weeks. Dick and Jon had often talked about forming a band together...and this was their 'window of opportunity'. Dick apparently had said to Jon: "If we're ever going to form this band of ours, it's got to be
right now!" So, after mulling things over,Jon decided to 'bite the bullet' and let Mayall know that he was also leaving He then told Dick it was 'game on' and set about getting the other musicians. Tony Reeves, who had also been with Jon and Dick in the Bluesbreakers had left at the same time as Dick and he was Jon's first choice for bass. Then Dave Greenslade was recruited... he'd been with Geno Washington's Ram Jam Band for the past 18 months and was ready for a change. So, now the main part of the group was set. Perhaps it should be explained at this point, that Jon, Tony and Dave had known each other since they were teenagers growing up in South East London. Jon and Tony had played together many times at the Jazzhouse in Blackheath, which I wrote about in an earlier section. Dick, of course, had met Jon when they were both in the Graham Bond Organisation a few years earlier. Jon and I had also known each other quite a while, having worked together during the Jazzhouse days, both musically and when I was one of the club managers, as well as the early days of the New Jazz Orchestra. This was probably the main reason he approached me to manage the new band, which he had named Colosseum. I was flattered...but had to explain that, as I had a family and a hefty mortgage, I couldn't afford to take that kind of risk. I could, however, talk to Gerry Bron and see if I could get him interested in signing them and that way I could still be involved, but from within the organisation. That way they would benefit from the agency/management/publishing expertise of the company. I told Gerry, who was impressed with their pedigree and agreed to go and hear them when they had some material ready. Jon was happy with that option and a few weeks
later announced that they were ready to show what they could do. We took ourselves down to the rehearsal room and listened as they ran through a few numbers. We were both blown away by the sheer musical ability of the guys and
Gerry signed them up without a moments hesitation. He then proceeded to set up a bank account for them, with a hefty overdraft facility and they were off and running within a week, with gigging sheduled to start in October, a couple of months later. They were well received by both fans and the music press and over the next 3 years played all over Europe and America (though never really cracking the latter), released 3 strong selling albums...the last of which was a 'live' recording, which was probably their best. They folded in November 1971, when they ran out of new material (and steam), the catalyst being guitarist Clem Clempson's departure to join Humble Pie. Amazingly, the group re-
formed in 1993, over 20 years later, with the exact same line-up as when they broke up! They made several more records (CDs now, of course) and made frequent tours of the German-speaking territories. Dick Heckstall-Smith died in December 2004, aged 70.
All of which, plus much more, can be read about in the upcoming book on Jon Hiseman's life and career, which is still a 'work in progress', but... "watch this space", as they say.
06/18/2009
Colin Richardson Interview Pt 4 - Booking Agencies
Continuing from part Three we look at Colin Richardson's development as a Booking Agent in the music business..
At some point you became a Booker with The London City Agency, your first break into the music business. How did that come about?
In 1964 I was working as an Office Services Manager for a computer company, north of Oxford Street. This was about the same time I got the Marquee 'night manager' job on Monday and Wednesday evenings, as well as Sundays at the "Jazzhouse"...plus playing the odd gig here and there. I was also, on occasions, booking bands into local colleges on a 'split commission' basis (this is where you get a booking for a band that you don't actually represent, but the band's agent will accept the booking and 'split' the 10% commision with you 50/50. Some agencies were quite happy to do this, even though I wasn't officially an agent.).
One such booking was for the Artwoods, a popular R&B group (with Jon Lord on Hammond organ!). Some time after
this gig, I was phoned by their booking agent, Barry Dunning at the London City Agency, asking if their was any chance of them getting a 'return booking'. In the conversation that followed, I let it be known that I was interested in getting into the music business and he suggested that I go and have a chat with them, as one of their bookers, Steve O'Rourke (who was later to be part of Pink Floyd's management) was moving on. So, I went to meet with Barry and his partner, Johnny Jones. After asking a few questions, they seemed happy to offer me the job... and I was happy to accept. Oddly enough, I started off booking out the aforementioned Artwoods, plus a few other acts, but, more importantly, I also had to get bookings for some very well-known visiting blues artists, such as John Lee Hooker, Chuck Berry and Jesse Fuller. It was certainly 'in at the deep end', but it was definitely a great opportunity to learn the ropes. After about 18 months though, I was kind of 'head-hunted' by John Gunnell of the Rik Gunnell Agency.
