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| Pat Halcox All Stars |
| Pat Halcox |
angol
első megjelenés éve: 1979
71 perc |
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| (2000)
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CD |
| 5.075 Ft
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| 1. | Flintstones
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| 2. | Blue & Sentimental
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| 3. | I'm Goona Lock My Heart & Throw Away the Key
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| 4. | China Boy
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| 5. | I Wanna Little Girl
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| 6. | What's the Racket?
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| 7. | Jeepers Creepers
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| 8. | You Took Advantage of Me
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| 9. | Three Four the Blues
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| 10. | Dusk
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| 11. | 5 O' Clock Drag
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| 12. | Fidgety Feet
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| 13. | Deed I Do
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| 14. | Dr Jazz
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Jazz
Pat Halcox (tp)
John Crocker (cl, ten, alto sax)
Campbell Burnap (tb, voc)
Johnny Parker (pno)
Johnny McCallum (ele & aco gtr)
Vic Pitt (str & ele bs)
Pete York (dm)
The band is known affectionately as Pat's Summer Band. In his usual way Pat is slightly embarrassed by it going under his name. "Actually, it was a co-operative band" he says. "Chris Barber started it 'I'll lend you the transport and the amplification for free', "he recalls Chris saying. "After that it was easy - It always is when you work with happy people. We had a ball?". The band stayed together for several years in various forms often in conjunction with vocal trio, Sweet Substitute (who can be found on LAKE LACD83). The material on this CD comes from their one and only LP, 7th Avenue ("where I lived and heard so much good jazz on my visits to New York", explained Pat) for the Plant Life label. It was a little short on playing time, but thanks to the efforts of Jem Wilyman and Chris Barber archivist, Julian Purser, we located some live recordings made by the band a few weeks before the LP session. - Paul Adams (LAKE Records)
Pat Halcox
Pat HalcoxPat Halcox''s "Autobiography", written in about 1961. We always had a piano at home, and, although neither of my parents were particularly musical, there''s always been an interest. They tell me that when I was four years old I would sit at the piano and pick out phrases and actually copy out music, even before I could write. So they sent me to a series of lessons that resulted in my passing an exam when I was four and a half. This was too good to last, of course, and I soon slowed down to a more normal rate of progress. In fact, by the time I was six, I''d stopped playing altogether, and it wasn''t until I was nearly fifteen that I found out what a social asset playing the piano could be. When I did start again, I''d become involved loosely in jazz. I would try and rattle out ''Cow Cow Boogie''. Pete Johnson''s ''Roll ''Em Pete'' was the first disc in my collection. I''ve always been fascinated by Boogie and the Blues ever since. It''s funny how the first influences stick hardest. I first tried playing jazz in a band with Bob Dawbarn and a crowd of friends, including Mick Mulligan. It was one of those back-room-when-mother''s-out sort of bands. We used to make some terrible rows. A friend of mine worked at Boosey and Hawkes, and he''d bring home lots of battered old instruments. I finally chose trombone, because that was what we needed. When I got into the RAF I played trombone there as well. I told them that I could read trombone music, which I couldn''t, so at first I had to sit at the back and fake. By the time that I came out as a fully competent trombone player I discovered that the band needed a trumpet player, so I had to switch again. As it happened it was a good job I did. Leaving the musical side for a minute: I''d been training all this time to become a chemist, and I''d taken a job in a chemical laboratory, and was working away at nights, whenever my jazz would allow me. So, when I came out of the RAF in 1950, I went back to my chosen career of chemistry. Unfortunately for these studies a band called the Brent Valley Jazz Band was formed by my friend Colin Kingwell and myself, and it started to get odd jobs. We even went in for a talent competition organised by a detergent called Whisk, and got through a couple of semi-finals at various cinemas. We won enormous quantities of Whisk and five guineas, which we spent immediately in the nearest pub. After that I moved to the Albermarle Jazz Band - also playing in the West of London - and for about two years we played at Don Short''s club at the White Hart, Southall. I almost joined Chris during that time when he was forming the band that later was joined and led by Ken Colyer, but I still hoped to make a career out of chemistry, and so I turned down the opportunity (or gamble as it was then) to turn pro, and had to wait until 1954 before I got my second chance to join Chris. Now I''m sure about what I want to do: play trumpet with the Chris Barber Band. Looking back on the seven years that I''ve been with Chris, I think that one of the highlights was making the soundtrack for Look Back In Anger. I was absolutely fascinated, possibly because my strongest interest outside of jazz is photography. I''m working on building a darkroom in the house that I''ve just moved into with my wife. But of course there have been endless series of wonderful things with the band: New Orleans, the Hollywood Bowl, Denmark, Berlin, Sister Rosetta. I suppose that my early influences on cornet were Muggsy Spanier and Tommy Ladnier. Now I like lots of people. In the early jazz club days I was a violent anti-modern, but now I like some of it. Mainly the people with roots, I think - Parker, John Lewis, Gillespie and Ellington, especially Ellington. I wouldn''t say that I''m content with the way things are at the moment - no musician ever really is content unless he''s lost all ambition, but I''m very happy with the way things are going. The Band is a happy place to work, and I love playing trumpet. That''s why you''ll find me creeping off to places like Wood Green to sit in with the Alex Welsh Band or Kenny Ball my nights off. |
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