The Manchester Sports Guild (M.S.G.)
By Jack Swinnerton Reproduced by kind permission of Jack Swinnerton & Just
Jazz Magazine
Jack Swinnerton died peacefully
on 30th June 2008
Part 6: George Lewis and the Promotional Society For New Orleans Music
by
Jack B. Swinnerton
Had we reached agreement on what we regarded as fine jazz or not in the MSG years of the early
60s, we would probably be regarded as a relatively youthful but somewhat boring bunch. Well, we didn’t, and the days were anything but mundane. On the broadly middle ground of appreciation there was usually harmony. When we veered off in the direction of Storyville or (considerably less often) Mintons, vociferous and not necessarily well-mannered conflicts of opinion would easily become apparent. Naturally enough, most of us specialise in and really prefer a particular style, but seldom resulting in the total rejection of other developments. (Yes, I have occasionally played, out of curiosity, the odd ultra modern type jazz record. Only when I’m the only one at home, of
course) The odd, insensitive soul, and perhaps the as yet inexperienced, would be firmly of one persuasion, and there were many variations in taste but, basically as enthusiasts, we were inclined to appreciate New Orleans and Mainstream (cellar) or Mainstream towards Modern
(ballroom) and, in consequence, opposite ends could splice us.
In what I still find an entertaining ‘Jazz Journal’ piece, with a heading of ‘Before you can say
Jim Robinson' Steve Voce had been recalling one of his frequent and impromptu ‘surveys’ amongst MSG members and guest musicians. With considered provocation, Eddie Lambert had casually mentioned that he and the members of the Manchester Jazz Appreciation Society had voted Warren ‘Baby’
Dodds as the supreme jazz drummer of all time. (The Society, in which I enthusiastically and occasionally talked, held its weekly meetings in our jazz cellar at that time.) Agitated beyond endurance, Steve developed this into a weekend of grilling everyone within range on what he considered to be the lamentable skills of Jim Robinson as a jazzman. Firmly on the side of Lambert, and indeed myself, in considering Jim to be a jazz
trombonist of greatness were weekend visitors Ian Wheeler, Sandy Brown, and Pat
Halcox, whilst Steve’s camp claimed such as Roy Crimmins and Fred Hunt. I believe that these divisions are still alive and well and, certainly, most of us are aware that Steve remains consistent. I recall being invited to compère a Manchester jazz event in 1992 and, stepping aside from the microphone, an amalgamated band leader presented Mike Pointon with clear inference that he would be more taxed musically on this night than he had whilst appearing with Barry Martyn in a New Orleans ensemble back in the 60s.
Quite why anyone could necessarily assume this seems somewhat strange. That many have attempted an
ensemble style and failed could show the opposite - maybe. There is probably no trombonist that I find more talented or stimulating than Jack Teagarden, and whilst I think that George Brunies was being somewhat over-the-top, many of us will know his recorded concert statement to the effect of Jack being ‘the finest solo trombonist in the world, but in ensembles he stink'. Obviously indicating that he considered himself the opposite at both ends.
It was into this club, with its divisions and dedication to certain stylists, that Kid Thomas Valentine and Emanuel Paul arrived, close on the heels of Henry ‘Red’ Allen, in May, 1964.
My knowledge of the work and achievements of the Promotional Society for New Orleans Music is not profound, but our two organisations got together as a result of the Kid Sheik appearance at the Black Lion in Salford in 1963.1 believe
that the Society was formed by drummer and bandleader Barry Martyn (known in those days as Kid, but sometimes writing as Barry Martyn Godfrey) to provide ‘working holidays’ for New Orleans musicians still resident and performing in the city.
Whilst there were probably others involved, local enthusiast, writer and commercial artist Mike Hazeldine was the best known to me.
