[Dixielandjazz] Dankworth Obit
Ivor Jones
banjones at sapo.pt
Mon Feb 8 04:17:47 PST 2010
Walthamstow is one of the suburbs of East London, I was also born there, but
22 months later.
We both passed our '11 plus' examinations, Johnny went to St Monoux Grammar
school, I chose a Technical College and School of Art, 500 yards down the
road.
One year I went to a college dance, the band was Freddie Mirfield's Garbage
Men, who I had down as a jazz band. If I had I known that a J.Dankworth was
on clarinet
it would not have meant a great deal. It was about 1945, but I met him
personally in 1958. I quote from my book,
'One of our gigs was for charity at the Monoux Grammar School. There was
makeshift stage, we set up, and we had played a couple of numbers when we
heard a commotion at the entrance, the guests of honour, Cleo Lane and
Johnny Dankworth had arrived, Johnny had been educated at the Monoux, hence
the invitation to open the fete. He walked over to see the band, to listen
to them for a while. We finished the number to polite applause from the
crowd, which like pied pipers, Johnny and Cleo had attracted over to the
front of the stand. They kept asking Johnny to perform with us. 'I'd love to
play, but sorry I don't have my horn with me'. 'No problem' said Ron,
producing an alto. 'Right' said Johnny 'What shall we play' This a Charity
fete, play 'Pennies from Heaven', Johnny agreed and Cleo stepped up, 'I'll
sing with you' she offered.
The organisers didn't miss a trick, we played about 32 bars and two guys
turned up with a blanket which they held up in front of the band for
donations, the crowd responded in a second, and a hail of pennies came
through the air. Some landed in the blanket, many landed on the band. A horn
or two was dented by the shrapnel, it wasn't such a good idea after all. We
all took cover. So I can confirm that I had played with Johnny Dankworth for
1 minute 17 seconds. And you've seen the picture to prove it.' ( The picture
is in the book. Sorry )
Ivor Jones
----- Original Message -----
From: "Stephen G Barbone" <barbonestreet at earthlink.net>
To: "iVOR jONES" <BANJONES at sapo.pt>
Cc: "Dixieland Jazz Mailing List" <dixielandjazz at ml.islandnet.com>
Sent: Sunday, February 07, 2010 4:37 PM
Subject: [Dixielandjazz] Dankworth Obit
> Here is a more complete obit of Sir John Dankworth. From Telegraph.co.uk
> Sir John Dankworth, who died on February 6 aged 82, was a pioneer of
> modern jazz in Britain, a leading composer of film music, a tireless
> champion of musical education, regardless of genre, and a superb
> instrumentalist in his own right.
> Dankworth's care over the shaping and presentation of his music led
> occasionally to complaints that it was clever, lightweight stuff, lacking
> the rough passion which many regarded as the mark of authentic jazz, a
> view summed up by the critic Kitty Grime in the much-quoted phrase
> "couth, kempt and shevelled". On the other hand, his admirers included
> such notable figures as Duke Ellington and Dizzy Gillespie.
> John Philip William Dankworth was born in Walthamstow on September 20
> 1927. Smitten by jazz at an early age, he acquired a second-hand clarinet
> and was playing in semi-professional dance bands while still at school.
> In 1944 Dankworth passed the audition to study at the Royal Academy of
> Music.
> His extra-curricular interests had to be kept a closely guarded secret,
> in particular the fact that he now owned a saxophone, an instrument which
> was rarely even mentioned within the walls of the Academy. Even so,
> during his final year he contrived to work regularly as a member of
> Freddie Mirfield's Garbage Men, a novelty band which toured the
> lower-echelon music halls.
> Following National Service in the RASC, much of it spent playing with an
> army dance band in Cirencester, Dankworth, along with Ronnie Scott and
> other ambitious young jazz players, joined the Queen Mary as a musician
> and sailed for New York on the liner's first post-war civilian voyage.
> The attraction of the job was the ship's fortnightly turn-round period in
> New York, during which they were able to hear some of the greatest jazz
> artists at first hand. For the rest of their lives, both Scott and
> Dankworth were able to recall these brief visits in vivid detail, in
> particular the revolutionary bebop of Charlie Parker.
