Duke Ellington Orchestra - Coventry Cathedral 1966

 

Duke Ellington Orchestra - Coventry Cathedral 1966.

by Pete Clemons

Despite groups like The Beatles riding high, Revolver was just around the corner, a concert by the Duke Ellington Orchestra during the mid 1960s was still seen as an incredibly important event.

In fact it was predicted 'Far from being a joke, Harold Davison's conception of teaming Ella and Ellington promises to be the musical highlight of 1966'. As such any UK dates were met with much excitement and expectation. Although for the Coventry gig Ella Fitzgerald did not feature despite, it being said, stole the show during the European dates.

A late announcement mentioned that 'Duke Ellington and his band, who were due to end their 1966 visit to the UK on Sunday February 20 with concerts at London's  Hammersmith Odeon, will stay over on Monday 21 to perform at Coventry Cathedral for ABC television'.

The programme, it was promised, would be similar to those performed at Grace Cathedral in San Francisco during 1965 and at New York's Fifth Avenue Presbyterian Church on Boxing Day same year, and is built around Ellington's then new work 'In the Beginning, God'.

'This piece is based on the first four words in the Bible  - In the Beginning, God. This will be the first thing we play using the orchestra and a choir' Ellington told music paper the Melody Maker.

Everything else that happens will follow 'In the Beginning' That we know, but the rest of the programme is not yet set. 'In San Francisco and New York we did something special, and no doubt, we will do something special in Coventry'.

'I've been invited to do this programme in many churches and I'm always honoured of course. When the chance came to play at Coventry I was delighted. But no I've not seen the cathedral yet'.

The European leg of the tour had seen drama. Poll winning drummer, Elvin Jones, was a last minute replacement for regular Sam Woodyard within the Ellington Orchestra. For one show the band featured Jones and the relatively unknown Skeets Marsh. But both drummers informed Melody Maker that they were unhappy with the arrangement. 'It isn't working out' said Elvin Jones 'and I'm not happy with a big band'.

By the time of the British dates the issue had resolved itself with Woodyard returning to the percussion seat. Woodyard had, in fact, re-joined the band in Switzerland.

 And indeed the momentous event in Coventry was filmed and broadcast by ITV and on the Midlands ABC channel as part of their Easter programming that year. The footage was long presumed lost, but was unearthed by Studio Canal, and restored by archive television company Kaleidoscope and the University of Warwick.

And this possibly explains why a subsequent CD release has 'In the Beginning' at the heart of it and not the opening piece as mentioned by Ellington. That said it is great to have rather than not.

The centre piece of the concert was not for everyone. One critic panned 'In The Beginning God' saying it was Ellington at his worst, overblown and pretentious. At one point George Webb chants, 'Matthew, Mark, Luke and John...' inviting the childish follow-on, ...'went to bed with their trousers on'. That said, it was just one of several sacred pieces performed.

But there were many though that did enjoy the concert where Ellington brought the full force of his repertoire. Out-tempo ballads, swinging sections and music that kept shifting and changing both thematically and rhythmically were all on display. There was also a section that featured The Cliff Adams Singers (for those who remember sing something simple?) who added their forte of easy listening, reverential chanting.

Ben Worsley - Guitarist

 

Ben Worsley - Guitarist

by Pete Clemons

https://x.com/benworsleymusic?lang=en

https://www.facebook.com/profile.php?id=100063578972509

Ben Worsley, a musician who may not be a household name, but I recently saw him do the most delightful duet with David Gilmour at The Royal Albert Hall. It was during the song 'Wish You Were Here', when that musician type language of glances were shared. Ben is second guitarist on the current David Gilmour tour.

During that part of the concert a sense of sadness and pride fell over me.  But it was not for me. It was for Ben's late father Spike (real name John). I had barely known Spike. I only met him through attending gigs where you meet a whole range of wonderful people.

But Spike and I did connect, many years ago, even if it was at that 'and where are you from?' level. You see Spike was from Leamington Spa and had studied in Coventry. And they are not the only connections with Coventry.

Over twenty years ago almost 300 people had filled All Saints' Church at Burton Dassett country park in south Warwickshire. They were there to say a farewell to one of Coventry's most remarkable sons, Spike's father - Jack 'J.R.' Worsley.

Professor Worsley had grown up, quite impoverished, in a small terraced home in Coventry. After the war years he began to study osteopathy but also had an interest in a more holistic approach to healthcare. In order to advance his learning Jack Worsley travelled to Paris where he studied acupuncture.

By 1956 Jack had opened a college in Leamington Spa where, by the 1960s, he had mapped out a structure of the traditional Chinese medicine that he called Five Element Acupuncture. In fact the college was re-named as such.

The 1970s saw Jack living in Kenilworth. And this would be a base from where he would tour America, particularly Florida, giving lectures on this ancient Chinese art. Not even ill health, in the form of of heart attacks, could slow Jack down. He even founded a place of learning in America. Spike, who moved to London and where I assume Ben grew up, carried on the family tradition of acupuncture.

Sadly Ben's father, Spike, passed away during 2022. From memory he was not huge in stature, he was slightly shorter than I am, but I'm certain he would have been so hugely proud right now.

We never met up at gigs, as such, but quite often bumped into each other through attending mutual events. Particularly in the London area where he had moved to. Conversation didn't take long to switch to the subject of Coventry and often began with 'did you ever see.....?'

He did mention that, for a while, he was a fixture at the Lanchester downstairs sports hall where he attended many gigs. His musical passion was vast and varied. His knowledge of the subject was immense and he was more than keen to share it. Spike was a special character.