Don Humphreys, who managed the local Ged Hone band at that time would seem to have been the press officer, as most of the written work unearthed is by him. A copy of Volume One, Number One ‘Jazz Times', produced by Steve Lane, is still around my house, in which Humphreys recalls, ‘... the sterling work done by the Manchester Sports Guild.. we are very pleased to publicly acknowledge that they have agreed to support the Society on the above-mentioned tours whenever and however they are able'
Whilst the George Lewis tour of February/March, 1965, was very much a joint venture between out two organisations, quite how much we were involved with the tour of Kid Thomas and Emanuel Paul now escapes me. Certainly I was present at Manchester Central Station to welcome Barry and the band with the two guests and possess a fragment of 8mm film I took to record the event. Thomas and Paul were not that well- known over here at that time. A few American Music tracks, a couple of LPs each from Dobell’s
77 and from Riverside (both the latter omitting Paul in favour of a ‘traditional’ front-line) and the odd Folkways/Topic track were about all I had and, probably most of what was available. The driving spirit of what we were about to enjoy was probably a revelation to many in the rather reassuringly large crowd.
Perhaps it will seem somewhat odd to go back now to reflect, but in 1964 most of the casual followers had entirely grown up with the conventional three-piece front-line, and I did tend to anticipate initial discomfort in the presence of a tenor sax and the Thomas slapstick. I was wrong, and should there have been faint hearts, they were instantly won over. Such events as these were to be an eye-opener in many ways and to have considerable influence on the broadening of tastes in the more traditional fields of the 60s. Precisely what Barry and the Society and, indeed, ourselves were aiming for.
There was a much wider gulf in the critical appreciation afforded this event than for, say, Pee Wee Russell. At one end there was Chris Lee.. ‘It was a welcome surprise to hear New Orleans music swinging as it did in the hands of Paul and Valentine.. the music was certainly basic, primitive and often ragged, but it had a vitality and spirit' Brian Priestley, as yet somewhat inexperienced, in
my opinion, came out with ‘pathetic dodderings which caused me to refer to him, probably unfairly, in our internal magazine as a ‘mental
lout John Postgate’s comment in reviewing the commemorative 11 record.. .‘a sad record of elderly musicians accompanied by youngsters chasing a myth The only criticism which really counted was that of the audience which came to listen, and this was another of those roof-raising occasions in the jazz cellar.
A significant proportion of jazz cellar audiences came down specifically for nights such as those provided by Ken Colyer’s Jazzmen, and the younger led groups of Barry Martyn, Keith Smith, or resident Thursday night band of Ged Hone. Colyer was the single biggest regular crowd puller, still ahead of the Alex Welsh band in terms of ‘boy office', As the jazz organiser of the MSG and one with considerable enthusiasm for this school of jazz (the total range of what we presented fairly accurately mirrored my own
tastes) it was time to ‘reward’ this section of our membership.
George Lewis, one of the most celebrated in this area, was a natural selection
for us, and was to become our third promotion from the USA. Something of a slight change for Martyn and the Society, as they professed generally to promote the lesser-known New Orleans musicians at that time. They nonetheless wholeheartedly joined in with us for this event. The carrot was, of course, that the Martyn band would do the
accompanying, and benefit quickly from such exposure. Having once been criticised for stating that Lewis had only appeared twice previously in this country, let me now state that I meant toured twice before. As a soloist with Ken Colyer’s Jazzmen in 1951 and, two years later, with his regular full band of the time. Having witnessed sessions in both years, the prospect of a third appearance, backed by a leading New Orleans band of a younger generation, seemed promising. The ‘Kid’ Martyn Ragtime Band had been formed in 1959, and first booked by me for the MSG schedules following a trip down to the London area by John Pye. He returned brimming with enthusiasm for the potential he witnessed. (A quite recent convert to jazz at the time, John, now in his eighties, still youthfully attends the clubs with attractive wife Eunice. l The young band boasted several interesting talents, most notably, in my opinion, Keith ‘Cuff’ Billett on trumpet and Martyn himself on drums.
‘New Orleans clarinettist George Lewis is coming to Britain to tour for the Manchester Sports Guild in February...’reported ‘Melody Maker’ on December 19,
1964. ‘Following the pattern of previous Sports Guild tours, which featured Red Allen and Pee Wee Russell, the tour will be for eighteen
days'.
In searching memorabilia, it is frustrating to know that somewhere in my junked-up home there is a gem hidden away somewhere. This is a copy of the George
Lewis work permit. It quite clearly shows George being ‘smuggled in’ as a member of the Duke Ellington
Orchestra on a concurrent visit. (That would have pleased Peter Clayton, when you come to my later quote
from him. I never got round to asking Steve Voce!))
