Kansas Smitty's – Drapers Hall

 

Kansas Smitty's – Drapers Hall

by Pete Clemons

Built in 1832 Drapers Hall sits on the junction of Bayley Lane and Priory Street just across from the old cathedral.

Extensive restoration work saw the building open as a music venue just over a year ago. An incredible project that has given Drapers Hall with the most elegant of interiors. The top of a curved staircase eventually leads you to a magnificent music room.

And to mark that year as an active concert room Drapers Hall recently invited London based jazz outfit, The Kansas Smitty's to help celebrate the event. The Kansas Smitty's, on this occasion, were a septet headed by American-Italian alto-saxophonist and clarinettist Giacomo Smith.

Covering traditional and modern jazz this was a band containing many facets. That said the tunes covered, as far as I understand, were all originals. It was an exceptional experience. Ensemble passages were effectively played with real artistry and the solos, often quite brilliant in themselves, fitted supremely into the performance.

In the distant past, and when, the music had a solo section, the soloist had to make their way to the optimum position to enable him or herself to be heard. The Smitty's, either came with or, were treated with an excellent sound system enabling the soloist to perform without the routine of stepping up front.

There was also a time when jazz traditionalists and the modernists confronted each other artistically.

The trads would label the modernists as 'the more extremist elements of the younger jazz generation'. They were accused of hogging the limelight. However a number of musicians committed to neither the trads or the avant garde worked away assiduously at developing a form which embraced the best elements of the past, present and the future.

More than fifty years on from those largely forgotten times and jazz bands nowadays seem to continue to do what they what. And that's what I heard from the Kansas Smitty's. Music without boundaries yet capturing elements of all jazz styles.

Waves of nostalgia washed over us during this gig. At least for me they did. The gig came just as I had completed a series of Coventry related jazz articles. Researching those articles got me very absorbed in the whole romance of the genre. And now here we were being entertained by some of the most classiest exponents that particular music scene has around today. In short, excellent and timeless music in the Ellington manner.

The Kansas Smitty's are also a house band. A quote from folk far more eloquent than me 'Music this good needs a place to live. That’s why the band run their own bar on Broadway Market, London, where they meet to record, play, drink, and entertain audiences'.

Support for the evening came from Duke Keats and his bands unique take on creating more than just a gig. Costume, feedback, artistry, it appeared to have it all.

ShadowCV

 

ShadowCV

by Pete Clemons

What does a guy, who is in his mid 60s, know about Rap Music and Grime?. Well, in the case of this one, absolutely nothing. Dont get me wrong, I was not completely unaware of those genre's. I have heard them performed. But I couldn't tell you anything about the who's, why's and wherefore's along with other fundamentals.

However, like many, I enjoy a positive and uplifting story and that was the reason which drew me towards this particular news item and to try and delve a tad more into rap and grime.

In order to give me a bit more insight, and for the purposes of this article, I did try to research the subject a little. In all honesty I hardly scratched the surface. However I found the following description of rap: 'an insistent, recurring beat pattern that provides a background and counterpoint for rapid, slangy, and often boastful rhyming patter intoned by a vocalist or vocalists'. As for Grime, I then discovered that it, is a form of electronic music.

I also stumbled across the name ShadowCV who is an up and coming exponent of these forms of art. Furthermore ShadowCV is, it seems, one of two Coventry based artists involved in creating a music video called 'Depzman – Life Cut Short'.

'Depzman' has been created as part of an anti knife crime campaign. As such, the positivity I mentioned - and which attracted my attention initially, has been created out of incredibly tragic circumstances.

A little background to it all. Joshua Ribera Aka Depzman was a rapper and grime artist from Birmingham. His art was well known in his city and his work had already began to spread across the country. Tragically Joshua was robbed of a bright future after being stabbed to death in 2013. Since that time Joshua's mother, Alison Cope, has visited various fraternities such as schools, colleges denouncing the senselessness of knife crime and all that surrounds it.

Shadow CV, had already been making a name for himself by way of his own art. His work also touches on the subject of knife crime. And his endeavours includes 'Pray For Peace' a piece designed to spread awareness of the issue and broadcast a message of peace, hope, positivity and unity across the whole country. And 'Pray For Peace' has attracted an awful lot of attention.

There was a certain inevitability, I guess, that ShadowCV was approached about a video idea for the Joshua Ribera foundation. Shadow CVs' involvement in the 'Depzman' project was a natural fit.

