PORTSMOUTH JAZZ SOCIETY

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. As confidence grew, and funds built up, the enthusiasts took to booking their own visiting musicians. Notable British players such as Danny Moss; Jimmy Skidmore; Tommy Whittle etc, accepted invitations to play in Portsmouth accompanied by locally recruited rhythm sections. To this extent Portsmouth was fortunate in having to hand the services of the very experienced and talented pianist Bill Cole. Bill's vast knowledge of the jazz repertoire and his ability to accompany in all keys laid the foundations for many a successful gig. The tenor saxophone was the predominant instrument featured and leading American exponents were duly presented (see end note) such as the ex Woody Herman star Al Cohn and ex hopper Allen Eager. With this last artist the Society thought it had made a real scoop in booking Allen to play his only British gig outside London. The chosen venue for this landmark event was the stylish Wedgwood Rooms in Albert Road. A gala occasion was planned and, rather than hire a local rhythm section, a fully professional London based trio was engaged. Additionally, the guest agreed to appear on Tim Colwell‘s Radio Victory show the evening before the concert. Accordingly, two nights‘ accommodation was arranged for him at The Royal Beach Hotel and his appearance in Portsmouth was keenly anticipated. Early on the afternoon of the appointed day a telephone call was received intimating that Eager had boarded his train at Waterloo but decided he wanted a snack to see him through his tourney. Leaving his bags, including the valuable saxophone, unattended in the compartment, he retraced his steps to the concourse. When he attempted to rejoin the train he found that it had already departed - together with his luggage and tenor sax. Consequently three members, Don Tarrant, Geoff Poar and Norman Gordon, spaced themselves along the high level platform at Portsmouth & Southsea station to meet this train. By good fortune Eager's baggage, and the precious instrument, had remained untouched throughout their solitary journey. With great relief all the luggage was recovered and safely returned to its rightful owner upon his eventual arrival. The Radio Victory broadcast was a success but sadly the concert was very indifferent. Eagers playing was uninspired and the rhythm section proved unsympathetic to his needs. 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. By the mid eighties visiting performers together with fully professional rhythm sections were being booked as complete packages. Also, by this time, the sole responsibility for organising the concerts, writing the occasional news letter to keep the punters informed etc, had virtually devolved on to the able shoulders of Geoff Poar and the club was lucky to have such a capable and energetic person to run affairs. Promoting is not easy, many are the worries; will the artist turn up on time, will the piano be tuned correctly, will the p.a. man do a good job? Will there be enough money in the pot at the end of the night to pay the band??? For the vast majority of promoters, jazz is lust not a profitable enterprise. However, the perennial problem of funding was to a degree solved by monetary grants from both the Portsmouth City Council and Southern Arts. To keep finances and administration apart a separate PJS Concert Society was established to run parallel with the recital club which continued to exist as a separate entity. 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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