25. So, your next move was to the Gunnell Agency...
This would have been around September 1966. I had got to know John Gunnell, the younger of the 2 brothers, through booking some of the LCA bands into the Flamingo and Ram Jam clubs, both of which were run by the Gunnells. Their agency had an impressive roster of 'name' bands like Georgie Fame and the Blue Flames, Geno Washington and the Ram Jam Band, Zoot Money, John Mayall, Long John Baldry etc., so they were a much more powerful set up. When John asked if I would like to join them, I didn't really hesitate..though I did have some pangs of guilt at leaving LCA, who had given me my first break, but I realised that it would be a big step up for me to handle bands of that stature. They were much easier to sell, since they were such reliable 'draws' and it was just a question of which gigs to take and which to pass on. Like LCA, the Gunnells occasionally imported artists from the States. I remember booking out blues guitarists Freddie King and Albert King, as well as soul singers like Mary Wells and Joe Tex (who cancelled at the last minute, causing real problems which resulted in the Gunnells calling a halt to such tours).
We also had something to do with the Stax tour in '67, with Otis Redding, Sam and Dave, Arthur Conley and Wilson Pickett. I think it might have been as promoters of the Finsbury Park Astoria concert, I can't remember exactly. It was very exciting working with such major league artists, but in December 1967, I was offered the job of General Manager at Bron Artistes Management, who looked after Gene Pitney, Manfred Mann and the Bonzo Dog
Doo Dah Band. I like the idea of working with such a diverse range of artists, plus it was another step up for me.
06/16/2009
Colin Richardson Interview Pt 3 The Marquee Club 1964-65
Continuing on from Parts 1 and 2 of the interview with Colin Richardson, which saw his development from being both a jazz fan and musician to co-managing the Jazzhouse in Blackheath, birthplace of the New Jazz Orchestra and scene of Manfred Mann's R& B debut. We now look at Colin's mid 60's involvement in the legendary Marquee Club, in London.
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Colin Richardson worked as a Night manager at The Marquee Club between Autumn 1964 until early 1965, under the supervision of Harold Pendleton and John Gee. How did that come about? And what was your role?
My route in to the Marquee was through the National Jazz Federation, which was set up by Harold and Barbara Pendleton, who were both jazz enthusiasts, mainly to act as an agency for Chris Barber and other 'trad' bands and to run the Marquee Club (at that time in Oxford Street). Later they founded the Reading Jazz and Blues Festival, which in those days, was exactly that...jazz and blues. They had a tiny office just off (I think) Dean Street, where Chris's sister Audrey also worked. I met them through my involvement with the "Jazzhouse" and the New Jazz Orchestra, which was runner-up at the 1964 festival's newcomers competition. Some time later, they asked if I would like to be a 'night manager' at the Marquee. Naturally, I jumped at the chance.
Harold and Barbara worked mostly at the NJF offices, a short walk away in Dean Street, which were quite modest, just
2 or 3 rooms over (I think) a restaurant.That's where they ran the admin, booked the bands etc. I didn't see them at the club much, though they would sometimes show up on Humph's night. (Humphrey Lyttelton Band). I ran the Monday night session with Long John Baldry and the Steampacket, as well as Wednesdays, which featured the Humphrey Lyttelton Band.
(The You Tube from 1965 features The Brian Augar Trinity and Long John Baldry. A very fresh faced Rod Stewart is there too providing backing vocals!)
The atmosphere in the club was always pretty good, whatever the size of audience, though it could get very hot and sweaty when it was full. As 'night manager', I had to oversee the whole evening, ensure the box office was set up, cash float, etc... check that the band was ready to go on at the right time, cash up at the close, pay the bands, etc... Lock up and go home. Everything except the catering.
