MUSIC: PUPILS, PLAYERS, INSTRUMENTS, CHOIR, ORCHESTRA, SCHOOL BANDS, GRAHAM BOND, DIVERSE.
MUSIC PUPILS, PLAYERS & INSTRUMENTS AT RLS
I believe that Tug's principal instrument was the violin. Bonzo Bond generally played the saxophone: there is a story I heard from Peter Mitchell of Bonzo going into a lesson being taken by Tug and addressing him as, 'Ah! The cadet wallah!' The Magazine of December 1958 contains, in the report of a concert: 'After the Nursery Rhyme "Old Mother Hubbard", came the first movement of Mozart's Clarinet Quintet (K581), the soloist being I.M. Calvert.': Ian (1950-58) did Mathematics at King's College, London. (J. Alan Smith)
Patrick Michel wrote:"Tony Sharp and the harpsichord ... never heard it played." I think that it was there in the music room during the 60s and it survived many an unofficial session to be used in school concerts. (Tim Knights)
One name missing from Fred Holmes list who was in the same year as Georgiadis and that is Ken Lawrence who was also a violinist and to the best of my knowledge finished up as leader of the Birmingham Philarmonic Orchestra. (Ken Saxby 1950-57)
The Shepherd referred to by Mr. Holmes was Adrian Shepherd.
He led a classical group some years ago, and made a number of recordings. Also an OBE. He has been a close friend of mine since Junior school, and lives fairly near. He once visited us a
long time ago,and was due to
be met by my wife for the first time at the airport. I mentioned that he was a
player of Baroque music. She understood me to say Rock music,so was originally looking for a different type.
Yeah, we had the usual minims, crotchet and quaver stuff
banged into us, but it was all meaningless if you were not personally involved.
Same in art. The only time I ever saw
Music in the late sixties was presided over by Mike Brewer, who, for me at least, was an inspirational teacher, and a thoroughly good bloke too! Of course, I had him for 'O' level music, apart from being in all the many choirs he seemed to be running, not to mention "The Mikado" & "The Sword in the Stone", so I don't know what he was like teaching younger years for whom Music was compulsory. (Martin Jacobson)
... the National Youth Choir, with their leader Mike Brewer. I vaguely remember singing in a performance of Handels Creation? about 1970 at school led by Mike Brewer. Latin master Dr Watkiss one of the soloists I think. (Martin Stilwell)
In the 1971 School Magazine there is an interview with FE "Fred" Holmes. He tells of his arrival, together with his son Ralph, at RLS in May 1949 (Ralph as 12 year old pupil). Fred recalls the following musical talents around in Ralph's time there: David Smith, David Pettit, John Georgiadis, David Shepherd, and Peter Thomas. Fred also mentioned Junior Celebrity Concerts held in conjunction with RCHS. (Tim Knights)
David Shepherd OBE I think, eminent cellist, have some vinyl somewhere with him playing Le cygne. He was present at the first reunion organised by Ken Catton. (Phil Kingham)
I well remember David Smith, who was several years ahead of me. He played the piano and performed regularly at school concerts, and he was for quite a time the main organist at assembly. He had, I recall, quite striking sleek, fair hair. (Graham Jackman)
Music? Jonah was an amiable buffoon. Jack Benny with the violin but without the jokes. Didn't teach me to play a recorder as I'd already learnt but offered me some fun in his recorder ensembles!
David Wells was intense, dedicated, talented,
got me through O level music but lacked a sense of humour! Offered me the opportunity
to take over Philk's bassoon when he left school. The instrument, therefore, continued to
travel up and down
Tony Sharpe was great fun and would probably have done music
at the
there was a group/band called the Aeroulians about 1956 (David Silverside)
Whilst at the
John Georgiadis was at the school during my time - probably in the 5th or 6th forms in my first year. He went on to lead the LSO and now conducts. Ralph Holmes went to RLS- d his father was 'Fred' Holmes, our French teacher, so Ralph would play in the school orchestra. 'Fred' himself was a more than proficient violinist also. Ralph followed a solo career and died tragically young some time ago. His recordings of Delius are still unsurpassed.