McCann London, who bring stories to life and tell them to the world in a way that impacts culture, had been in talks with Alison Cope about a video idea for the Joshua Ribera foundation - 'to bring Depzman back to life using deepfake A.I technology'. ShadowCV agreed to write the lyrics for the song. And those lyrics were performed by Birmingham rapper T.Roads in order to sound as close to Depzman's voice as possible. The work was produced by Phaze FX. The goal of the project is to keep Depzman’s memory alive while, at the same time, delivering a powerful anti knife crime message at a time where it is needed more than ever.

The video was released on 24th October. Since then it has received millions of views across multiple platforms with news of its release being covered by ITV news, BBC News and many more outlets.

The video has also been shared by U.K. artists such as Skepta, Jaykae and is currently in the pipeline to be featured on national TV programmes like BBC The One show and ITVs Loose Women.

Using and condensing ShadowCV's own words: 'I was born and raised in Coventry City, the city of peace and reconciliation. My plan is deliver projects like this all over the country to spread maximum awareness and inspire as many people as possible'.

The scourge of knife crime has become endemic in many areas. It is far reaching and impacts on so much more than the obvious effects. I say, good luck to the lad, the project and all they do. Positiveness is power.

https://www.instagram.com/shadowcv/?hl=en

https://www.facebook.com/ShadowCV6/

Asgard in London

 

Asgard in London

by Pete Clemons

Prologue by Trev Teasdel (Editor)

Back in 1969, Asgard used to rehearse midweek in the little wooden theatre at the back of the Coventry Arts Umbrella Club in Queen Victoria Road. I used to sit in and watch them. Sometimes Neol Davies (later of the Selecter) would join them on acoustic or sitar! The kind of music this three piece would play was firstly largely their own material in the style of the Nice and early Pink Floyd. They play most of the local venues including the Lanch Poly and Warwick University but I was not aware of their wider activity until I created a piece on the recent A to Z of Coventry bands when Richard Kilbride  - the bass player and their road manager Bob Mansfield sent me a lot of information. Their manager Paul Padun was a friend of John Peel and through Peel they got to play Mothers in Birmingham and festivals and with Principal Edwards Magic Theatre in Cornwall, the Roundhouse in London, Torbay Blues Festival and Victoria Park. More information this will be on the new Coventry bands 1960's to Now. There is a cutting of John Peel's column for Disc and Music Echo mentioning Asgard on here. The line up was Bill Walker Organ, Terry Westwood drums and Richard Kilbride on bass and sometimes vocals. Only Richard is still with us sadly. The band made some acetates for John Peel's Dandelion label but sadly the band split up before they got to make an album. Yu can here the acetates below. The reason for this new article is that Pete Clemons found some adverts in melody Maker and International Times and Richard Kilbride has provided some new information about the some of the bands London gigs 1968 - 1970. Over to Pete Clemons.

NOTE - this is not the same progressive band that recorded on The Moody Blues label.

Pete Clemons
I was always aware of a connection between Coventry band Asgard and John Peel. But I hadn't realised how deep that relationship went. Until, that is, till I stumbled across an advert in an old national music magazine. It mentioned Asgard were playing a venue in London. That developed into discovering several engagements. After contacting Richard Kilbride it turned out to be the tip of the iceberg.

Richard explained 'Our manager Paul Padun got us in with an agency. Can't remember who. I think his relationship with John Peel opened several doors too. We did a few gigs with him. Victoria park CND rally and the Torbay jazz and blues festival to name two'.

The gig I stumbled across, which turned out to be a lengthy residency, was at the Railway Tavern, Angel Lane, Stratford (Friday) E15. As far as I can make out these nights began in 1968. Asgard hosted the evening and guests included bands like Mandrake Paddle Steamer and another Coventry band, Tim James's Ra Ho-Tep.

The event continued into 1969. By now the event was known as the Asgard Arts Lab which included Gromit Light Show. Mandrake Paddle Steamer were still regular visitors but bands like the Strawbs, Third Ear Band, Jody Grind, Hard Meat and Audience were also putting in guest appearances.

Then Richard dropped Blaises Club into the conversation and how Asgard had also done a residency there.

Now demolished, Blaises was located in the Kensington area of West London. To be precise, it was in the basement of the Imperial Hotel at 121 Queen’s Gate. It was also an important meeting place for musicians, agents, managers and writers.

'Blaises', Richard explained, 'that would have been 69/70. It was before we had our Long Wheel Base transit van, I know that as we used to go down in an old Bedford. I think it was Wednesday nights but can't be sure. I will ask Bob Mansfield, our roadie. He remembers everything. I know we also did the Roundhouse. A sort of all weekend festival. Kevin Ayres borrowed one of our mikes and tried to keep it. We also did Eel Pie Island in the week. It was virtually empty. Just about 50 turned up. Things looked up a bit after Peel took an interest in us. Did gigs with Principal Edwards Magic theatre a few times etc'.