The bands were nearly always booked by John Gee, the club manager or through the office, in the case of American visiting musicians. Some of the artists could be quite difficult. I frequently had problems on the Monday night, when Long John Baldry and the Steampacket played. Baldry and Rod Stewart always seemed to end up arguing over the money and sometimes the keyboard player Reg Dwight, later to re-invent himself as Elton John, would also get involved. I often had to practically throw them out, so I could catch my last train. Never had problems with Humph's band, who all behaved like the professionals they were.
The Marquee was an extremely important step on the way to my music biz career. I made some very influential
contacts, which I sustained over the next years or so. It provided me with excellent experience in dealing with bands etc.... plus it meant I could pretty much always get my bands on there when I wanted. As they say... it's who you know, as much as what you know! Remember, Harold, Barbara and John also ran the Reading Festival at that time, so my relationship with them paid big dividends later on. Though I only worked there a few months... it certainly played a big part in my getting into the music biz.
06/15/2009
Colin Richardson - Interview Pt 2 - The JazzHouse - Blackheath
Colin Richardson's history goes back to the early 60s, his love of jazz led to him running a jazz club (the Jazzhouse) in Black heath. It was here that Manfred Mann launched his first R&B band and where the New Jazz Orchestra was born. It was also where Colosseum had its origins.
Colin was also Night Manager at the Marquee Club for a while in late '64 and later worked for several agencies, including Bron Artiste Management, where he oversaw Colosseum's career.
Only part of his history impinges on the Coventry scene, but it's an important part. This is the man who arranged the first ever 'live-on-stage' appearance of Monty Python's Flying Circus (and it was in Cov) and brought acts like The Edwin Hawkins Singers, Jack Bruce, Colosseum, New Jazz Orchestra and many more to the Lanchester Arts Festivals in Cov in the early 1970's.
This is part two of Trev Teasdel's on-line interview of Colin Richardson. Note - Parts of this post have been re-written since first posted..
(Visit Colin's Tyepad Blog http://colinrichardsonjazz.typepad.com/blog/)
THE JAZZHOUSE CLUB – Blackheath 1962
In 1962 Colin Richardson co-ran The Jazzhouse Club (at the Green Man Pub) in Blackheath. I asked Colin to describe the club
“The jazz club was held at the Green Man pub in Blackheath every Sunday evening, upstairs in what was euphemistically referred to as the "Banqueting Suite". It was a decent sized room, which originally had a tiny triangular stage across one corner of the room (though this was later enlarged to an oblong area which extended right across one end of the room). The 'house band' was the Ian Bird Quintet... the line-up was usually tenor and baritone saxes, plus rhythm section of piano bass drums, occasionally augmented with a trumpet player. They played 'straight down the line' jazz, mostly by guys like Oliver Nelson, Benny Golson, Miles Davis etc. with arrangements usually by Clive Burrows (the bari player). Every week a different 'star' soloist would be booked...Tubby Hayes, Joe Harriott, Ronnie Scott, Don Rendell, Tommy Whittle...all the current premier league instrumentalists of the day. They all got paid the same fee...£5 (which was about 3 times what the resident musicians took home!) The resident band would play the first half, then, after the break, the 'star' would play, backed by the house rhythm section. Sometimes (depending on the whim of said 'star', the other guys would return for a jam session end to the evening.
The atmosphere was always friendly, the audience usually around the 100 mark, depending on how strong a draw that week's soloist was. There was a bar at the rear of the room, but the audience, though enthusiastic, was always well-behaved and knew their jazz.”
One of the interesting developments at the Jazzhouse was the addition of an R & B night with Manfred Mann before they made the big time. What can you tell us about that?
Manfred first appeared early in 1963, I think, at our second club, which we had just opened at the Hackwood Hotel in
Bromley. As far as I recall, he had only recently arrived in the UK (from South Africa) and was essentially a jazz pianist at that point. He had got together with Mike Hugg and they were playing holiday camps as the Mann/Hugg Blues Brothers. He was checking us out for the possibility of a gig there, but nothing much came of it as the new club wasn't a great success and we didn't continue with it.