Also in my year was Peter Thomas, who left RLS and went
straight into the Allegri String Quartet, and after
leading several Orchestras has settled as leader of the City of
Going back at least a decade into the 50's I recall David Pettit delivering some fascinating improvisations on the school organ during George's Assemblies. These provided much amusement although I do recall the pained expressions on George's face when in the middle of "O God, our help in ages past" we suddenly heard a chunk of "When the saints go marching in". Fred Holmes, on the other hand, seemed to be quite relaxed. Or is that how I like to remember it? (Geoff Smith)
A very good organist in our year (66-73) was Geoff Butler who, although generally regarded as rather staid, did occasionally like to shock us by playing modern music on the organ, so it could have been him. (Chris Stratford)
Apart from his music, I remember David Pettit for his contributions to The Liberty Forum and for the line, recorded in the December 1958 Magazine: "If music be the love of food, play on." (J. Alan Smith)
I remember the piano being stored in the hallway during 55-59 with no ill effects. A piano tuner would come occasionally, and we watched as this blind man would tune it. That was the kind of entertainment we had in those days No one would even think of damaging school property. (Brian Coan)
"All You Need Is Love" may or may not have been a great song. Who cares? Singing it in The RLS Hall with colours, flowers and bells was a unique experience in the lives of us present that symbolized the changes. Not caused the changes, just added colour and nice memories. Simple, and fun. (Ian Macauley)
Roger Jacobson wrote: "I have a clear memory of someone playing the coda from the Floyd's Saucerful of Secrets on the school organ during lesson time - extremely ethereal. This would have been around 69/70. Any ideas as to the identity of the surrogate Rick Wright?"
Incredible memory, Roger! Three candidates spring to mind: 1) Yours truly lunchtimes, mostly Nice's America & Rondo, some Floyd. 2) Most likely (if it sounded good), the Wakeling Brothers. I unfortunately can't remember their first names. Was Rob the 65er? The elder brother was a 64-62er, I would think. They were both stunning players of the keys, the elder brother putting the organ to maximum use on both keyboards and the bass pedals, making Bach come alive. (Ian Macauley)
I was teaching during the dreaded OFSTED inspection days - not to mention
Romford Inspection teams coming in as well.
As for coping with that - I was Supply, and only needed to phone that
morning to say I wasn't coming in the next day.
It helped to have another Music teacher who was ALSO supply, who had 30+
years experience with OFSTED and Romford inspections, who told me that I didn't
have to be scared - what could they do to us, tell us to leave? The teaching
regime i found challenging - In all the Music
departments I had been in up till then, I had been the 2nd in charge - this was
my first "command" as it were.
I was in RLS only for 2 terms (Sept 98-April 99), so I doubt whether I
addressed your concern (and several others) were not impressed by our musical
and artistic education and sought salvation elsewhere. (Chris Budlong)
I'm quoting Ian's letter in between my responses.... "While the
tradition up until around 1970 was that a majority stayed through the 6th, my
lot were the first serious rebels to that trend and a large number of 65ers
left in the 5th to continue at Rush Green. (It would be daft for us to sign off
as guilty, since we simply escaped). Derek is in the gang the year after who
made a trend of it. A lot of guys from the 63-67 intakes meet up regularly for
a beer or ten, so you'll see some horrendous stuff between us with no
ill-feeling." I had heard about this.
RLS offers instruction from year 7 to the end of GCSE - at least it did
in 98-99. I don't remember that being
called 6th form. Isn't 6th form after
GCSE? I never taught 6th form when I was
in
"Could you give us an idea of what sort of music and syllabus you
taught and how it was received?" I did folk music, percussion instruments
and basic keyboard. Using
Kodaly and Orff methods. I also sneaked in some jazz and classical
music - mainly songs that the boys would know already, so they could see the
relevance. I tended to stay away from
Rock - they already knew that style well enough. Since my training in
"Were the lads keen on music or was it considered secondary to older
more traditional subjects? I've lived abroad most of my adult life, so I have
no obvious reference points." The boys liked the class well enough - once
they learned how serious I was about it.
It took from September to november
to bring the classroom management into line so that we could get into serious
learning. RLS was in Special Measures
because of behaviour problems as well as educational ones.
"Was there an instrument pool at school?" Only what I
described. Instruments used in
Band/Orchestra was centralised, and has been for years. Students took lessons on these instruments
(Strings, Wind and Brass) during class time.
Peripetetic (spelling?) teachers hired by
Havering Music Services came in once a week to teach the boys who were
interested. This was in addition to the classes I taught.
"Did you put on concerts?" I did a Christmas concert and a talent
concert. We started a choir (it was
small) and a band (made up of those boys taking lessons). I had each form prepare a short "piece"
for the concert. Not all of them
performed, since I wouldn't let them if they were not ready.
"Were you restricted to a syllabus?" There is a Curriculum
mandated by the Education Department.
It's pretty vague, and allows for lots of leeway in the 7-8 groups. GCSE has formal exams and must be followed to
the letter if the boys stand a chance in passing. As a Supply, I had no choice but to follow
the exams set out.