Coming from a less salubrious area it was easy to assume that growing up in the leafy suburbs of Warwickshire must have been so perfect. And I am as guilty as anyone for imaging these things. But I got the impression that life for Spike wasn't quite as imagined.

Throughout the Royal Albert Hall concert Ben Worsley never put a foot wrong. At least to these ears. He didn't look out of place either. It was a quite magnificent event.

The Pineapple Thief – @25 years

 

The Pineapple Thief – @25 years

by Pete Clemons

As the sodden Summer of 2024 - ok occasionally sunny I admit - makes way for Autumn, rock band The Pineapple Thief are gearing up for a tour of the USA, Canada, Mexico and a few other territories where, hopefully, brighter weather awaits.

What I find remarkable about all of this is that this tour comes during the bands 25th year of existence. And given the size of some of the venues The Pineapple Thief are still growing, still expanding their reach.

Thinking back to the many classic rock bands I have enjoyed, their lifespan, the period they created their best remembered albums, was relatively short. Yes bands like The Rolling Stones have existed far longer. But in terms of new studio output, albums have relatively rare during the last 40 years of their 60 year time span. The Beatles, 12 years or so together.

So I do think that 25 years of hard graft, and still releasing worthwhile music, deserves a tip of the hat.

In hindsight, it seems that changes within the band have happened on an 8 yearly, or so, cycle. Not that it is some kind of target or been planned in any way. It's just the way the bands career has panned out.

I think it was The Pineapple Thief's principle writer, Bruce Soord, who mentioned that there are three distinct phases or era's of the band. The early cottage industry releases that began during 1999, the early K.Scope era from 2007 and, more recently, the Gavin Harrison era. Each of these aspects of the band are very distinct with each having their own merits. Add that to Bruce's own solo career and it amounts to a very decent body of work.

What is absolutely wonderful to read on social media, for example, is the variation of opinion as to different favourite albums. That, to me speaks volumes about the reach of a band. Imagine, in a huge range of record releases, if everyone had the same favourite album. That band might not be so interesting.

Many music careers have been and gone during the 25 years that The Pineapple Thief have been in existence. Some of those careers more successful than others. The Pineapple Thief are not a household name, but at the same time, have not been unsuccessful. They have had chart success but, admittedly, that is very contextual nowadays compared to what it once was.

I always get the impression, reading interviews, that Bruce comes across as feeling guilty for putting those closest to him through it all. At the same time being incredibly thankful that they do so. But he is a musician albeit, I think, a very humble one.

Bruce's songs tend to ground you. They are far from mundane but they strike a chord within you. They tend to get you to reflect and focus on what really is important in life. If you allow them to they will wash over you on a more emotional level. They are unique in that the songs appear to be aimed at progeny and relationships. And, yes, they occasionally veer off to document the state of the world and self growth within it. Full of warmth if you like. But at the same performed with a venomous rocky edge to them.

Do these songs endure?. I think they are absolutely timeless. Memories, life experiences, loss and longing, courage, disappointment. Its all there. These are powerful records. May The Pineapple Thief continue for years to come.

James Oliver Band with Horace Panter – Temperance Café bar, Leamington Spa

 

James Oliver Band with Horace Panter – Temperance Café bar, Leamington Sp.

by Pete Clemons

I had decided to see the James Oliver Band after being highly impressed during their recent support slot for The Dirt Road Band at the Arches Club. When I bought this ticket I noticed that Horace Panter was also involved but what I hadn't realised was that he was going to grace us for the entire gig.

Now, as a headline band it was a tale of 2 sets. One mainly acoustic the other with loads of vocalisations.

James was great fun and went down very well with the audience. Many of the songs were very well known. Some modified slightly with his own, very clever, lyrics added. Such as Jimi Hendrix's Red House over Rhonda.

Drummer Mark Kemlo is one of those rare breed of percussionist who can make a small kit sound much larger. He is so sympathetic to James's guitar playing. A very 1950s thing maybe. He adds to the music rather than simply keeping time.

The evening was not purely about the twangy side of James guitar playing.  He mixed things up with other styles so as to appeal to all tastes such as Country Blues.

James' stage presence was always edgy but he showed a great sense of humour – especially when an audience member got up to get a bottle of beer opened. James offered up his (teeth) plate, 'try this' he said.

Horace Panter also found himself the butt of James inoffensive off the cuff humour as he described his band as not so much Special, but more the Mediocre's.

Even during the serious numbers James did not seem to take himself too seriously and in songs such as Ry Cooder's 'Every Woman I know' his utterly Welsh accent showed genuine emotion despite breaking a string.

One of the highlights, for me, was a rousing 'Rolling and Tumbling', where James really seemed to get the best out of the band. The evening finished up with a traditional song called 'My Baby Left Me'.

James's guitar playing was very good and of the instrumentals played, of which I really did enjoy, 'Wipe Out', 'Sabre Dance' and 'Miserou' were stand outs. After his last number James eulogised the band and venue with great sincerity.

There is no disputing James's overwhelming sincerity and dedication to the whole field of blues music. He clearly has great love and affection for the whole genre. And on a completely personal note, it was just so wonderful to hear tunes played live that I remember so well from my childhood. These would have been on Saturday morning radio presented by the likes of Brian Matthew and Ed Stewart.

The James Oliver Band return to the same venue during March 2025.

Hear them on YouTube at henry's Blues House, Birmingham.