Next time we saw him, he pitched up at the Jazzhouse one Sunday and told us he had switched to Hammond organ and was playing R&B as Manfred Mann (he probably deemed his real name, Lubowitz, too unwieldy). He suggested that we open a 'rhythm and blues' night, saying that they would play every other Friday for a straight 50% of the door take (such was his confidence that they would draw a good crowd, which turned out to be well-founded). We could then book one of the many other bands playing R&B (like Chris Farlowe or Graham Bond) on the other Fridays. With some trepidation (plus we were admittedly a tad 'snooty' about going downmarket, as we saw it) we agreed to give it a whirl,encouraged by Manfred's assertion that and that we could make a lot of money, which we could use to improve or enhance the jazz nights.
We agreed a date for the opening night...booked a couple of other bands for the 2nd and 4th nights...and set about publicising the new venture.
On the first Friday, I turned up at my usual time of around 7pm...30 minutes prior to opening the doors. Normally, on a Sunday, I would arrive to find maybe 15 or 20 people waiting in an orderly queue. On this occasion as I was approaching the venue, I noticed that there seemed to be a crowd milling around and wondered if there was a problem of some kind. As I got closer, I realised that it was 'our' queue...which stretched from the club entrance on the first floor, down the stairway, out the main entrance and around the block! Around 300+ fans were waiting (with incredible patience, it should be mentioned) to get in. We were, as they say, 'gobsmacked'! The gig was a resounding success and we cleaned up! Not every group did quite as well, but nevertheless, we always made money, whoever was on. As fate would have it, the success of the R&B night, with its much larger crowds, was indirectly the cause of its demise. It happened thus: On Saturday nights at the Green Man, a slightly dubious promoter used to stage what he described as "A Battle of the Bands", when he would assemble a bill of 5 or 6 local 'beat groups' (as they were known then) who would 'compete' for the title of the night's best group. They would 'win' the prize money of about a tenner..the rest got zilch! The promoter, of course, always made a bomb! There were often minor scuffles on these evenings...nothing serious...but one Saturday a fight broke out and a knife was used...enter the 'fuzz', who promptly closed ALL the clubs down..even though we were unconnected and had never had any trouble on our nights. When the landlord told us, we went to the police and pleaded our case. At first they were adamant that no music clubs would be allowed at the pub, but after more pleading and explaining that the Sunday night jazz club had been running for well over a year without any sign of trouble and that furthermore..our jazz audiences rarely numbered much more than 100...they relented and allowed us to continue with the Sunday night jazz club...but NOT the Fridays. So, our venture into the world of 'commercial promotions' came to an end..but , at least we had made a bit of money, which we used to fund the formation of a 'big-band workshop', the brainchild of Clive Burrows, co-leader of the resident quintet. The rehearsal band eventually evolved into the New Jazz Orchestra, which went on to play many concerts, some in collaboration with Colosseum...notably at the Lanchester Arts Festival in 1971...and that leads us neatly on to the next episode.
The idea for putting together a larger band, originated with Clive Burrows, co-leader of the house band. He wanted a kind of 'workshop' where the younger musicians could get experience of sight-reading and ensemble playing, as well as writing arrangements for a bigger line-up. So, we set about finding around 18 guys playing the right combination of instruments, sorted out some interesting and challenging 'charts'..Gil Evans, Oliver Nelson etc. plus one or two own arrangements from Clive and one of the club managers, Les Carter, who played flute...and we were all set.
The first rehearsal was at the Jazzhouse on the November 10th 1963 and I noticed straight away the enthusiasm of everyone who turned up. It was Sunday lunchtime and quite a few of these guys would have been out on gigs the night before, but they were raring to go.
After a few weeks, everything was going well and the guys were starting to talk about playing to an audience. So, we
set up the debut performance for Sunday 22nd December at (where else?) the Jazzhouse, with its new larger stage. Billed as the 'Bird-Burrows Big Band (great alliteration, but cumbersome!) it was a roaring success... our usual crowd turned up, plus a whole bunch of new faces, curious to see what it was all about.
