Category Archives: Edinburgh Jazz Festival 40th Anniversary

Edinburgh Jazz Fest Memories: Norrie Thomson

Norrie Thomson first became an Edinburgh International Jazz Festival driver in 1987 when he was still working with HM Customs & Excise. He says: “Each year until 2000, when I retired after 38.5 years, I took annual leave to cover the jazz festival.

“When I started as a driver at the festival, bands would come for several days at a time – during which the driver effectively became the band’s ‘roadie ‘. Prior to the start of each festival the drivers would get notice of what bands were to appear and would ask to drive their favourites. It also often happened that, subsequently, band leaders would request drivers that they had dealt with previously. Many lasting friendships were built up over the years this way. Work allocations were made by Frances Burgess [mother of saxophonist/clarinettist John Burgess].

“As volunteers, the drivers were worked pretty hard at times putting in many long, unpaid, hours of work. Nevertheless, it was enjoyable and made a valuable contribution to the running of the Festival. A typical example of a volunteer driver’s experience at the Edinburgh International Jazz Festival would be:

  • Edinburgh Airport or the Waverley Station to be meet the band on arrival at the airport or train station and take the musicians to their hotel.
  • Discuss the band’s itinerary with leader or manager and arrange pick up times.

“The bands were worked pretty hard and earned whatever they were paid. The norm was several gigs each day. The driver would assist with loading and unloading band equipment. This would often be done under frantic conditions. Gigs often followed each other with little time to spare and considerable distances to travel.

Tomas Ornberg                                                                                                                                               “Tomas, a Swedish musician, was a very fine reeds player and leader of his Blue 5 and the Swedish Jazz Kings, and had played the festival on many occasions. In addition to the fine Swedish members of his band, Tomas often used top musicians from the jazz world – Bob Barnard, Roy Williams, Kenny Davern, Bob Hunt, Joep Peeters, Martin Litton, Keith Durston to name a few.

“My first experience with Tomas was in the early 1990s, but was the band’s first choice of ‘roadie’ thereafter. The band’s manager and Tomas’s partner was Irene Biermans, a Dutch lady.

“Over the years Tomas and Irene became great friends of mine and we corresponded regularly swapping news of our respective families.

“Whenever we met Tomas would always say to me: ‘I’ve got my clarinet’. This resulted from one memorable festival night when I got a phone call from Tomas, at about 1am, saying that he had lost his clarinet. The Swedish Jazz Kings had been doing the last slot in the Speigeltent, which had been erected on top of the Waverley Market ,and he thought that he must have left it there.

“I quickly dressed, got in my car and drove to the venue, which was still open. I searched around but couldn’t see the instrument. I called Tomas and asked him to describe the case that the instrument was in. He said it wasn’t in a case. I then resumed my search with this new knowledge. I eventually found it hidden behind a large sheet of plywood. I took it to Tomas’s hotel and gave him the clarinet. I think that he almost burst into tears as he had only recently paid a considerable sum of money to Kenny Davern for the instrument.

“The other memorable, regular event relating to both bands was the world class trumpeter /cornettist, Bent Persson ‘playing’ his mouth piece during various trips. (My worst experience of this was outside of the festival when I drove the Swedish Jazz Kings from Ayr to Inverness – Bent ‘played’ all the way.)

“Another one of the class musicians in the Swedish Jazz Kings was the wonderful bass-sax player Frans Sjostrom. His hobby was model aeroplanes. One of my neighbours had a model aeroplane shop and I introduced them to each other. Eventually Frans suggested that he would be some time and that I should go home and he would get the bus. Later on I was told by my neighbour that Frans had spent a considerable amount of money in the shop.

“In recent years Tomas suffered from poor health and in mid May 2018 I received the sad news from Irene telling me that Tomas had passed away.

Larry Adler                                                                                                                                                “In the late 1990s, I had the privilege of meeting and talking to the famous harmonica player, Larry Adler. Before his arrival, I was told that he had to be treated gently and that he was old and a bit frail (he was in his 80s at the time). He would be arriving at the airport with his manager. I allocated an experienced driver to meet them.