> Back in London, Dankworth took casual jobs in dance bands and played jazz
> whenever the opportunity arose. Dankworth, Scott and other young players
> would hire a rehearsal room to work on their bebop skills. Eventually, in
> 1948, they formed themselves into two bands, hired a studio in central
> London, called themselves Club Eleven (10 musicians and a manager) and
> began charging admission. Extremely avant garde for its time, Club Eleven
> attracted enough patrons to continue for several years.
> In 1950 Dankworth formed his first band, the Johnny Dankworth Seven,
> containing some of Britain's leading young soloists. The style was neatly
> arranged bebop, inspired by Miles Davis's band of the time. Although this
> enterprise almost collapsed in its early days, a modest growth in the
> audience for modern jazz allowed it to gain a foothold. Within a year,
> the Seven, and Dankworth himself, figured among the winners in the annual
> polls conducted by the music press. In 1951 the Seven appeared in one of
> the two inaugural jazz concerts at the Royal Festival Hall and recruited
> a young and totally inexperienced singer, Cleo Laine.
> Dankworth broke up the Seven in 1953 and launched his first big band,
> consisting of eight brass, five saxophones, rhythm section and three
> vocalists. It was the first serious and deliberate challenge to Ted
> Heath, Britain's reigning bandleader, whose immaculately polished,
> bravura style had never been entirely satisfying to dedicated jazz
> listeners. Although much of its time was spent in playing for ballroom
> dancing, Dankworth's band was essentially a jazz orchestra, with a
> notable contingent of fine jazz soloists.
> But Dankworth was not happy with the conventional big-band format. In
> 1956 he disbanded and redesigned the orchestra, with a mixed ensemble of
> soloists in place of the saxophone section. For this imaginative
> combination Dankworth and his chief arranger, Dave Lindup, created a
> uniquely light but firm jazz sound. In its first year the new band had a
> hit single with Experiments With Mice, the nursery rhyme Three Blind Mice
> arranged in the styles of various well-known bands.
> In 1960 Dankworth gave up full-time bandleading in order to concentrate
> on composition. He had already made an impressive debut with the score to
> Karel Reisz's documentary film We Are The Lambeth Boys (1959). Now he
> composed and conducted the music for Saturday Night And Sunday
> Morning(Reisz, 1960) and The Criminal (Joseph Losey 1960). So successful
> were these, and so distinctive the music, that the Dankworth sound became
> inseparably linked with the new wave of British cinema in the 1960s.
> Among the best known are The Servant (Losey, 1963), Darling (John
> Schlesinger, 1965), Modesty Blaise (Losey 1966) and Morgan, A Suitable
> Case For Treatment (Reisz, 1966). To these were added television themes
> such asTomorrow's World (1966), and an endless stream of advertising
> commercials.
> Amidst all this activity, Dankworth contrived to assemble ad hoc bands,
> to write music for them and to record it. What The Dickens (1963), Zodiac
> Variations (1964), The $1,000,000 Collection (1969) and Lifeline (1974)
> were among the most successful.
> John Dankworth and Cleo Laine were married in 1958 and their careers were
> intertwined thereafter. From the mid-1970s, in particular, much of his
> time was taken up by acting as his wife's musical director. A Cleo Laine
> song is, generally speaking, a John Dankworth arrangement and some of his
> most beautiful and delicate writing is to found in the accompaniments he
> devised for her: the voice-and-clarinet duet version of Thieving Boy, the
> settings of Shakespeare songs, especially the mind-boggling Compleat
> Works, the innocent I'm On A See-Saw.
> They were also equal partners in the Wavendon Allmusic Plan, an
> educational and cultural programme launched in 1969 and based at their
> Buckinghamshire home, dedicated to bringing together musicians of all
> styles and cultures. Also on the premises is The Stables, a concert hall
> presenting international artists.
> In later years, Dankworth joined with his son, Alec, in forming the 12-
> piece Dankworth Generation Band, made up of their favourite musicians,
> regardless of age.
> John Dankworth was appointed CBE in 1974 and knighted in 2006.
> He and Dame Cleo Laine had two children: the double-bassist Alec
> Dankworth, and the singer and actress Jacqui Dankworth.
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