This successful debut gave a whole new impetus to the band...rehearsals continued apace and in the New Year, the band members were already asking when the next gig was going to be and 'how about recording it'? I realised at this point, that we had something pretty special here and as everyone seemed to think I was the manager...I decided to start 'managing'.
The next gig we did was was early in 1964 at the Widmore (not 'Wigmore'!) Hall in nearby Bromley as a fundraiser for the 'Freedom From Hunger Campaign'. On this occasion, we had a vocalist...a guy by the name of Duffy Power, who was actually a young up-and-coming 'pop-star' but with a pretty good bluesy voice. I have no recollection of how this came about...it was a 'one off'' and he didn't make any further appearances with the band. I guess his pop career took off or something!
Soon after this Clive Burrows accepted an offer to turn 'pro' with Zoot Money and the Big Roll Band. Ian Bird had already departed some time earlier which meant that the rehearsal band was left rudderless at which point Ian Carr suggested bringing in a budding young composer / arranger Neil Ardley to take over leadership. A new name was also needed and some one came up with a rather grandiose Neoteric Jazz Orchestra but this was quickly revised to the New Jazz Orchestra. Later that year the NJO won the All England Jazz Contest, the final which was held as part of the Guildford Jazz Festival and were also runners up at the National Amateur Jazz Contest which was held under the auspices of the National Jazz Federation as part of the Richmond Jazz and Blues Festival. Eventually in 1965 the orchestra recorded a live album - Western Reunion which was released on the Decca label. It was surprisingly well received, with Melody Maker making it their 'Album of the Month'!
It's actually still available, but on CD...the original vinyl LP is now a sought after collectors item valued at around £50. Of course...I lost my copy years ago!
As to the line up - apart from Ian Carr (trumpet and fluegel horn) who did go on to fame (if not fortune!) as the author of his Miles Davis biography. Then there was Jon Hiseman/Tony Reeves etc with Colosseum. Maybe I should also mention Trevor Watts (alto) and Paul Rutherford (trombone) who later became a force in the British avant-garde jazz movement. Neil Ardley (now no longer with us) also has a certain cult following, because of the important albums he made later under his own name ('Symphony of Amaranths', 'Le Dejeuner sur l'herbe', and 'Kaleidoscope of Rainbows') with many of the musicians from the NJO. Other than that, they were all young, relatively inexperienced semi pro musicians...which is why it was so special.
The "Jazzhouse" was just one of many such clubs, not just in the London area. Run mostly by enthusiasts (as they rarely made any money putting on modern jazz) many of them operated similar policies to ours...a good-ish resident band of local musicians, with a different 'name' guest musician each week, like Ronnie Scott, Tubby Hayes, Joe Harriott etc. The biggest name we ever booked was Oscar Brown Jnr, for our first anniversary night. With boldness derived from our naivety, we 'doorstepped' him when he was on a visit to the UK. Somehow we heard he was staying in Holland Park with Stanley Myers (pianist/composer/arranger of some note). We offered him double our usual fee (£10!), which he found quite amusing, I think. Then agreed to do it on these terms: Car to pick him up and drive him back..a bottle of decent cognac, the rhythm section to pre-rehearse 3 songs, charts provided by him. He would arrive, perform and leave immediately after....oh, and forget the £10!
It was a great night!
Taking it back to the personal – What were your tastes in Jazz. Who did you admire and why?