“The driver contacted me to say that both persons had been safely delivered to their hotel and that Adler was the oldest man that he had ever seen that wasn’t dead and that his manager was a young Philippino woman!

“Later, during his stay, I, with another couple of volunteers, met with him in The Hub where we spoke to him (or rather he spoke to us) about his life in music. It was like talking to the history of jazz. The only irritating part of it all was his habit of bringing himself into everything – ‘When Gershwin accompanied me playing Rhapsody In Blue’, ‘When Ellington accompanied me playing the St Louis Blues’, etc.

“He did tell us that it was the American comedian, Jack Benny, who persuaded him to become a professional musician.

Leon Redbone                                                                                                                                          “Leon Redbone came to prominence in the UK through his rendition of ‘So Relax’, the soundtrack to Inter Cities sleeper service. Before this and after he was well known in the jazz / blues world as a fine singer and guitarist. He appeared at the EIJF at least twice.

“On one occasion, I assigned a driver to meet him off the 3pm train from London, King’s X. Round about 3.15pm I got a message from the driver saying that Redbone had not arrived on the 3pm train. I told the driver to wait for the next train which was due at 3.30pm. At about 3.45pm I got another call saying that he wasn’t off the 3.30pm arrival and that there wasn’t a black man on the train. What’s the point of putting artistes’ photos in the programme?! He had arrived on the 3pm train, couldn’t see anyone from the jazz festival, jumped into a taxi and went to his hotel!

Stolen Keys                                                                                                                                                    “The first Saturday of the festival has always been ‘Mardi Gras’ in the Grassmarket. This is one of the free events and consequently is very busy. Because of this, vehicles cannot go into the main part of the street but have to stop either in King’s Stable Road or the main road through the Grassmarket.

“One such Saturday in the mid noughties one of the bus drivers had to take a band of young musicians from New Orleans to play at the Mardi Gras. The driver stopped the bus on the main street, opposite where the band was to play. The band members objected to the fact that they could not go into the Grassmarket and that they would have to cross the road to get to their destination. The driver left his bus to see if any better arrangements could be made. When he returned, the band had disappeared along with the bus’s ignition key.

“I was informed of this situation and with the driver took steps to retrieve the key. I also cornered the band’s road manager and, in no uncertain terms, told him that what had happened was tantamount to theft and that if a similar situation occurred I would have no option but to call in the police.

“Unfortunately, the band members demanded an apology from the driver. What did he have to apologise for? He had done nothing wrong. I decided that the band would have to arrange its own transport and advised the driver accordingly.

‘Big Al’ Carson                                                                                                                                          “Probably the most aptly named musician who ever played at the festival. He hailed from New Orleans and weighed in at 38 stones (532 lbs). When travelling by air he had to book two seats. When travelling round Edinburgh the only suitable transport was a black taxi although he could squeeze into the front seats in the passenger section of a mini-bus.

“Big Al was at two festivals as a vocalist and sousaphone player. He was fortunate, as was the festival, in that he could fit in comfortably to the jazz or blues parts of the event.

“As could be surmised he had a prodigious appetite. One afternoon he was playing at the blues festival, located at the Caledonian Brewery. The brewery had a pub within the grounds, reserved for artistes. The beauty of this establishment was that there was no charge for food or drink! Every so often, a tray of about 12 Scotch pies was provided. On the occasion to which I refer, Big Al ate the whole lot and looked for more.

“He was a lovely man, always grateful for the trouble that was taken to look after him. He was always afraid that he was being a nuisance. I only once saw him angry. I had to drive him from Edinburgh to Prestwick Airport. He was going to Oslo by Ryanair (there were no Scandinavian flights from Edinburgh at the time).

“I accompanied him to the check-in desk where he was told that he would have to pay $160 excess baggage. He queried this, stating that as he had paid for two seats he should be allowed two lots of baggage. Ryanair being Ryanair would have none of this. This caused Big Al to become agitated and increasingly angry to the extent that the check-in person was threatening to call the police. I eventually managed to calm him down. His parting shot to Ryanair was that when he left Norway to return to the States he would be travelling with a real airline.

