Lest we forget - as if!

I got to thinking the other day - or was it last year? - about some of the characters that have been part of the northeast jazz scene during the course of my lifetime. I've only picked out those who are no longer with us to avoid a libel action or getting filled in.

They weren't always the best or the worst on their instrument but they all had one thing in common - they were individuals. They were what jazz musicians were when jazz musicians were, shall we say, jazz musicians. Their sounds were as identifiable as their speech. They didn't learn to play the blues or blow bop or Dixieland at college but instead it was in the clubs and bars with like-minded wannabees. So, working on a one per instrument, here are my choices:

Teddy Langston: Trumpeter Teddy didn't mix much with the jazzers - he was a brass band man at heart - but when push came to shove he could hold his own as he proved on those Sunday mornings at The Bluebell in Felling. He could play Harry James better than Betty Grable. Once, after being stopped by the police on the way home from a gig he gave his occupation as "drain cleaner". This wasn't very flattering as I'd been on the gig with him that night!

Ronnie McLean: Ronnie was one of the few local trombonists who took the Teagarden/Dorsey route as opposed to his contemporaries who toed the Ory/Barber party line. His claim to fame was having played with Lennie Hastings and Diz Disley in a club in Dusseldorf. I worked alongside him in a music shop for many years and noted that he had few conversations with customers without the word Dusseldorf somehow entering the conversation.

John Saxelby: John had but one aim in life - to find the perfect clarinet mouthpiece. To achieve this goal he would buy mouthpieces like other players bought reeds! He was a big fan of the Dutch Swing College Band and when he discovered they were playing at a local venue he scraped up enough money to buy a ticket and, during the interval, he cornered the band's clarinet player, bought him a drink and asked the important question, "What make of mouthpiece do you use?"

The Dutchman shrugged, "I don't know - it came with the instrument!"

Nigel Stanger: Undoubtedly the number one alto player back then. He returned to the area after playing and recording in London with Alexis Korner and many other names that were rising to stardom by way of the emerging blues/rock scene. I remember the first words he said to me were: "Do you have a ciggie?" Me and everyone else I gather!

Charlie Carmichael: Difficult to be objective as Charlie was one of my best friends and favourite tenor players. However, he didn't suffer fools gladly and nor did they. He had little concern about chord changes but, somehow, it always sounded good. He was the only guy I heard blow bebop on clarinet. He worked as an electrician in the shipyards and, during his break, would spend the time blowing on a flute mouthpiece. Wonder he didn't get thrown over the side!

Clive Gray: Without doubt the number one banjo player. His idol was Eddie Peabody - google him - Clive used Clarion banjo strings, him and nobody else. I once asked him why and he replied saying that it was because they're the cheapest! They may have been the cheapest but Clive made them sound as good as the so-called best and most expensive!

Jacky Denton: Outwardly, drummer Jacky was as hard as they come and, if he didn't like what the guys out front were doing he could make their life hell! However, if he did like what was going on then they had it made!

These are just a few of them as was. I'm sure others will have their own memories to relate and perhaps a few others to add. I should also say that, for all their idiosyncrasies, they were all great, very talented guys.

Lance.

For more info on Bobby Carr (see Roly's comment.)