I mentioned to Richard that it must have been a fantastic time but also an absolute nightmare with all the travelling. He replied: 'It was. In the Bedford we travelled in the back with the gear. Sitting on it and a couple of stools being thrown about and slipping off. It was luxury when we got the transit with aircraft seats in the back'.

I then asked Richard what a typical night at Blaises consisted of. He responded: 'it was a DJ for half an hour then us for half an hour until 2 am. There was a fetid damp dressing room the size of a bathroom we had to sit in while the DJ was on. It was purgatory. I hated that gig. I think we got out of it by saying we weren't going to turn up if it carried on. We did covers, mainly instrumentals. There were a couple of ours we kept in. The less psychedelic of course. 'Green Onions' was one I remember, a couple of Nice numbers. Small Faces. Julie Driscoll, 'This Wheels on Fire'. etc. Then drive back to Coventry. They used to drop me off at Canley where I worked mowing for the council. We had a hut opposite the shops and I had a key, so would grab a couple of hours kip before the days work'.

Next year Richard has vowed to contact roadie Bob Mansfield and tax his brain. 'He had to stay sober so remembers so much more'.

I for one look forward to the results. As I mentioned above, I really feel I have only touched the tip of the iceberg here.

Asgard - Sunrise / Month

There are clicks and noises on the tracks owing to a spillage of soldar on the acetate - but you can hear the music still.

0:41 / 6:39

Trivialities by Asgard 1971

Railway Tavern

Neol Davies playing sitar.c 1969

From International Times

Just For You - 1964 Sam Costa Film - Coventry Connections

 Just For You - 1964 Sam Costa Film - Coventry Connections.

by Pete Clemons

Born 1910, Sam Costa began his working life as a singer for big bands. Sam was also one of my Mum's favourites. As such I remember him for presenting 'Housewives Choice' on Radio 2 from 1967. He also appeared of 'Juke Box Jury' and David Frost's 'Frost on Sunday programme.

 During 1964 Sam Costa appeared in a film with several connections to Coventry within it. The plot to the film is almost non existent really. Well, to be honest, there isn't one at all. It's more a programme that showcases singing stars from the hit parade of the day complete with Sam Costa's interludes.

 Throughout the movie DJ/agent Sam lies in his other worldly computer operated bed. If there is a message then it is that he is demonstrating all the trappings of success. The bed provides him with all his needs. 'This is the life' he says. 'All the wonders of modern science at my beck and call, anything I want at the touch of a button'.

 Another scene has Sam ranting 'I'm not paying through the nose for all this guff for nothing you know'. 'Its amazing what you can do in bed. This bed does everything'. Between songs he has this continual conversation with the computer which is trying to stir him into life.

 From his berth Costa introduces: Faye Craig: "Bongo Baby" and "Voodoo." The Applejacks: "Tell Me When." Al Saxon: "Mine All Mine." Band Of Angels: "Hide & Seek." The Orchids: "Mr. Scrooge." The Bachelors: "The Fox" and "Low In The Valley."

Freddie & The Dreamers: "You Were Made For Me" and "Just For You." Doug Sheldon: "Night Time." Caroline Lee, Roy Stone and Judy Jason: "Teenage Valentino." Peter and Gordon: "Leave Me Alone" and "Soft As The Dawn." Millie Small: "Sugar Dandy." Jackie and the Raindrops: "Loco-Motion."

The Warriors: "Don't Make Me Blue." Mark Wynter: "I Wish You Everything." Johnny B. Great: "If I Had A Hammer." Louise Cordet: "It's So Hard To Be Good." The Merseybeats: "Milkman."

 From that list you might just have spotted the Coventry associations. These of course are The Orchids and Johnny Goodison. After The Orchids performance Sam quips 'The rumours that The Orchids helped me with my 11+ are totally untrue'

 For the American market, several of the UK musical performances were cut from the film. Added however was new footage of US artists – including The Chiffons, The Vagrants and The Rockin’ Ramrods. It was then released Stateside as 'Disk-O-Tek Holiday'.

 Just For you is a feature completely of it's time. It is excellent quality, widescreen and in colour. At the same time it is a incredibly priceless resource in as much that you get rare footage of several not so well known crooners of the day.

 It is futuristic in that the film features a TV remote control as well as a huge wall mounted screen.

Lots of groovin, ravers and go go dancing. Sam Costa did eventually get dressed but still lived life in bed. The line of show was, for me, 'have you got your weekend joint yet'? - Not sure those days had arrived at that time but it really made me smile.