"Any classical stuff sneak in there?" GCSE
exam has listening and theory components that require both contemporary (jazz
and rock) as well as classical knowledge.
They also have to submit a recording of their own compositions - at
least 2, if I recall correctly. The largest component of the final mark was thier mark on their compositions. (Chris Budlong)
This is going to sound patronising but... I am not sure that RLS was so out
of date in the late 60s (I started teaching there in 68). Education is what you
make of it, That is not a cliche
but concerns the need to be proactive and seize the initiative. There were some
highly talented teachers, some well ahead of their time. What I remember is
some of the most intelligent and thoughtful students I have ever taught. I used
Mick Hollow and his writing style, his precision and concision in a lesson even
today. The 60s was very bad for its neglect of certain essentials to the
learning process. Indeed, that is what it is a learning process, not a matter
of teaching. Today's
BASOONS
Phil Kingham... fellow R.L.S. bassoonist. Not the
same bassoon, I hope. I thought I had told my bassoon story before but can't
find it in my sent messages, so perhaps not. Here it is anyway. In about 1945,
a basson turned up in school from somewhere. Maybe it
had been in a cupboard from the year dot or maybe it was given by a misguided
benefactor, I don't know. Somehow I was chosen to be the bassoonist and started
to take lessons on Saturday mornings.
The chap who taught me had never played a bassoon himself - he was a military
clarinettist, but after a few lessons, I could play 'The Ash Grove', or
something, reasonably well, so the teacher (was it Mr Jones?) wrote me a simple
part to play in the coda, not the whole symphony, you understand, from
Beethoven's 5th, which Ralph Holmes et al werere hearsing at the time. After a note or two, I was hauled out
and told to tune my instrument. When I failed miserably to do so, it was
discovered that the instrument was a built to the old high military pitch and
that there was no way I could play other than a semitone higher than everyone
else.
So from then on my parts were written out in fiendishly difficult keys while
the others playedin C or G. On my own at home without
the orchestra I could manage the slow movement from Mozart's concerto, but
there was no way that they were all going to play a semitone low for me. When I
left school in 1948, I bought myself a second hand flute and taught myself to
play it. I did play that solo in Gloucester Cathedral once! Many years later,
my children's school tried to get up a scratch parents' orchestra for a
performance of the Messiah. There was a bassoon and no bassooonist.
fool that I am, I volunteered. 'Oh, I expect it will come back to me. Give me a
couple of weeks. No problem'. I had to eat humble pie very quickly. Forty years
is more than enough time to get out of practice. (Colin O'Hare)
I'd put money on it being the self-same, can’t remember the make but it WAS very sharp. I tuned it by pulling all joints out to their maximum. The Saturday morning teacher was, about 1953, Mr. Gunn (2 bob a lesson, first come first served). I also have a 4 keyed baroque copy, which sound a semitone flat! this useless info is given for the apparent myriad of bassoon players out there. (Phil Kingham)
Following on from Phil Kingham's message - Robert
Long played the flute in the orchestra, as well as other instruments. As I
recall his interest was in composition and I remember us playing some of his
works, which struck me as modern and very good. Other players in my time were
After consulting with my Dad I can confirm that the Saturday morning music
teacher of the 1950s and 60s mentioned last week was Mr John Gunn, resident of
Dagenham.
Why was I confident that the paternal parent could help with this enquiry?
Because he played the clarinet in the Ford Works Band in the 1940s under the
baton of the same Mr Gunn.
When he (Father) left the Works Band he inadvertently omitted to return the
instrument which had been loaned to him and when his eldest son (moi) was persuaded that to take up music would be good for
him the same instrument was available.
On the first Saturday morning I took it out of its case (not even knowing which
way to point it) and Mr Gunn leapt upon it with great interest. After turning
it over and round and studying it's finer points for some time he asked me,
"Where did you get this clarinet?"
"It's my Dad's Sir" I replied to the best of my knowledge.
"Perhaps, but I think not." he said.
He had recognised it (goodness knows how ... doesn't one liquorice stick look
just like any other?) after 15 or so years but never mentioned the inadvertent
omission of loan return again. I didn't persevere with my musical career for
very long ... if The Combo needs a bit of funky cat-screeching I could provide
it.
Now here's the spooky bit ... I was talking to Father yesterday (stuck in heavy
traffic on the M11). Our conversation had nothing to do with School, my youth,
music or anything related ... more to do with the parlous state of the
country's transport systems ... but I had it in my head to ask him at some
appropriate moment to confirm the name and story above.