Lonnie Donegan                                                                                                                                          “Lonnie Donegan had been a hero of mine since the mid 1950s when he was with Ken Colyer’s band and with Chris Barber. However, it was with ‘The Rock island Line’, recorded in 1954, that Lonnie became internationally well known.

‘I prided myself in that I had nearly every recording that he had made together with some private stuff and radio broadcasts. In August 2002 he appeared at the Festival. He was not a well man at the time and I collected him from the premises of a chiropractor to take him to the Queen’s Hall where he was performing that evening. He sat hunched into the corner of the back seat of the car and was accompanied by his son, Peter. He was quite talkative and was looking forward to the evening’s concert. I genuinely thought that he wouldn’t make it.

“I attended the concert, in the company of Bill Gunter, the washboard player from the Californian band, Cell Block 7, that I was driving during the festival. Like myself, Bill was a big fan of Donegan.

“The concert time arrived and Lonnie bounced onto the stage and proceeded to entertain the capacity audience for the next two hours. The transformation from a small, hunched-up man in the back seat of a car to what appeared to be a human dynamo was incredible. I was really please that I had met and spoken to him.

“Three months later, in November 2002, Lonnie died.

The Golden Eagle Jazz Band                                                                                                                “Another band from California. A great bunch of guys many of whom I have stayed in touch with since the ’90s.

“One of the jobs the band had was a publicity session at the Gyle Shopping Centre. The band was on a slighly raised stage. The trombonist, Glenn Calkins, had the biggest bag of mutes that I’ve ever seen. The bass player, Robin Tankard, a dep from Liverpool and the Merseysippi Jazz Band, was a bit of a joker. Glenn had just finished playing a solo using a baby’s potty as a mute and had laid it on floor. Robin kicked the potty out in front of the band and the public, thinking this was a band of buskers, started putting money into the potty. By the end of the gig there was £45 in the potty. Dick Shooshan the leader said to me that this was almost like begging. I said that it was begging!

“The band stayed in Edinburgh for a week after the festival ended and played each evening in the Carlton Hotel. Each day the band played in Princes Street Gardens and always the potty was to the fore! The musos earned their beer money for the week this way.

“In honour of the band’s visit to Scotland a poem was written. [Scroll down to read.]

 

Road Managers                                                                                                                                “Over the years I have found that some road managers seem to create situations to demonstrate to their clients just how well they are being looked after. This, of course, can backfire as the following examples show.

“An internationally famous vocal group is due to land at Edinburgh Airport. The group’s road manager has stated that three limousines are required, one for each vocalist. The band accompanying the vocalists are to be transported in a mini-bus. I have to go the airport to ensure that everything runs smoothly.

“The vocalists arrive together with the band. Only one limousine appears. The male vocalist jumps in and departs leaving the two female vocalists and the band. I speak to the female vocalists, apologising for the absence of the two limousines. The ladies tell me that they are glad because they wanted to travel with the band.

“The second situation is reasonably similar. Again, we have a well known vocalist travelling with his backing band. The road manager has demanded a nice car for the vocalist and a mini- bus for the band. The arrival location is the Waverley Station. Because of the station parking situation, I go into the station to meet the party whilst the nice car (a Mercedes) and the mini-bus are waiting in Market Street at the back of the station.

“As we emerge from the station, I indicate to the vocalist where his car is. He tells me that he doesn’t want a car. He wants to travel with the band. Again, this is a crazy thing. The driver has had to drive from Barnton to the Waverley at the height of the rush hour for nothing.

The Music                                                                                                                                                                    “One of the main advantages that I have gained from the many years that I have been involved with the Festival is the number of recordings that I have done – always with the band leaders permission, I may add. These recordings will end up in the Edinburgh / Scottish Jazz Archive eventually.

“I have only once been refused permission to record and after listening to the band I was glad!

* The 2018 Edinburgh Jazz & Blues Festival runs from July 13-22.

