The Portsmouth Music Scene |
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PORTSMOUTH JAZZ SOCIETY PRESENTS. INTRODUCTION. By Norman W. Gordon. Jazz appreciation societies, originally called 'Hot Clubs‘, were first established in Portsmouth circa the mid 1930's but until May 1981 the main activity of the groups had been that of a record recital club. Regular meetings were held, usually in musty back rooms to various public houses dotted throughout the city, when members would bring along their records or tapes and give a recital, or a talk, on whichever aspect of the jazz scene was absorbing their attention at that particular moment. Occasionally the small but active membership of the PJS would invite guest speakers such as the late James Asman, record retailer and raconteur from London, to come and address their gatherings. From time to time ?lm shows were arranged ~ but no live jazz was envisaged. The membership, though short in numbers (seldom could the treasurer boast more than a dozen and a halt lee paying stalwarts) was however long in jazz expertise. This was ably demonstrated in 1976 when a three man team from the PJS consisting of the late Don Tarrant. Alan Spicer and the late Frank Hurlock, reserve Mike Underdown lifted the Radio Solent Jazz Quiz trophy following an exciting final tie against Salisbury Jazz Society. Live jazz, usually played by local amateur musicians, was nevertheless to be heard around the city. For many years New Orleans tans were catered for at the Air Balloon, Stamshaw, each Friday night. with the modern, or mainstream, styles could be found at other spots such the Cumberland Tavern, Eastney Road - still affectionately known to locals as ‘Charlie Hurdle's' - and later at the Lord John Russell in Albert Road. (now also refurbished and renamed) Though supported by members of the PJS the week to week running of these gigs, the booking and paying of the bands etc, was in the hands of the publicans and the musicians themselves. Furthermore, apart from Frank Hurlock, for many years a linchpin in the jazz life of Portsmouth, few, if any members, were musically trained or had actual experience of playing an instrument in a band. In summary, the members of the PJS knew virtually nothing of promoting live jazz.
Similar societies in Southampton and Gosport had for some years staged regular live sessions
featuring visiting professional jazz musicians but Portsmouth remained singularly aloof. There was no
one specific reason or motivation for Portsmouth to change its policy and move into the live format. lt
just happened. Thus, without abandoning their regular record recitals, the tact that the PJS also
became the promoter of a series of quality concerts is quite remarkable. Encouragement to emerge
From their cocoon of recorded jazz was given by Tim Colwell presenter of the weekly Jazz Spectrum
programme on the late and lamented Radio Victory. Tim, himself a tenor sax player and band leader
of some ability, was generous in inviting PJS members to appear on his programme at various
intervals when he would urge them to come out of their shells and do something. This was followed
by Mike Underdown's weekly jazz programme on Radio Victory until the stations close.
This something materialised on Tuesday 26th May 1981 following agent Dave Bennetts offer of, for
a fee of £100.00, a package spotlighting the talents of ex Fats Waller guitarist Al Casey together with
accompanying group which included the ever popular local trumpeter Cull Billett. The location for this
first concert was the ‘Family Room‘ of the Cumberland Tavern. Members collaborated to promote the
function which proved to be very well attended and adjudged a success. it showed there was
indeed a market for this kind of venture in Portsmouth. Appetites were whetted for more. There
ensued however a five month hiatus before the next gig in October 1981. This presentation starred
the legendary Chicago cornetist Jimmy McPartland. Again the show was a popular triumph and it was
one of the few concerts which featured what might be termed Dixieland jazz ~ most members tending
to prefer the post 1940's idiom.
The ‘Family Room’ of the Cumberland was used as a base for the next two years. it was suitable in
many ways. lt had a proper stage, and the bar was separated from the concert room. However, it
suffered a drawback, which most of the other venues suffered from, in as much as it did not have its
own piano. Though the problem was resolved in later years when the Concert Society managed to
acquired one of its own, the lack of a good acoustic piano, tuned to concert pitch with all eighty-eight
notes and damper in good working order, limited the style of jazz that could be presented. Meanwhile
friends and acquaintances were prevailed to lend their pianos and instruments were transported back
and forth to each gig by a local firm of building subcontractors.
The majority of the promotions were nevertheless musically satisfying and some were very good
indeed, being, by general consent, regarded as outstanding. Two that immediately come to mind are
the concerts given in 1984 and 1985 by American tenorist Spike Robinson at the Cambridge. Despite
the belated arrival of special guest pianist Erroll Clarke on the first gig Spike played a magni?cent
evening and the second gig, a year later, was the equal of the first. A further date which appealed to
this writer was the session by Scott Hamilton at the Pyramids in April 1990. Another memorable
evening was the concert presented, with sponsorship by Marconi Space and Defence Systems Ltd,
in e Gaiety Showbar on the South Parade Pier in June i983 when the PJS staged a promotion
entitled ‘Jazz on a Summer's Day‘ as part of the Portsmouth Festival week. The event was compared
by Tim Colwell and the highlight was a jam session led by trumpeter Kenny Baker but also included
was an excellent set by the innovative Stan Tracey Quartet. On this point it might be mentioned that
the PJS commissioned Stan to write the ‘Pompey Royal Suite‘ for the Society which he premiered
during a gig held at Pharaoh's Bar in 1990. Many will also recall the concert presented in tandem with
Portsmouth Polytechnic at the Nuffield Centre, which featured the unique talents of the late Slim
Gaillard.
Advertising was important radio stations such as Solent and Victory helped by making
announcements during their broadcasts, while local shops and libraries were prevailed upon to
display posters. The design of these notices was often the product of the creative graphic talents of
members - samples are printed within this document. The reader will observe that over the years the
Society used a number of different venues for its concerts. These changes were for the most part
enforced with breweries closing or changing the nature of their premises and any would-be promoter
is well advised always to have alternative spots in mind lest he book an artist and discover the day
before the gig is due to take place that the management has changed its policy over night and the
room has now been booked out to the local weight watchers - or whatever.
A total of 117 gigs were promoted in the period covered by this ‘diary’. Currently the concert club is
dormant but memories of swinging nights are retained both in pictorial and audio form. Some
examples of the photographic have been included in the pages of this record and where private tape
recordings are thought to exist the diary is marked with an (*).
END NOTE. Yes it is true that U.S. sax giant Sonny Stilt was indeed pencilled in to play at the
Cumberland but he died of a heart attack some six weeks before he was due to appear.
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