Suddenly, out of the blue, he said "Do you remember when you had clarinet
lessons with Mr Gunn? Somewhere I have some 8mm cine film of you in short
trousers carrying the clarinet case around the corner of the School building on
your way to one of those lessons." Spooky or what?! (Andy) (however, only
quoting Ian Calvert – see next mail etc.)
Hey Andy, It was interesting to see that you played the clarinet in the school orchestra during your time there, cos I did too !I was a couple of years ahead of you, but did you get tuition from a certain “Peter" Gunn, who used to give lessons on a saturday morning to various wind instrument school pupils. I can even remember that he charged 2 shillings per half hour, he must have been subsidised even then! He was ex London Philharmonic lead clarinettist, and he certainly was a good teacher, he managed to get me to Grade 6 !! Talking of the school orchestra, Pete Benson used to play the trumpet, although I cant remember any other Staff member in it. I can certainly remember the squeaks and whistles I managed,I shall have to look out my old clarinet and see if I can still produce a sound. Looking back on it, though. I wish I had learnt the Sax, being a more acceptable modern instrument. Hey, I might even buy one and try to teach myself!! (Malcolm Damon)
Actually I was quoting Ian Calvert - it was he who played in the orchestra. I did take clarinet lessons for a while though... (Andy Lee)
I always thought we were very lucky to have the plays and concerts that we did at RLS. I never acted there but did play clarinet in the concerts. I remember my first effort - I was so nervous that I started very badly with squeaks galore etc. My accompianist, Frank Parker, thought I was going through some strange and extended form of tuning up and I was half way down the first page before he realised I'd actually started. He very skillfully caught up within a few more bars and after that it wasn't too bad. Does anyone know of Frank's present whereabouts? (Ian Calvert)
I also took clarinet lessons on Saturday mornings, just before going to oneof the matinees at the local cinema. I had always wanted
to take piano lessons (believe it or not), but it wouldn't have been possible
to get a piano in our house and even if we did, where wouldn't have been
anywhere to sit down. So the clarinet was the second choice and Santa bought me
one for Christmas. However, Santa wasn't an expert on clarinets and made the
mistake of giving me a "Simple System" clarinet instead of the much
preferred "Boheme System".
Mr. Gunn suggested that a better clarinet might be in order, but he did agree
to give me lessons. I remember his advice for tired eyes, which could become a
problem after looking at crotchets and quavers for extended periods. His
recommendation was to look at something green - trees, grass etc. Green, he
said, was relaxing to the eyes and there was often a part of the lesson spent
looking out of the window to refresh the retina. (Peter Cowling)
Dear Graham, Indeed I am the pianist (not so innocent) that you describe. I
went on to music college after RLS, studied piano and singing, sang in the
London cathedrals and the Queen's parish church in Eaton Sq., started teaching
full time at Sanders Draper in Hornchurch, gave that up after two years and
have been part time teaching and freelancing as a musician ever since. I
occasionally see Mike Brewer when our paths cross musically, and have also kept
in touch with Dave Butler and Pete Johnson, both of whom I see from time to
time.
I'm not guilty, but was voted for. Sorry. However, JP Coles, when looking at
the list of nominees apparently said something to the effect of "yes to
all except Jones, who can burn in hell in aeternum
before I make him a pr*f*ct." I can't imagine why. I live in
Carl Brownings method of selection for the choir
was to get the class to sing a line or two from the hymn book, so all us 'hard'
boys sang out of key, and you were out. I had managed to avoid it, but Carl
heard me talking during someone else's rendition, so he made me sing again, and
decided I should be in. I was pissed off at the time, but I really enjoyed the
experience, and hearing the Messiah on the radio always takes me back to a
Christmas concert in the mid sixties.
I was sneered at by my contemporaries, and lost street cred,
but am glad I did it now, as I have no other music (or artistic) skills. On the
subject of
SCHOOL BANDS
Brian Smith in the December 1955 Magazine:
"AERAULIANS" 1955: The School Dance Band can claim some measure of
success lately, for since changes in personnel, it has played at various dances
at this school and the Old Boys' Club House.
Outside engagements have included playing for local Youth Clubs, and a visit to
Palmer's School, Grays, for a dance between the boys'
and girls' school.
The School Jazz Band (Air Orleans) which plays traditional Jazz has entertained
the Roman House on several occasions, and may in the near future invade the
other Houses. (J. Alan Smith)
Further to correspondence regarding school bands - does
anyone remember Red Light District? This unit was made up from pupils older
than myself and the only one I recall by name is the drummer, Chris Kett. Chris was a big Deep Purple fan and I remember him
telling me, enthusiastically, about a session in which the band had played
'Radar Love' and 'The Wind Cries Mary'. Other school bands destined for
oblivion included 'Moriah' and a very dodgy combo
called 'Trachea'. Ring any bells anyone?