The Orchids

Johnny B Great

"Just for You": Out on DVD 21/7/2014 with Johnny B Great from Coventry

The Orchids - Mr. Scrooge (Just for You, 1964)

Applejacks – “Tell Me When” (film) (UK Decca) 1964

The Wine Lodge – The Yardbird Club

 

The Wine Lodge – The Yardbird Club

by Pete Clemons

The Wine Lodge - The Tally Ho - now the Philip Larkin

The Hotel Leofric was the place where, for decades, the good and the great of the entertainment world would stay. Of course it had many other visitors. But the Leofric was an important and well known feature at the heart of the city centre.

The hotel's main entrance was accessed from Broadgate. At the rear of the building, but still connected internally to the hotel, was the White Lion Pub. The White Lion did have its own entrance and this was via Smithford Way.

The Leofric wasn't exclusively a hotel though. For several years, during the early to mid 1960s, it was the hub for two jazz major clubs. Both of these clubs were held on Sunday evenings. The Warwickshire Society of Jazz Music (WSJM) held their gigs upstairs in what was known as the Windsor Room. While downstairs in the Grosvenor Room The White Lion Jazz Club held its club nights. For a while, gigs held at The White Lion were billed as 'The Best in British Jazz'.

During this period Ronnie Scott appeared at The White Lion several times. To the point where I suspect he, and his business partner Pete King, may have had an organisational involvement with The White Lion Club. But I may have read to much into that. There is, though, clear evidence that Ronnie and Pete did have a 'branch' in Coventry.

It began when, suddenly and during the early part of 1962, The White Lion Jazz Club changed venues. An announcement appeared in the local press. It read: 'Best in British Jazz' - Will all members, and Modern Jazz Fans, please note that our concerts will now be held every Sunday upstairs at The Wine Lodge'.

Ronnie Scott had, by now, established several 'branch' clubs up and down the country. Already in the Midlands were 'branch' clubs in both Leicester and Birmingham (this was several decades before Ronnie opened his club on Broad Street in the early 1990s). And a branch venue was established at The Wine Lodge by Ronnie Scott and Pete King.

The Wine Lodge was soon being billed as 'the only club in Coventry to play top modern jazz stars such as Tubby Hayes, Ronnie Ross on his saxophone, Jimmy Skidmore and more'. Even well known overseas jazz musicians such as Americas top tenor saxophonist star John ‘Zoot’ Sims appeared there. And Zoot was not the last. He was succeeded by many others. These particularly included many saxophonists whom both Ronnie Scott and Pete King (who were both tenor saxophonists themselves) greatly admired.

It has to be said that all this was at a time well before the, now, world famous Ronnie Scott Jazz Club operated from its current site. Scott's initial base was at Gerrard Street, London and moved to Frith Street in 1965.

The Wine Lodge, of course, was situated on the corner of The Burges and Corporation Street. Just a couple of hundred yards down from The Hotel Leofric. And this new Coventry club became known as The Yardbird Club.

The move to the Wine Lodge meant it freed up the Leofric Hotel's Grosvenor Room. This was immediately filled by The Warwickshire Society of Jazz Music (WSJM) who now occupied both rooms at the Leofric Hotel. It was then that the WSJM then began their simultaneous evenings of both traditional and modern jazz events.

The Yardbird Club remained at The Wine Lodge for around three years or so before moving on to The Mercers Arms. Again, Ronnie Scott was involved by being on hand to perform with his band at the opening night of the 'new Yardbird Club'.

As for The Wine Lodge, towards the mid 1960s, up and coming beat groups had taken over the venue. Bands like The Sorrows, The Pines, The Beat Preachers all appeared there. In fact The Vampires had had a residency there as early as 1962.

After its hey day as a jazz venue The Wine Lodge went through a series of name changes. These included the pub being called The Tally Ho and The Tudor Rose. Today it is known as The Philip Larkin.

Callum Pickard – Tarragon at The Tin Angel

 

Callum Pickard – Tarragon at The Tin Angel

by Pete Clemons

Dream pop, as I understand, involves a continual soundscape. It also attempts to create an ambience. If I am right in my assumption then, at a recent gig at The Tin Angel, Callum Pickard and his band achieved just that.

It was an eclectic sound containing Callum's guitar laden effects as well as other pedal board ingredients. The overall result emphasised strong songs, an atmosphere and sonic textures.

Apart from the evening being the first of a series of 'BBC music introducing' events, a new monthly format, this gig was effectively a springboard for Callum's debut album 'I’ve just Seen A Scene'.