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Edinburgh Jazz Fest Memories: Fiona Alexander

Edinburgh Jazz Festival - 1990s & 2000s coversFiona Alexander, one of the producers of the Edinburgh Jazz & Blues Festival, shares her memories of the event. She says:

“My very first brush with the Edinburgh International Jazz Festival was in the late 1980s when the Festival Club was in Edinburgh University Staff Club in Chambers Street. As a newcomer to jazz, I remember being amazed by all the music happening – three concerts running simultaneously on three floors with audiences moving from one space to another. I remember that I heard Lillian Boutté in my early days of jazz exploration and she made a huge impression on me – the musicality, the stories and the humanity.

“I started working with the festival in 1997. We wanted to develop it by adding more contemporary jazz, whilst retaining the established focus on traditional jazz and including the  special musical collaborations only happening in Edinburgh. So the programme featured Acker Bilk, Bob Barnard, Kenny Ball and Carol Kidd alongside John Scofield and Gil Scott Heron. The festival also featured the Mardi Gras, Jazz on A Summer’s Day, a Gospel concert at St Giles, The Blues Festival at the Caledonian Brewery and a late night club with the Alex Shaw Trio at the Caledonian Hotel.

“One of the most exciting aspects of the festival  is developing relationships with musicians and seeing the progress through the years – so the UK premiere for The Bad Plus took place at the Edinburgh Jazz & Blues Festival and they returned several years later with Joshua Redman playing one of the best concerts that I have ever heard.

“There’s a host of musicians who are informal friends of the festival – artists like Scott Hamilton, Ken Peplowski, Mr Sipp and David Berkman – who return to play regularly in new and different contexts. Some of the special collaborations have been very special indeed – the World Jazz Orchestra led by Joe Temperley, featuring Cecile Salvant, playing the music of Duke Ellington for example. The music and the atmosphere were electric. Tommy Smith and Courtney Pine both playing Coltrane – two very different approaches.

2012 065

Joe Temperley with the World Jazz Orchestra, 2012

 

“Who have I been especially pleased to bring to Edinburgh? So, so many people. Hosts of international musicians like Christian Scott, Tia Fuller, Roy Hargrove, Ambrose Akinmusire, but also some really interesting smaller scale projects such as French pianist Baptiste Trotignon playing in Rosslyn Chapel, and young pianists like Aga Derlak and Enrico Zanisi. A host of Scottish jazz projects have been born at Edinburgh – New Focus (Konrad Wiszniewski with Euan Stevenson), Band of Eden co-led by Tom Bancroft and Laura Macdonald, and, coming right up to date, Alison Affleck with the all female Shake Em Up Jazz Band who are playing this year.

“Of course things can go wrong. When dealing with so many people there are inevitably lots of incidents, but one of the main areas of daily concern used to be musical instruments not arriving with bands – the frantic call-round to find a bass saxophone at 4pm for a soundcheck staring in 60 minutes, or I remember taking delivery of e.s.t’s double bass just five minutes before their concert started. Now we more often supply an instrument in Edinburgh for people to use.

“Of course lost luggage also relates to suitcases and clothes not arriving, musicians missing rehearsals and so on. Weather for the outdoor events also give us pause – strong winds affect the stage in the Mardi Gras, rain affects the Carnival. I remember one particularly inconvenient shower on the afternoon of a concert we had planned for Princes Street Gardens – it poured between 2 and 4 pm – then the sun came out and it was a lovely evening. However, we didn’t get the same walk-up and lost a significant amount of money.

“There are various ways in which the Edinburgh Jazz & Blues Festival stands out from other jazz festivals. There is no doubt that the range of music from 1920s to today makes our programme distinctive, as does our creative curation process – we present a lot of ONLY in Edinburgh concerts which we make happen just for the festival – so for example last year we offered 10 concert to Brian Kellock and asked him who he wanted to play with and then presented concerts with Fionna Duncan, The Ear Regulars, Liane Carroll and so on.