I was bass guitarist (another one!) in the appallingly named 'Free Electric
Band' but none of the other members were from the Lib. We nearly played support
to Brian Connolly (from 'The Sweet') at the Marquee but he had a heart attack
the night before the first gig! We split up shortly afterwards.
My musical contribution to the world, at present, consists of introducing my
class of ten year olds to sounds beyond Westlife and
Steps. They are currently grooving to Ian Dury's
'Reasons To Be Cheerful' in preparation for a class assembly. Hon.member Geoffrey Styles will be pleased to hear that the
children enjoy classic big band sounds as well.
Glenn Miller (obviously) and Benny Goodman have been played in my classroom, in
recent weeks, as well as Vivaldi, Strauss, The Who,
Robbie Williams, Mott The Hoople, Gershwin and Julian
Cope. The unmistakably tinny sound of my tip-salvaged acoustic guitar can be
heard echoing through the corridors at various times during the school day. My
room is a haven for those who prefer playing the recorder to kicking a football
at lunchtime.
I've never told anyone to get their hair cut either. (Ray Liddard)
Andy wrote: "Stephen offered to dabble with the sax. DGM blows a mean French Horn (if you know what I mean) and I play the Fool." I believe there are one or two members who have been known to play on the linoleum! A name for the combo ... RL Sold Boys* ... sounds kinda 'hip'." Do you want to get us arrested??? (DGM)
"Anyway, are you up for it with the recording of the School song? If we talk about it for much longer we will be beating Maltby off with a stick. (GAL)
I've not been keeping a strict count, but recent postings indicate you would have about five bass players and one saxophonist, which may not quite produce the sound you desire. Perhaps a show of hands for 'second instrument' may be in order? (Vince Leatt)
My forte for many (even recent) years was the recorder - descant, tenor, treble and sometimes bass. If the proposed group is into medieval, baroqueetc., a sax, a recorder and five bass players would be an interesting combo indeed. (Peter Cowling)
Other bands at RLS included: Split Grass - Peach Blend (what?) - Mesma - Never heard of Trachea, Ray, - isn't that the posh word for windpipe? (Mark Francis)
I should not have forgotten Split Grass. My brother played
in a later incarnation of this band and they actually had some talent. The line
up whilst at school consisted of Mike Caswell (guitar) John Dawson (Bass)
Matthew Irvine (guitar, vocals, silly costumes) and a drummer called Steve
Flame (real name, not from RLS). My brother, Martin, (also not RLS) recorded
two singles with the band and toured
What a line-up! After my initial snort of laughter at the image this conjured up, my next thought was, well why not? Surely it would make us unique? I'm sure if this gets off the ground we'll finish with a more convential mix of musicians - but I do like the sound sax, recorder and five basses! Has anyone got any explanation for this plethora of bass players within such an uneven and untypical cross-section of 40-odd years of RLS intake? As I've mentioned, my excuse is "failed guitarist"! (DGM)
Trachea? Weren't they the band that actually played a gig at the school in May 1981 ? Oh yes I remember now - the first years wailing in appreciation (on strict instructions from Mr.Venner), the keyboard player tinkling the ivories of the grand piano, Jakey looking on in wonder (at his monumental mistake) - then storming out as the singer smashed his tambourine. I may just have a bootleg at home. I don't however recall them playing their show stopper "Get It Cut. What a cop out. (Graham Hart)
DGM said: " The Shads suddenly burst forth " I also confess to being an admirer from pre-RLS and during the late 70's enjoyed the privilege of working closely with Brian Bennett. At our first meeting I was a totally star struck fan, overcome by the fact that I was alone in a motor car with this icon of my youth. As time progressed I found him to be a man of great humour, wit, charm and some small claustrophobia. (GAL)
I thought everyone had forgotten The Free Electric Band. We
did, indeed play at the Hermit Club and the Wykeham
Hall as well as the Ruskin Arms, Brixton Fair Deal and other prominent venues
of the period. (Early eighties). We achieved a sizeable following and some
interest from within the established music business but, unfortunately,
'musical differences' got in the way. These were mainly between my (older)
brother, Derek, and me and, seeing as how we shared a bedroom at the time, they
became irreconcilable. I wanted to move towards a more modern sound while Bro.
was firmly stuck in the seventies pre-punk time-warp.