For me personally this was a more preferable presentation of his music. After seeing Callum and Loz perform as a duo at a previous gig, this arrangement seemed to inject more of an edge as well as lending more weight to the songs. No drums just brass courtesy of Jon Pudge, keys by Bill Cameron and additional guitar from Loz Petite.

Callum brings a breathy, casual yet delicate vocal. His songs are strangely compelling. And, as with his album, once in you are committed to listen to the end.

Thankfully there are no anthems on offer. Instead you got an evening of heartfelt and touching songs. Additionally artists who Callum greatly admires, such as from Supertramp and The 1975, have responded positively by lending their services to his album by adding their talents to some of his songs. Furthermore Callum appears to have a team around him who genuinely believe in what he is doing.

I asked Callum how he settled on the name of Tarragon for this project. He responded 'Whilst in the midst of recording the debut album, “I’ve just Seen A Scene” I realised that the album wasn’t just going to be a reflection of just myself and at the time I was asking my friends from Coventry and people that I really admired from my favourite bands to be a part of the album'.

He continued 'I wanted the name of the new project to reflect collaboration and this sense of community rather than just a typical band name or solo artist with a band so to speak. Whist the songs are very much written, arranged and produced by my myself I really wanted other people to add their magic to it. I remember my brother saying to me “why don’t you call the band, Tarragon?” After he asked me that the name immediately stuck with me and I loved that Tarragon is a herb and it’s something that you put in to foods to enhance the flavour and It suddenly appeared to me that this is what this project is in a way. It’s more than a band to me! so that’s where the origin of the name came from'.

Callum's album “I’ve just Seen A Scene” is now available from bandcamp in various formats.

Follow the Sign 

Revise the Moments

The Leofric Hotel Jazz Club

 

The Leofric Hotel Jazz Club

BAND INDEX

It was either during the later part of 1960 or early 1961 that the Warwickshire Society of Jazz Music (WSJM) first commenced operating at the Hotel Leofric on Sunday evenings. It was quickly regarded by visiting musicians, and the cognoscente of the jazz world, as one of Europe's finest jazz clubs.

At that time there was already a jazz club based at The Leofric Hotel. The White Lion Jazz Club held gigs in the Grosvenor Room (downstairs) on Sunday evenings. The Warwickshire Society of Jazz Music held their gigs in the Windsor Room (upstairs).

In terms of comfort, décor and surroundings the club was certainly unsurpassed by any other in the British Isles, whilst the list of artistes and groups who have appeared there read like a 'who's who' of British jazz. And that list included such names as Mr Acker Bilk, Chris Barber, Ottille Patterson, The Temperance Seven, Terry Lightfoot, Bob Wallis, Mick Mulligan, George Melly, Don Rendall, Jimmy Skidmore, Keith Christie, Graham Bond, Joe Temperley and Eddie Blair to name only a few.

In March 1962 the Warwickshire Society of Jazz Music, following the acquisition of the Grosvenor Room in addition to the Windsor Room which they were already occupying, began what was seen as a daring experiment of mixing both traditional and modern jazz.

Predictions within the jazz world were of a grim outlook. However, in total contradiction to the prophecy's of the pundits, this merger became a tremendous success and the followers of each idiom shown extreme tolerance and interest towards the other. Yes, there really had been past clashes between the two cultures.

Members of the WSJM were able to move freely between both rooms as they pleased on payment of only one membership fee and the majority allocate their Sunday evenings entertainment on a 50/50 basis between the two.

Only a short while earlier it would have been unheard of for a jazz club to operate in one of the nations leading hotels but the conduct of the Midlands Jazz fans has lead to Mr J.R. Wearmouth, manager of the Hotel Leofric, to say: 'Their behaviour can only be described as exemplary and my staff and I are pleased to see them at any time'. That in itself was a fitting tribute.

The Warwickshire Society of Jazz Music claimed to be the only club in the country that perused both a traditional and modern policy. Both groups play simultaneously. Traditional in the Windsor Room and modern in the Grosvenor Room.

Over time, of course, modern jazz became more popular. At the same time music trends were changing. It all began getting more avant garde. Bands who were more jazz, blues and, later rock, influenced quickly moved in and the venue became more of an underground hangout.

The Grosvenor room remained modern jazz but the traditionalists had moved on. The Windsor Room, now run by Roy Brunt for McKiernans Promotions, saw acts like the bluesy John Mayalls Bluesbreakers, Cream then later the likes of Taste, Spooky Tooth and Family. It even founfd room for soul legends such as Screaming Jay Hawkins and Lee Dorsey.