“As I hope you’ve gathered we are thrilled across the board – it’s as excting to present BIG Name X as to present a really exciting breakthrough artist and that’s because we love the music. So we are thrilled this year to be presenting the New Wave of Scottish Jazz – Mark Henry’s new commission, to present the first ever duo concert with Martin Taylor and Curtis Stigers and to have a new hub for the Festival with Teviot Row.”

* The Edinburgh Jazz & Blues Festival runs from July 13-22. Visit www.edinburghjazzfestival.com

Next: Norrie Thomson

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Edinburgh Jazz Fest Memories: Roy Percy

Edinburgh Jazz Festival - Roy Percy on bass, 2017,& Dave Blenkhorn (guitar) 2

Roy Percy & Dave Blenkhorn, Edinburgh Jazz Festival, July 2017 (c) Alison Kerr

Scottish bass player Roy Percy was a student when he first became involved with the jazz festival; these days he can usually be seen in different line-ups throughout the event, and he’s kept busy the rest of the year as one third of the acclaimed Tim Kliphuis Trio and one quarter of the popular Swing 2018 band. He says:

“My earliest attendance of the jazz festival was in August 1984, when my school band was supposed to take part in the youth competition at the King James Hotel in the now Edinburgh Jazz Festival - Milt Hinton & Buddy Tate, 1986.jpg 2demolished St James Shopping Centre. We didn’t play in the end (no-one can remember why!) but we attended and watched the bands and lots of speeches.

“I first played the festival in 1986 with John Elliot’s Dixieland Band. We won the youth band award that year. It was sponsored by Avis car rentals. The award had their motto on it – ‘We Try Harder,’ which we thought was very funny, everything considered.

“The bands were only allowed one older member (over 25, I think) and in our case that was banjoist Bev Knight, who now plays for Jim Petrie in the Diplomats of Jazz. Everyone in the band was at the Edinburgh Uni except for me. I was a proud Stevenson College boy!

“My first big thrill of the jazz festival was that first year – I was a festival volunteer and one evening I filled in for Milt Hinton’s driver. I carried his bass into Meadowbank for him. He was nice – chatty and friendly – but I was a bit shy of asking him too many questions. I loved hearing him play. He slapped the bass a little too, which I hadn’t expected him to be doing. Fantastic!

“The following year, I played at the festival in Swing ’87 – with Dick Lee on clarinet, and John Russell and Martin Leys on guitars. (I joined in November 1986.) We had Fapy Lafertin join us that year. In his prime, he was the best of the gypsy guitarists, and still Edinburgh Jazz Festival - Al Casey (guitar), Ronnie Rae (bass), Roy Williams (trombone) Fingers Bar, 1987not surpassed by anyone since.

“That same year, I drove Al Casey to Pollock Halls of Residence (where he was staying, almost unbelievably!) in my 1964 Rover P4. I took the longest route I could think of so I could chat to him, as he was friendly and happy to chat. He kept asking:  ‘Is this a Rolls Royce?’

“At the halls, I made him a hot chocolate in the shared kitchenette and asked him about Fats Waller. ‘Best fun, strongest pianist I ever knew. So inventive too. I was a kid and learned so much, so quickly too. I gotta pee now.’ And that was it. Afterwards he went back to asking me about my car!”

Next: Fiona Alexander

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Edinburgh Jazz Fest Memories: Alison Kerr

Edinburgh Jazz Festival - Hot Antic Jazz Band, (and Alison), Drones, 1987.jpg smaller

Alison Kerr (in black, at piano), listening to the Hot Antic Jazz Band, Drones, 1987

If it hadn’t been for the Edinburgh Jazz Festival, which celebrates its 40th anniversary this year, I wouldn’t be writing about jazz now…

It was August 21, 1986, and I was 14 years old when I first accompanied my dad on one of his annual week’s worth of jaunts to Edinburgh during the jazz festival. By this time, he had evolved a jazz festival routine – he booked a week off work, bought a festival rail pass (this was back when the jazz festival coincided with the other Ediburgh festivals), resumed a smoking habit that hadn’t been indulged since the previous festival, and met up with different pals (with varying degrees of interest in jazz but an equally strong interest in beer), at the many licensed premises that doubled as venues.