George arrived, as usual, in the company of manageress Dorothy Tait, and whilst the clarinettist was now in his mid-sixties and in somewhat fragile health, the excessive (s)mothering by Dorothy was limiting for anyone in drawing spontaneous communication, over- protected from normal conversation as he was. Under her pen-name of Jay Alison Stewart, Dorothy had, of course, written a well-known biography, ‘Call him ', and we were able to secure a couple of hundred of the hard-back edition at a bargain price. Persuading George and ‘Jay’ to autograph them on the spot, the sales in the jazz cellar provided a practical boost to tour funds, and an instant joyful collectors’ item for members. I kept two copies for myself and recently spotted someone at a Whitewater Sunday session (nr. Newby Bridge, South of Windermere) brandishing one. I don’t know where the other 191 copies now rest.
I personally prefer the playing of Lewis from the Climax session through the Elmer
Talbert/Percy Humphrey days
(less sentimental, more fire), but it must be noted that he showed no adverse effects of age. His style had been less intense for many years by now and, whilst his playing was not so powerful as previously, the sound was still rich and full.
There was the usual and occasionally bewildering critical reaction to this event as for previous New Orleans sessions. Steve Voce conducted another of his ‘surveys: I can recall announcing George as ‘the greatest of the New Orleans clarinettists', which prompted Steve to compile a list of those he considered superior. As a very modest contributor to the world of ‘show business’ it was necessary to don my hat as presenter for the evening, and whilst quite aware that there have been New Orleans clarinettists of greater significance than George, the audience had come to have their choice respected. A preamble
of 'the sixth greatest after...’ would have been absurd, ill mannered and probably not even true by that late date in 1965. Whilst I never had the opportunity, how would Duke Ellington be introduced as a solo pianist, for example? At the opposite end, the late Peter Clayton, distinguished critic and broadcaster, spotted a likeness to Lester Young and felt that a session of George and Buck Clayton would have some interesting interplay. Maybe he had a point there, for Jack Florin
(Alan Stevensl in the Manchester Evening News noted, in a prose style somewhat impossible to believe as coming from the lips of George, but no doubt true in essence, " listen to all types of jazz,” he once told me, “in particular I find Count Basie’s music most enjoyable.” Whilst I don’t recall ever having the pleasure of meeting James Asman, he dominated our souvenir programme of this tour with no less than three essays: ‘The George Lewis Story; ‘Kid Martyn Ragtime Band’ and ‘Barry Martyn: The New Orleans scene of 1964/5 was covered by Mike
Hazledine, Don Humphreys and Dan Pawson, whilst Jenks and I contributed with a joint MSG write-up, simply an expansion of the one quoted from the Pee Wee Russell programme. One small disappointment, but a typical
BBC stunt, was to replace the Martyn band with Acker Bilk for a ‘Jazz 625’ programme. This is not a criticism of Bernard. Whilst lam not so enthusiastic about his playing as our youngest son, it merely seems a pity that he replaced the more sympathetic music of Martyn’s band because, presumably, of the lack of equal fame.
The Stockport Advertiser of March 11, 1965, had an uncredited piece (Peter Day?) which seems impartial and was probably an accurate memory of these delightful evenings. ‘The tour of George Lewis will be remembered for a long time by the audience at all the sessions. George impressed everyone not only with his descriptive clarinet playing but with his sincerity and his fidelity to the music he was born into:
In the event, the critical reaction to the appearance of George Lewis, despite the loud voices of those unsympathetic to the music, had been pretty favourable. ‘Lovers of New Orleans jazz.. .can expect quite a shock: reported “Melody Maker: ‘When he opened at the jazz cellar of the Manchester Sports Guild last Friday, he looked younger and fitter than we first saw him in
1957... more active, more vital: The excellent backing by the Barry Martyn band had been a revelation to a great many. George enjoyed the tour and the accompaniment to such an extent that he asked us to organise another appearance the following year;’... in fourteen months. He’d prefer to come when the weather’s warmer: Jenks told the ‘Melody Maker:
In concluding this episode of the collaboration between the Promotional Society for New Orleans Music and ourselves (and joyful it was), it is necessary to leap to the summer of 1966 and the Kid Sheik and John Handy promotion. Sheik had appeared in Manchester before for the Society, at Salford’s Black Lion. This was before any venture with us, although I recall prising Jenks out of his office to accompany me down to this rival establishment. Or was it? We were all in it together, and it was not unknown to see me collecting admissions at the door there as well.