I sat and thought about this for a bit, which I haven't done for many years and I was quite surprised to realise that the
kind of jazz that I prefer listening to now is still the jazz that I listened to back in the 50s...Charlie Parker, Miles Davis, Stan Getz, Charlie Mingus, John Coltrane, Bill Evans, Gil Evans, John Lewis, Milt Jackson, Errol Garner etc etc...I could go on, as there are many others, but where would I stop? I guess the simple answer is that I was excited by the (then) new jazz...called by some be-bop, which is, I think the term conjured up by Dizzy Gillespie. He and Charlie Parker were probably the two main proponents of the harmonic breakthrough that defined theses new sounds. It changed the whole ballgame, musically speaking and from then on, there was a big divide between these musicians and the old school playing Dixieland or swing. Of course, at that time, because of a protectionist stance by the American union disagreement, you couldn't hear any of these guys live, unless you went to the States (or occasionally Paris, where there was no union block, as there was in the UK). I remember the first bandleader to get round this, was Stan Kenton, when he flew his band over to Southern Ireland and everyone who could afford it, travelled there to hear this incredible music. Ironically, Duke Ellington was allowed to play in England, as he was classified as an 'entertainer', not a musician!! So, the only live jazz I could experience was
seeing bigbands like Jack Parnell or Ted Heath in concert theatres, or go to clubs like the Flamingo to hear guys like Don Rendell, Tubby Hayes, Tommy Whittle etc., who were the 'young turks' of that era. That all changed when the two unions came to an agreement and the ban was lifted..and I got my chance to see some of the musicians I had been listening to on record, live in concert. One such, stands out in my memory..and that was seeing Norman Granz's 'Jazz at the Philharmonic' package at the Gaumont State in Kilburn.. with the Oscar Peterson Trio, Dizzy, Illinois Jacquet and many others. That was some concert!
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Pt 3 of the Interview will cover The Marquee Club
04/04/2009
Colin Richardson - Interview with the Booking Agent for the Lanchester Arts Festival Part 1
Colin Richardson's name appears on the programmes of the Coventry - Lanchester Poly Arts Festival brochures of 1970 -
71 as the London booking agent for Bron working closely with Ted Little, responsible for bringing bands like Colosseum, New jazz Orchestra, Jack Bruce, Monty Python's Flying Circus, Edwin Hawkin Singers etc to the festival. He was also a Jazz club manager, bass player/band leader, night-manager at the Marquee club, London. Agency booker. Artist management for Colosseum and a Music journalist.
In an exclusive interview with Trev Teasdel for HOBO Colin describes his life and career in the music business
PART ONE - COLIN'S DEVELOPMENT AS A JAZZ MUSICIAN
1. Colin, You were born on 31st December 1936 in South-East
London. What were the significant musical influences on you when
you were growing up?
The first 2 records I bought (in 1952!!) were 78s...one was Jelly Roll Morton's Dead Man Blues b/w
Sidewalk Blues the other was a Humphrey Lyttelton record, but I can't recall what the tracks were. I played them on a 'wind-up' gram! Gaaad, that dates me! Then, I got into Earl Bostic for a bit... I liked his version of Flamingo. Later that year I joined the Merchant Navy, so my listening was confined to shortwave radio for the next couple of years...though I do recall buying a 10" LP of Stan Getz in Montreal (even though I had nothing to play it on at the time!). That would have been late '53 on my last trip before quitting. After a short spell, in 'civvy street' I had to do my "National Service, as conscription was still in force..so I joined the RAF (1956) and was posted to Germany. There I bought quite a few LPs from the American Forces shop...Errol Garner, Duke Ellington, Dave Brubeck, Shorty Rogers etc.
2. A lot of your career was spent promoting, booking and managing
other bands. Tell us first about yourself as a musician. You played
Double bass. How did your own musical career begin.
I suppose the earliest musical attempts were at age 13 when I started to learn classical piano. I wasn't exactly
gifted and nothing came easy to me. Hated practicing, so the omens weren't good and I threw the towel in after less than a year (something I naturally regretted later).