I was the only latter-day member of the band to hail from the
As I have mentioned before, the band fizzled out after a fairly prestigious two
night gig with Brian Connolly from The Sweet was cancelled. Connolly had put
together a band consisting of various members of the Strawbs
and Argent. There was a lot of media interest and we were devastated when the
shows were pulled due to Connolly's ill-health. Brian had become a good friend
to us, by this point, and it was sad to hear of his death a few years back. It
was not, however, a surprise. He was suffering from Rock 'n' Roll excess when I
knew him and was no stranger to a bottle of vodka.
Graham mentions a rock fanzine 'run' by Phil Beasley. The publication was
called 'On The Level' but I must put the record
straight on several points. Certainly, Phil Beasley was an integral member of
the team and we could not have hit the streets without him. Phil's dad used to
let him photocopy the whole thing up at weekends at his place of work. It must
have cost the firm a fortune, as the final issue ran to about forty pages and
we (officially) printed around 2000 copies. It was my brother, Derek, however,
who did the majority of the work. Armed with a portable typewriter and a
selection of rub-down letters from Letraset, my
brother produced a quality product every two months. We could have been a
weekly if we'd had a word-processor! The rest consisted of a mix of reviews of
albums, singles and concerts that we got free of charge from eager record
companies.
Half my vinyl collection has 'Demo - Not For Resale' stamped on it. We also got
back stage passes and interviewed bands like Budgie, Uriah
Heep, Ozzy, Gary Moore,
Nazareth and other, less memorable bands (The Tygers
of Pan Tang!!!!). We would advertise in Sounds and The Melody Maker and would
receive regular orders from the States,
'On The Level' ceased to exist at the same time Phil Beasley 'left' The Free
Electric Band'. We couldn't afford the printing. (Ray Liddard)
Dave Callahan, the first incarnation of the Wolfhounds included two other old boys - Paul Clark and Andy Bolton. The leading light behind this band was an extremely talented school friend of mine called David Callahan. We were good friends throughout our stay at the RLS despite our musical differences. Dave was well into the punk/new wave thing while I was - at the time - more into the unfashionable rock side of things. Dave has stayed true to his principals and was last heard of - by me - living a bohemian lifestyle in Hackney.The band's record sleeves mention other o.b.s of the era - Jason Hunt and Andy 'Boing' Springham spring to mind. Not everyone's taste - but to my mind, a superb and overlooked band. Dave later played with a band called Moonshake - and, indeed, may still do so. (Ray Liddard)
ACTIVE MUSICIANS
... my main interest is music: ...the most relevant thing to
any RLS combo is that I now use electronic keyboards... I sold my Bechstein piano years ago for a Clavinova..
which isn’t the same.. but a brilliant instrument.. and
I can make
I am not a real jazz pianist... my best experience was in
I was really chuffed till I got back home and tried to do it! Anyway.. there we go.. if
you want a keyboard e-player to try on some website.. I'll volunteer... and I
have a load of songs if anyone is interested. I also have Cubase
VST.. if thats
any help.. I tend to view computer and music as two different areas of the
brain.. but its amazing what Cubase can do with audio and
Carl Browning (music teacher) lives 6 miles away in Holmfirth, although I have never seen him there. I had to play bass when no one else came forward. I have been playing sax for a few years because you only have to play one note at a time, unlike the guitar. Where are the aether tapes now? they must be worth a fortune! (Stephen Jones)
Live in
see him on YouTube at http://www.youtube.com/watch?v=-3jUiKFIlYQ
I thought Graham Bond and Magic were the last band. Memorable for me cause Harry Saunders (History teacher-good bloke) shook hands with (I believed) Mrs. Bond whilst visually fixated on her volumionous bust! (Dave Collins
The RLS connection is that our own Graham Bond is mentioned in that Ginger Baker and Jack Bruce left the Graham Bond Organisation to form Cream.. with Eric Clapton. To quote from the book..
"Graham Bond was a 20 stone keyboard player whose principal claim to fame was that every time he walked though customs at an airport, he would shout.."If you want the drugs, I've got them up my arse".