The music of that night had been provided by a pick-up group comprising members of the Barry Martyn and Ged Hone bands, and not ideal circumstances in which to assess someone properly. Three years later, and in our jazz cellar, Sheik’s style was that of a straightforward lead, great in ensembles but unspectacular in solos. The great surprise to most was John Handy (Captain John - make sure you’re thinking of the right
one!) on alto sax. From the occasional record then available (including one with Martyn and Sheik) he was definitely going to be a powerful musician, even somewhat overpowering. In reality, he turned out to be a thoroughly outstanding musician. His method seemed completely his own to me, owing no definite allegiance to any other New Orleans reed that I have come across.
Jim Robinson' Steve Voce had been recalling one of his frequent and impromptu ‘surveys’ amongst MSG members and guest musicians. With considered provocation, Eddie Lambert had casually mentioned that he and the members of the Manchester Jazz Appreciation Society had voted Warren ‘Baby’
Dodds as the supreme jazz drummer of all time. (The Society, in which I enthusiastically and occasionally talked, held its weekly meetings in our jazz cellar at that time.) Agitated beyond endurance, Steve developed this into a weekend of grilling everyone within range on what he considered to be the lamentable skills of Jim Robinson as a jazzman. Firmly on the side of Lambert, and indeed myself, in considering Jim to be a jazz
trombonist of greatness were weekend visitors Ian Wheeler, Sandy Brown, and Pat
Halcox, whilst Steve’s camp claimed such as Roy Crimmins and Fred Hunt. I believe that these divisions are still alive and well and, certainly, most of us are aware that Steve remains consistent. I recall being invited to compère a Manchester jazz event in 1992 and, stepping aside from the microphone, an amalgamated band leader presented Mike Pointon with clear inference that he would be more taxed musically on this night than he had whilst appearing with Barry Martyn in a New Orleans ensemble back in the 60s.
Whilst the George Lewis tour of February/March, 1965, was very much a joint venture between out two organisations, quite how much we were involved with the tour of Kid Thomas and Emanuel Paul now escapes me. Certainly I was present at Manchester Central Station to welcome Barry and the band with the two guests and possess a fragment of 8mm film I took to record the event. Thomas and Paul were not that well- known over here at that time. A few American Music tracks, a couple of LPs each from Dobell’s
77 and from Riverside (both the latter omitting Paul in favour of a ‘traditional’ front-line) and the odd Folkways/Topic track were about all I had and, probably most of what was available. The driving spirit of what we were about to enjoy was probably a revelation to many in the rather reassuringly large crowd.
g, and benefit quickly from such exposure. Having once been criticised for stating that Lewis had only appeared twice previously in this country, let me now state that I meant toured twice before. As a soloist with Ken Colyer’s Jazzmen in 1951 and, two years later, with his regular full band of the time. Having witnessed sessions in both years, the prospect of a third appearance, backed by a leading New Orleans band of a younger generation, seemed promising. The ‘Kid’ Martyn Ragtime Band had been formed in 1959, and first booked by me for the MSG schedules following a trip down to the London area by John Pye. He returned brimming with enthusiasm for the potential he witnessed. (A quite recent convert to jazz at the time, John, now in his eighties, still youthfully attends the clubs with attractive wife Eunice. l The young band boasted several interesting talents, most notably, in my opinion, Keith ‘Cuff’ Billett on trumpet and Martyn himself on drums.
In the event, the critical reaction to the appearance of George Lewis, despite the loud voices of those unsympathetic to the music, had been pretty favourable. ‘Lovers of New Orleans jazz.. .can expect quite a shock: reported “Melody Maker: ‘When he opened at the jazz cellar of the Manchester Sports Guild last Friday, he looked younger and fitter than we first saw him in