I fooled around with a guitar while in the MN...and trumpet in the RAF. No tuition whatsoever..just picking out tunes myself...I remember attempting "Someone to watch over me" at one point. I didn't persevere with either and didn't make much progess. Then later, (must have been early 60s by now) to further my 'career' in office management I had taken evening classes for 2 or 3 years. To take a break from these studies, I signed up for a course in jazz
and blues at Goldsmith's College in South East London tutored by an eccentric trumpet/trombone/bandleader guy, name of Owen Bryce. He claimed to be "Britain's First Jazz Trumpeter" and his instrument case proclaimed this in large red and yellow letters! The plan was to play piano on the course and I did start out thus, but there were 3 other guys who played piano, so for 3/4 of the 2 hour session, I just sat and watched. After a couple of weeks, Owen arrives schlepping a somewhat battered double bass, with 2 of the 4 strings missing and asked if anyone could play it. No-one put their hand up, so he then asked if anyone wanted to play it. I figured that, rather than sitting and watching, I would have a go on this large and slightly daunting instrument! So I stuck my hand up...marched up to the bandstand and commenced plucking! I'd like to say it was love at first 'pluck', but that might be exaggerating..though I certainly enjoyed my first attempts at providing rhythm for the other instruments. I subsequently took the bass home, got a new set of strings for it, bought a tutorial book and...and off I went !
I practised quite a bit...took a couple of lessons from Joe Muddel (well-know bass player at the time, who lived
quite near to me) and at some point, Owen Bryce asked if I'd like to 'dep' for his regular bass player next Saturday at the Moat Hotel Wrotham? My first gig...and it paid £3! (not a bad sum at the time!). I had to borrow a tux (from my next door neighbour). The band played what was known as 'mainstream jazz', slightly watered down for a dinner dance crowd. From time to time, this offer was repeated and eventually I was playing more often than the 'regular' guy so, by default, the job was mine.
Neither of my parents were at all musical...other than playing the odd 78 record of 30s'40s songs. I do remember "Pedro, the fisherman...was always whistling"!!! Now there's a "scoop"!!! Hold the front page!
Other than that, I don't recollect being all that aware of what was going on musically. Mostly I went to the cinema...or very occasionally, a local variety show. As a teenager, I heard all the current pop songs on the radio...Johnny Ray, Guy Mitchell, Rosemary Clooney, Pat Boon...all very "schlocky" (except Rosemary
Clooney...a much underrated singer). trying to think of the first 'live' band performance I saw....pretty sure that would have been the Jack Parnell Big Band in Streatham, some time in 1952, I think, when I lived in Streatham prior to joining the MN.
Most of my leisure time was devoted to ice-skating at that time...I was a fanatical, if not always upright, speed skater!...5 nights a week!
3. What kind of music did you play and who with and where?
Later, when working in the music biz...I kind of formed my own band (the "Cole Richards Combo"!!!..this name was suggested by Dave Gelly, the tenor player from the NJO (New Jazz Orchestra) and a long time friend. This band played a kind of "cabaret/night-club jazz for dancing," for quite reasonable fees, at colleges and other commercial gigs...and, with some line-up modification, out and out modern jazz (for little or no money!) in jazz clubs (Ronnie Scott's "Old Place", the Marquee etc.) and even the odd BBC radio prog like Sounds of the 70s.!
4. Any highlights / stories around your own musical activity?
...quite a few, some even printable!
My 'career' as a musician/bandleader was never going to lead to anything remarkable..I played mainly for enjoyment and was fortunate to have around me some highly talented up-and-coming local musicians like Jon Hiseman (at that time still a semi-pro drummer, whilst holding down a day job at ICI!) and Dave Gelly (tenor sax) later to become an established author and journalist (jazz critic for the "Observer")...Art Themen (who had been at Cambridge with Dave) and was usually the other front line instrument with the New Jazz Quintet (the version of my band that played the jazz gigs)). Some of the slightly more notable occasions include: backing Champion Jack Dupree at the Chelsea College of Technology...we had to be on our toes...as Jack would sometimes decide that the 12 bar blues he was playing would be improved with the addition of an extra bar or two! Other highlights would be...a recording session for Jean Hart, an american singer who worked with my band at the time. She was Bill Oddie's girlfriend (and was the original conduit to Eric Idle and the Python booking coup!) She seemed to be connected to quite a few 'high-flying' celebs, including Richard Rodney Bennett...who she somehow roped in on piano to record some songs for a demo. Dave G and Jon H were also on the session...but where the tapes went is anybody's guess. Dave recently told me he did have a tape of the session, at one time, but had no idea whether it was still around. Shame...I'd love to have a copy.
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