The Unforgettable Mr Cole

I’m presenting the music of Nat King Cole at the Edinburgh Festival Fringe, from the 9-13 and the 18th August 2016. 

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I must have been 4 or 5 years old when I first became aware of Nat King Cole. My dad, who had a smashing voice, would sing along with his records, which never seemed to be off the radio. I liked his name, I knew that I loved the voice; I loved the sounds of the orchestras and the big bands that accompanied him. But I remember the day when I first saw him on TV, and I discovered that he played the piano. I had seen entertainers sing and play piano on TV a lot – Elton John, Aretha Franklin, Neil Sedaca… but I had never heard ANYONE play like Nat. He was a revelation. I knew it was jazz, I knew liked it, and I liked him. I was instantly won over by him as a person; his handsome, deep-hued face and a smile that light up the screen was one that I became familiar with very quickly. In retrospect it was the best introduction to Jazz anyone could have asked for, because everything he did was accessible and appealing.

 

The Nat King Cole Show, 1956, with Nelson Riddle and his Orchestra

The story of his life is a lesson in triumph in the face of adversity and success of talent over prejudice. Nathanial Coles, started playing piano at the age of four – by age of fifteen, he was a jazz professional and after playing in touring shows he took the unusual step of forming a trio, with no drums; just piano, guitar and double bass.

Nat essentially invented the piano trio, and his playing demonstrated a harmonic and rhythmic style that set him above almost all the other pianists of the day, with a direct lineage to another great pianist (and singer), Oscar Peterson.

Nat’s command of the piano soon began to be overshadowed by his warm, smooth singing voice, capturing the public’s imagination. In 1942, Nat became one of the first artists to join a new record company; Capitol. In the 23 years that he recorded with Capitol Records, he turned out hit after hit – nearly 700 songs.

Now Nat wasn’t an improvising singer in the same way that Ella or Mel Torme were, and was more often than not featured on syrupy middle of the road ballads, but when the opportunity arose – Nat Cole could, and did, swing a band into bad health.

Nat King Cole at the BBC in 1963, with his quartet and the Ted Heath Orchestra

By 1956, he had his own network television show, and his records sold so well that journalists remarked that Nat’s recordings were “practically legal tender.” But a year into his show, the network could not find him a national advertising sponsor. Bitterly disappointed, he said “Madison Avenue is afraid of the dark.”

When Nat King Cole died of lung cancer on February 15, 1965, he was only 45. The same age I am right now. He was a brave figure in a period when racial prejudice was at its most demeaning. Above all else Nat was a superb vocalist and pianist whose singing and playing helped jazz gain wider popularity, without sacrificing its integrity. And that’s the word that sums him up. A man of integrity. An Unforgettable man who played good music the way that everyone liked it.

I’m presenting the music of Nat King Cole at the Edinburgh Festival Fringe, from the 9-13 and the 18th August 2016, at the A Club at Merchant Hall in Hanover Street.

 

 

Remembering Sir Johnny

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The late Sir John Dankworth was my “Pocket Legend” on Jazz House the other week, to commemorate his birthday. His daughter Jaquie is on radio a great deal promoting her new album, and so he and his music have been in my thoughts a lot of late.

Johnny Dankworth, as he is remembered as by the public, was a figure writ large in my early jazz life. He was one of those entertainers who was always on the radio and tv when I was a wee boy, and as such his music had a great effect on me; to me it was entertaining, exhilarating and exciting even before I new it was called jazz. I had the great pleasure of meeting and interviewing him and wife Dame Cleo Laine a few times; I found him to be urbane and witty, and he made a great cup of tea.

He was born in Woodford, Essex, in 1927 and fell under the spell of Jazz as a teenager. He studied the clarinet at the Royal Academy of Music, but he had to smuggle his saxophone in to the building. He took the pragmatic view that if he was going to consider something as frowned upon by the establishment as playing jazz for a living, he might as well learn enough about music to prepare him for any kind of gig. He was wise beyond his years.

By the mid 1940’s he was an established professional and under the spell of Charlie Parker and bebop – in fact he played alongside Parker at the Paris Jazz Festival in 1949, and was the best known modern jazz soloist in Britain. As the 1940’s turned into the 50’s, the young Dankworth formed one of British jazz scene’s most celebrated groups, the Johnny Dankworth Seven

He was the enfant terrible of British jazz, and his seven, which included one of Scotland’s top exports trumpeter Jimmy Deuchar, quickly became the top bebop band in the UK. But in 1953, amid cries of bafflement and that no good would come of it, he announced that he was disbanding the seven, and that he was going to start a big band, and so the Johnny Dankworth Orchestra was born. As well as being a fabulous soloist, John was already an accomplished arranger, and had contributed some brilliant arrangements to the library of Britain’s top big band,  Ted Heath And His Music, whose polished musicianship John was taking on full square. Even though one of its main functions was to play for dancing, John’s band was from the off an out and out jazz orchestra, playing adventurous and hard-swinging music.

He was Britain’s first internationally renowned jazz soloist, and an arranger and composer of real quality and originality. Here’s a wonderful example of his playing and arranging, and get a load of that wonderfully unique brass section!