I remember my wife and I meeting Graham in a
Howard Carter and I formed a Jazz Club listening to and talking about records and then heard Graham Bond formed a band, with, among others, Michael Chapman on trumpet or cornet. It was Trad jazz which was very popular then. Earlier Graham Bond was demonstrating a mean left hand on the piano with blues and boogie. I think he realised that saxophone was a more upfront instrument than the piano, hence his switch although obviously he kept playing the organ (Do you remember the lever on the one in the school hall?). They used to play at lunchtimes in the old shelters on the field. I was the friend who advised Graham Bond to buy a saxophone. Graham, Howard and I went to a good few concerts as our blossoming interest in jazz coincided with the arrival of the Chris Barber Band on the scene. We heard them in the Festival Hall and the recital room many a time. (Roy Wooley)
Ian, number 1 is to verify that the jazz band of which you were a member began life as the Roman House Jazz Band. Did it ever become, officially, the School Jazz Band? Secondly could you identify the full line-up? We recall Graham Bond - sax, B.S.Smith - trumpet, Harry Askew - bass and your good self - clarinet. Did Harry Askew play any other instrument? (David Maltby)
I can also remember taking part in traditional jazz sessions round at Harry Askew's house where Harry A. played clarinet (I believe), with Graham on saxophone and piano, Mike Chapman on trumpet, the now late Harry Carter also on clarinet, myself on ukele-banjo (I only knew about four or five chords!) and A.N.Other (possibly Greaves?) on trombone. A great time had by all! (Barry Kraushaar)
I too had a spell or two in the choir and got 'bounced' out of the orchestra when I couldn't get the National Anthem right - I was on the cymbals! I know of at least one of our performances that got onto vinyl - I think it was might have been Magnificat. Has anybody got a copy ? (Chris Fribbins)
Derek has stolen, for his signature, the stage name of an early RLS band - Derek Humphrey 57/62 (rocking) Roman. This must have been the entertainment for the "House Tea" in 1961. Derek must have been there. Micks Tanner and Golding teamed up with yours truly to form the Rockin' Romans. Three electric guitars, two microphones, four chords (Yes, four! One of us had discovered the relative minor) and we murdered "Livin' lovin' doll", "Travellin' light" and "Dynamite". Cliff Richard and the Shadows must have been high in the charts in November/December '61! We were crap - I don't think either Cliff or Hank would have lost any sleep - but, by the heavens, we were LOUD!!! (David Maltby)
DGM said: " The Shads suddenly burst forth " I also confess to being an admirer from pre-RLS and during the late 70's enjoyed the privilege of working closely with Brian Bennett. At our first meeting I was a totally star struck fan, overcome by the fact that I was alone in a motor car with this icon of my youth. As time progressed I found him to be a man of great humour, wit, charm and some small claustrophobia. (GAL)
I was wondering if anybody else had seen Graham Bond in his
prime. Several of us RLS lads used to see him in 1963/65 in several places in
Derek! Firstly, I met Graham first when I had tried to start
a School Dance Band by putting a note on the board. Newth
had called me in and asked whether I was trying to set up something in
opposition to the School Orchestra. I managed to explain the interest of it and
he allocated a room with pno for it. Graham turned up immediately and took over so
thoroughly (due to great piano playing) that I withdrew with my cheap guitar (despite
Graham’s eagerness to keep me there). I could not keep up! Then I had a couple of meetings with Graham Bond
in the 50s, not long before he formed the Bond Organisation and made an lp with that name. The first time was when I answered an
ad. in the Melody maker for a guitarist (I was gigging
about
A
special AC/DC power supply switch on my amp. (for use at sea with 110v. DC) got switched
over by mistake somehow, so when I turned on the mains with 240 AC , the amp.
blew! I couldn't make myself heard acoustically, so gave up - what with Ginger
Baker destroying his drumset all eve and Graham
blowing on tenor... and a white South African bassist (was that Bruce, I
wonder. All were unknowns then). It was a real drag not to be able to play as I
probably could have kept up enough by then! John McLaughlin gigged with them
first time a week or so later, and joined them. Next and last time I saw Graham
was at an all-nighter in Ronnie Scott's first club - a basement in
I can remember the night in the early '70's when Graham Bond played in the School Hall. He put joss sticks around the stage, and announced, "It won't hurt you - they're not drugs." That was a major disappoint! (Les Farrow)
Yes, Derek, I saw him (Graham Bond) several times when he
was performing in his prime. He lived in
It seems incredible now that for 5 bob you could see the GB quartet at the Station Hotel (Hampstead?) known as 'Klooks Kleek' with a guy called Dick Jordan as compere, for about 3 hours. Other bands appearing there were Georgie Fame, Zoot Money and Fat John (whatever happened to him?) (Derek Humprhey)
... Graham Bond playing a gig at the school. I forget the exact date, but I think it was in the early '70s, he decided to play in the school hall, (not sure why, thanking the school I think was the reason I heard), but I went along with a number of other hippies from my old year, the lads who were still at school were a bit bemused by it, I think they were expecting an 'Osmonds' type band, or whatever the charts were like at the time. (Rick Tolbart)
As a stage crew boy who occasionally went to lessons I was back stage that night. It has left a lasting impression on me, though as usual hazy in detail. What I remember clearly is that Vince and I had a new projector which worked with Polaroid film showing funky colour changing images on the backcloth. I even remember that we played around with different shapes, one of which was the peace symbol, which coincidently Graham Bond had on a lot of his kit. Apart from these facts and that it was a great night I can't remember much else - I'll pass it to Vince and Greg to add some more. (Alan Edmonds)
Yes, the projector and polaroid
film trick. Something to do with polythene sandwiched between two bits of
polarising film? Where on earth did we get polarising film in the early 70's?