This was the now long-gone era of the famous jazz festival Pub Trail, when brewers sponsored the jazz festival, the packed programme resembled a paperback novel, and you could hear local and international bands – some semi-professional, some wholly; all enthusiastic purveyors of classic and trad jazz – in pubs all over the city. On my first day at the jazz festival I heard the French band who quickly became lifelong favourites – the Hot Antic Jazz Band. And my fate was sealed ..

That was one strand of the Edinburgh Jazz Festival. The other was the one with ticketed gigs, usually an afternoon or evening long session with two or three sets featuring different line-ups. When the festival introduced their now-fabled Gold Star Badges (in 1986), you could dip in and out of three or more gigs in a night, and follow your favourite bands or soloists around town.

In our case, this invariably meant legging it from somewhere like the Festival Club on Chambers Street over to the Spiegeltent in Charlotte Square and then to the Royal Overseas League on Princes Street – where, that first year, I saw the pianist whose Edinburgh Jazz Festival - Dick Hyman, Royal Overseas League, 1986.jpgappearance in Edinburgh was the reason for mine, the nimble-fingered Dick Hyman – before the inevitable mad dash for the last train back to Glasgow.

Of course, there was no guarantee that you would get into a gig which you hadn’t been at from its kick-off, which is why – in 1991 – there were nearly tears when we ended up standing OUTSIDE the Tartan Club at Fountainbridge (that year’s incarnation of Harlem’s legendary Cotton Club) listening as best we could to an eight-piece all-star band featuring Yank Lawson, Scott Hamilton, Marty Grosz and Kenny Davern (I vividly recall being blown away as Scott Hamilton brilliantly evoked Lester Young’s iconic solo on Back in Your Own Backyward), when we had left perfectly good seats at the Spiegeltent and would have heard Leon Redbone if we had stayed on after the Dry Throat Fellows, another favourite quirky European group. Needless to say, the atmosphere on the train home that night was not the best …

Those early years at the Edinburgh Jazz Festival – me in my mid-teens; my dad in his early 40s – undoubtedly ruined me for everything that came later. I revelled in the camaraderie, rejoiced in observing the characters onstage and off (there was a motley crew of eccentrics – the “Coke Can Kid” and “Monsieur Hulot” were two of our favourites – who would turn up every year and usually be in competition for the front row seats), and delighted in the lack of segregation between audience and musicians which meant that when I emerged from my front-row seat at the end of a gig, my father would tell me he had just had a pint with one of the musicians we’d admired earlier in the day.

Probably the greatest gift the jazz festival gave me – apart from these unique opportunities to spend time with my dad – was the chance to hear some of the greats from the heyday of jazz. The veteran jazz musicians I was privileged to hear during my teens reads like the personnel listings of favourite records from the golden age of jazz – Doc Cheatham, Harry Edison, Buddy Tate, Al Casey, Al Grey, Milt Hinton etc.

Thanks to the jazz festival, I held the door open for Milt Hinton. I heard Art Hodes, who had played piano for Al Capone. I heard Al Casey, who had been in Fats Waller’s bands. And later, as a young journalist, I received annual invitations to his New York jazz festival from Dick Hyman.

Then there are musicians we got to hear for the first time in Edinburgh – and went on to enjoy at successive festivals. If it hadn’t been for the Edinburgh Jazz Festival, I would not have come across the wonderful guitarist, singer and raconteur Marty Grosz as early as IEJF 1991 (5) - Marty Grosz did, and for bringing him into our lives, I’ll be forever grateful to the festival. Few other musicians lift the spirits as he can, and his duo gigs with clarinettist/saxophonist and fellow wise-cracker Ken Peplowski at Edinburgh in the late 1990s, early 2000s were the main highlights of those festivals for many of us.

By the late 1990s, the pub trail was gone, and the informality that we had loved was a thing of the past as the musicians we wanted to hear were usually scheduled to play in the sobering (and non-smoking) Hub venue and being kept well away from the audience.  Our favourite musicians might still be coming to the festival, but if they did it was usually just for one or two concerts. My father no longer needed to book a week off work.

