Taken from the original liner - notes:
"This was a concert where the Band, the audience, the recording equipment and even the theatre (if this is possible) rose to the occasion. The London Palladium holds a kind of mystic excitement within its walls and ice cream-impregnated carpets, an excitement that can inspire or crush a performer. Just which it is to be depends entirely upon the stature of the performer. It is the best, and the most experienced, who overcome their nerves. They are faced by a sea of banked faces, a mental hangover from the advance publicity, and, ultimately, by the shattering efficiency of the technicians whose easy mastery of the huge stage highlights the slightest nervousness. So the Palladium starts one-up!
Accordingly, the decision to hold the Jazz News Poll Winners' Concert there was a tricky one. Poll Winners' Concerts, as a whole, tend to be tricky anyway. After all, jazz is a sensitive art form, hardly encouraged by the demands of a do-or-die "go-out-there-and-prove-you're-the-best" type of occasion.
However, since the Barber band romped home as winners of the Poll, everything was made easier; this, after all, is no ordinary band. At worst it is completely efficient; at best it is superb. And so it was that Phil Robertson, the band manager, opened the concert on Good Friday last. Unfortunately, his attempt to use the "Demon King" Trap was foiled by the management, and he had to come on from the wings! We were standing there with our fingers crossed.
Then, too, Chris had invited Joe Harriott to sit in with the band. This was a surprise and, at first, the sound was even a trifle awkward. Then, suddenly, the front-line parts fell into place. From the viewpoint of someone standing at the back of the stalls – where I was for most of the concert – two numbers stood out. First, there was the duet between Joe Harriott and Ian Wheeler on 'S Wonderful; then there was the full band version of Joe's composition, Revival. 'S Wonderful, I think, brought a realisation of Ian Wheeler's true stature. Matching each other, phrase for phrase, their duet was magnificent, a real show-stopper.
When I wrote the sleeve notes for the Berlin LP, I suggested that it was "Pat Halcox's disc". Well, this, I feel, must be called Ian Wheeler's disc. Yet, on reflection, this seems unfair to the complementary team of star musicians – and especially unfair to Chris. This concert was, after all, a tribute to his sincerity, to his ability. The programme demonstrates the range of his musical ambitions, the targets he has set the band. It also proves the completeness of his success. In fact, as a programme for a Poll Winners' Concert, it could hardly have been bettered. Here is a thorough demonstration of the Band's capabilities. Spirituals such as Lord, Lord, Lord lead to the New Orleans stride of Fidgety Feet, to Ottilie's slow blues, Too Many Drivers, and to the Swing Era 'S Wonderful. Then, through Ellington – Creole Love Call – to Joe Harriott's Revival. This is where Traditional and Modern Jazz really come together.
Looking back on this show, I find myself impressed more and more by the growing maturity of Pat's trumpet lead. Tense, yet quiet, he holds the band on Creole Love Call. But, when he wants to, he can play really explosive solos, full of punchy, dynamic phrases. Then there is Graham Burbidge's bass drum work on Just A Little While To Stay Here. This is the way he heard a street band drummer play when last the band visited New Orleans.
What else need be said?
Oh, yes. The extraneous voices, before, between and after numbers, in order of appearance, belong to Phil Robertson, Chris Barber and Jazz News Editor John Martin. I was the fourth scream from the left at the end of 'S Wonderful." (by Brian Nicholls)
"This was a concert where the Band, the audience, the recording equipment and even the theatre (if this is possible) rose to the occasion. The London Palladium holds a kind of mystic excitement within its walls and ice cream-impregnated carpets, an excitement that can inspire or crush a performer. Just which it is to be depends entirely upon the stature of the performer. It is the best, and the most experienced, who overcome their nerves. They are faced by a sea of banked faces, a mental hangover from the advance publicity, and, ultimately, by the shattering efficiency of the technicians whose easy mastery of the huge stage highlights the slightest nervousness. So the Palladium starts one-up!
Accordingly, the decision to hold the Jazz News Poll Winners' Concert there was a tricky one. Poll Winners' Concerts, as a whole, tend to be tricky anyway. After all, jazz is a sensitive art form, hardly encouraged by the demands of a do-or-die "go-out-there-and-prove-you're-the-best" type of occasion.
However, since the Barber band romped home as winners of the Poll, everything was made easier; this, after all, is no ordinary band. At worst it is completely efficient; at best it is superb. And so it was that Phil Robertson, the band manager, opened the concert on Good Friday last. Unfortunately, his attempt to use the "Demon King" Trap was foiled by the management, and he had to come on from the wings! We were standing there with our fingers crossed.
Then, too, Chris had invited Joe Harriott to sit in with the band. This was a surprise and, at first, the sound was even a trifle awkward. Then, suddenly, the front-line parts fell into place. From the viewpoint of someone standing at the back of the stalls – where I was for most of the concert – two numbers stood out. First, there was the duet between Joe Harriott and Ian Wheeler on 'S Wonderful; then there was the full band version of Joe's composition, Revival. 'S Wonderful, I think, brought a realisation of Ian Wheeler's true stature. Matching each other, phrase for phrase, their duet was magnificent, a real show-stopper.
When I wrote the sleeve notes for the Berlin LP, I suggested that it was "Pat Halcox's disc". Well, this, I feel, must be called Ian Wheeler's disc. Yet, on reflection, this seems unfair to the complementary team of star musicians – and especially unfair to Chris. This concert was, after all, a tribute to his sincerity, to his ability. The programme demonstrates the range of his musical ambitions, the targets he has set the band. It also proves the completeness of his success. In fact, as a programme for a Poll Winners' Concert, it could hardly have been bettered. Here is a thorough demonstration of the Band's capabilities. Spirituals such as Lord, Lord, Lord lead to the New Orleans stride of Fidgety Feet, to Ottilie's slow blues, Too Many Drivers, and to the Swing Era 'S Wonderful. Then, through Ellington – Creole Love Call – to Joe Harriott's Revival. This is where Traditional and Modern Jazz really come together.
Looking back on this show, I find myself impressed more and more by the growing maturity of Pat's trumpet lead. Tense, yet quiet, he holds the band on Creole Love Call. But, when he wants to, he can play really explosive solos, full of punchy, dynamic phrases. Then there is Graham Burbidge's bass drum work on Just A Little While To Stay Here. This is the way he heard a street band drummer play when last the band visited New Orleans.
What else need be said?
Oh, yes. The extraneous voices, before, between and after numbers, in order of appearance, belong to Phil Robertson, Chris Barber and Jazz News Editor John Martin. I was the fourth scream from the left at the end of 'S Wonderful." (by Brian Nicholls)
Recorded at the Jazz News Poll Winners’ Concert at the London Palladium,
31 March 1961.
31 March 1961.
Personnel:
Chris Barber (trombone)
Graham Burbidge (drums)
Pat Halcox (trumpet)
Ottilie Patterson (vocals)
Dick Smith (bass)
Eddie Smith (banjo)
Ian Wheeler (clarinet)
+
Joe Harriott (saxophone on 07.)
Alternate frontcovers
Tracklist:
01. Just A Little While To Stay Here () 4.54
02. Too Many Drivers (Broonzy) 4.03
03. Lord, Lord, Lord () 5.49
04.Creole Love Call (Ellington/Miley) 8.36
05. `Woderful (Gershwin) 6.47
06. Squeeze Me (Williams/Waller) 4.00
07. Revival (Harriott) 3.55
08. Fidgety Feet (LaRocca/Shields)
ARMU 2334
ARMU 2334 (zippyshare)