We pinched the idea from our arch rivals Fox lights, if I remember. They were
headed up by ex-RLS member Alan Holey, and some Barking College students one of
whom nicked my girlfriend - the b*st*rd. These are
the few bits that I remember of that night - We tied bundles of joss sticks
together with the idea of creating a huge cloud of smoke, but their combined
heat made them burst into flame. Graham Bond was very fussy about how he wanted
the lighting, and reiterated his instructions several times. I can still
picture that part of the evening as I type this. I was quite wary of this
seeming giant of a man. Graham had a very beautiful woman with him. He had an
ancient
(Graham Bond) I did not learn of his death until I saw a programme on T.V. ("Rock Trees"?) some years ago - quite a shock. Still have some photos of him and also have read a book about him fairly recently - "Graham Bond - The Mighty Shadow" (Barry Kraushaar)
Trawling through the archives recently I came across members' recollections of the mighty GB and there seemed to be a loose end as regards his performance in the school hall. So forgive me if this is old hat, but here are my memories of the great man. Bond had a band called Initiation which played the blues/progressive circuit in 69/70. Some time in 1970 he played at the Kings Head and the usual mob of
us went to see the illustrious old boy in action. I don't recall anything much about the music, but after he'd finished his set a few of us plucked up the courage to go and talk to Bond who was hanging around the front of the stage chatting. He turned out to be a really friendly bloke, clearly chuffed that a few Libs had come along to see him [and ignoring the sycophantic angers on]. Bond remains to this day the most famous person I've ever had a conversation with, such is my sheltered life.
The following summer saw my year's A levels and Coles generously allowed us to have a school dance to celebrate the end of our schooldays [which would be end June/early July 71]. Those of us who were bothered decided unanimously that Graham Bond should come and perform for us [by now he was leading a band called Magick]. I've no idea who organised the gig but it seemed to go down pretty well. I have two particular memories: Mr Guy turned up to see his old pupil. The sight of this venerable schoolmaster [tweed jacket with elbow patches, the whole bit] strolling round the hall in earnest conversation with Bond [huge man, long stringy hair, freaky robes] was something to behold.
Bond's girlfriend, who also sang in the band was gorgeous, coffee coloured wearing suede hotpants, and had us spotty sex-starved oiks drooling [or worse]. Some of helped to carry the band's gear after the show in the hop of some closer contact. (Roger Jacobson)
Colin Chapman asked me about Graham’s involvement with
magic. Graham did talk about Alastair Crowley. It
made no impression on me, other than to make me a bit doubtful whether I wanted
to join up with his forming band. I bought 3 of Graham's records years
afterwards, but discarded two of them as I knew I wouldn't listen to them any
more. But my shelf still has one entitled "Graham Bond with Magick - We put our magick on
you" The sleeve has a lot (load of old cobblers) about Tattwa,
High Magick, the lesser Banishing Ritual of the
Pentagram, the Elemental Symbols. Then it gives some directions for the
beginner - visualising etc. He concludes "This should give you quite
enough to think about for now! One last thing: besides this album the long
track on the Holy Magick LP played before you start
experimenting, will put you in the right mood, as will also form an Astral
protective circle around you and any others present."
So Graham was one of the first to latch onto the New Age music ‘scam’... quite
a sales pitch at that time, 1971! (Robert Priddy)
DIVERSE MUSIC EXPERIENCES
I remember now going with Tony Warboys to see Jerry Lee Lewis at West Ham swimming baths with a wooden stage across the pool. We stood right next to him at the piano, amongst the much older rockers (we were all of 15 or 16) and he was FANTASTIC! I've only just learned to jive in the past two years and it is such fun! (Keith Burgess)
I remember going to a Jazz club, with loads of RLS boys, in
We then graduated to Ronnie Scotts
in town (David Silverside) Regular haunts were The Ship, The Unicorn,
Squirrel's Head, The Drill. The Wheatsheaf in