The festival had rolled on to a new era. But what luck to have lived through those early days and to have had just about enough nous to appreciate that what I was witnessing was special.

In the run-up to this year’s jazz festival, I’m publishing a series sharing memories of the jazz festival from across its 40-year history, and from the perspectives of punters and performers alike. If you would like to share your stories and photos, please email me on girlfriday71@yahoo.com

Next: Roy Percy

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Edinburgh Jazz Fest Memories: Forrie Cairns

Edinburgh Jazz Festival archive - Recordbreaker photo

Forrie Cairns (third from left in front row), with Jim Galloway (centre, on soprano sax) playing When the Saints Go Marching In at the Edinburgh Jazz Festival’s Guinness Book of Records attempt at biggest ever jazz band. This was just, says Forrie, one section of the band!

One-time member of the Clyde Valley Stompers and a fixture on the Scottish jazz scene from the 1950s onwards, Glasgow-born clarinettist Forrie Cairns enjoyed the Edinburgh Jazz Festival as both a player and a listener. He says:

“I was working virtually non-stop in Switzerland for the first 30 years of the jazz festival. But on the odd occasion when I took part in it (I think four altogether), what always excited me was the way Mike Hart (before it became more of committee-run event) managed to arrange those great afternoon Pub Trail gigs and the ones in the Festival Club with all the unusual line-ups comprising the musicians from the various visiting bands.

“For example, in the mid- 1980’s I came over for week with Bob Wallis and although I worked each night with Bob at various venues, I found myself one afternoon duetting with John Crocker, the sax/ clarinet player from the Chris Barber Band. It was great fun.

“That same year gave me the unique opportunity one other afternoon of listening for one hour to the two wonderful horns of Warren Vaché and Spanky Davis, the resident horn man at Jimmy Ryan’s Club in New York. Two quite different styles and two musicians at their peak, not attempting to blow each other off the stand, but rather complementing each other in quite superb fashion. Those musicians who crowded into the Festival Club that day were so lucky. That was the Edinburgh Festival at its best.”

Warren Vache & Spanky Davis, 1985 2

Warren Vache & Spanky Davis with Kenny Ellis (bass), Festival Club, 1985

Next: Alison Kerr

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40 Years of the Edinburgh Jazz Festival

Edinburgh Jazz Festival my covers collageScotland’s first jazz festival was born out of an experiment, 40 years ago, when local antiques-dealer and banjo-player Mike Hart brought together a number of local bands plus a couple of well-respected soloists from England and staged a mini festival in a ballroom in the capital.

Its success, plus a visit to the Sacramento Jazz Festival, inspired him to seek sponsorship for the first Edinburgh International Jazz Festival which took place in 1979, and featured a variety of semi-professional bands from here and abroad.

But it was in 1980 that the EIJF began to operate a policy which helped define it: it began to hire individual jazz stars, many of them veterans of the great American bands of the 1930s onwards, who had been sidemen in their youth but were now happy to be more in the spotlight.

Into the mix, Mike Hart added younger players who were part of the mainstream revival. All these musicians would stay for several days, if not a whole festival, at a time and would be mixed and matched in different line-ups, often featuring Scottish talent in the rhythm sections.

The jazz festival continued in this manner until the mid-1990s, by which point the blues festival had been added, the dates no longer fell within the main Edinburgh festival period, and the pub trail had come to an end.

In 1997, the festival was produced, for the first time, with Assembly Direct (now Jazz Scotland), ushering in a new era in which even more sub-genres of jazz were represented at the festival, and new collaborations and projects were championed, but always with a basic respect for classic and trad jazz and the keepers of the jazz flame ..

The Edinburgh Jazz & Blues Festival (July 13-22) celebrates its 40th anniversary with a gala concert on the opening night and various other events – visit www.edinburghjazzfestival.com for details. 

In the run-up, I’ll be publishing a series sharing memories of the jazz festival from across its 40-year history, and from the perspectives of punters and performers alike. If you would like to share your stories and photos, please email me on girlfriday71@yahoo.com

 

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