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PHONE RINGING | 0:01:12 | 0:01:17 | |
Hello, Ronnie Scott's club. | 0:01:20 | 0:01:23 | |
Yes, we're open tonight. | 0:01:23 | 0:01:26 | |
What time do we open? Well, what time can you get here? | 0:01:26 | 0:01:30 | |
No, you can wear what you like. Just wear a tie. | 0:01:30 | 0:01:32 | |
Nothing else, just a tie. | 0:01:32 | 0:01:35 | |
OK. Bye-bye. | 0:01:35 | 0:01:37 | |
'"As I listened to the sweet and soothing sound, | 0:02:03 | 0:02:05 | |
'"I once again reflected, 'thank the Lord I was born into the jazz age.' | 0:02:05 | 0:02:10 | |
'"What on earth could it have been when all they had to listen to | 0:02:10 | 0:02:13 | |
'"was ballad tunes and waltzes? | 0:02:13 | 0:02:15 | |
'"Because jazz music is a thing, that as few things do, | 0:02:15 | 0:02:17 | |
'"makes you feel really at home in the world here. | 0:02:17 | 0:02:20 | |
'"As if it's an OK notion to be born a human animal." | 0:02:20 | 0:02:24 | |
'Colin MacInnes' nameless narrator in Absolute Beginners, | 0:02:24 | 0:02:27 | |
'explaining why jazz was crucial to his education. | 0:02:27 | 0:02:31 | |
'MacInnes' cult novel of the late '50s also described Soho, | 0:02:31 | 0:02:34 | |
'which he loved as much as jazz, with the words, | 0:02:34 | 0:02:37 | |
'"All the things they say happen, do." | 0:02:37 | 0:02:40 | |
'Teenagers have been making the weekend pilgrimage up west | 0:02:44 | 0:02:47 | |
'since the notion of teenagers was invented, | 0:02:47 | 0:02:49 | |
'hoping it was all true. Converging on the centre | 0:02:49 | 0:02:52 | |
'from the asteroid belt of Southgate or Purley. | 0:02:52 | 0:02:56 | |
'Hoping to live your life in one night. | 0:02:56 | 0:02:58 | |
'Of course Soho didn't give you everything, but it promised a lot. | 0:02:58 | 0:03:01 | |
'It seemed to say that you could | 0:03:01 | 0:03:03 | |
'leave behind the person you were supposed to be in the suburbs | 0:03:03 | 0:03:06 | |
'and start again in another dimension. | 0:03:06 | 0:03:09 | |
'And in a lot of cases, you might have been taken on that escape route | 0:03:09 | 0:03:12 | |
'by some of the most exciting sounds of the 20th century, | 0:03:12 | 0:03:15 | |
'the sounds of jazz.' | 0:03:15 | 0:03:17 | |
'I've always admired Ronnie for what he's done and been thankful for the sake of British jazz.' | 0:04:13 | 0:04:18 | |
And for world jazz that he's done it. | 0:04:18 | 0:04:20 | |
Because if you mention jazz to any American anywhere, any jazz fan | 0:04:20 | 0:04:26 | |
anywhere in the United States or Australia, New Zealand, Hong Kong. | 0:04:26 | 0:04:30 | |
Perhaps the first thing they'll make an effort at connecting with you, | 0:04:30 | 0:04:34 | |
if you say you are from England or if they know you're from the United Kingdom, | 0:04:34 | 0:04:38 | |
they say, "Ah, I've been to Ronnie Scott's." | 0:04:38 | 0:04:41 | |
It's synonymous with jazz in this country. | 0:04:41 | 0:04:43 | |
Politicians lead the life of night club pianists I always think, | 0:04:43 | 0:04:47 | |
in terms of hours. I mean we tend to work late into the night | 0:04:47 | 0:04:50 | |
and the voting is usually late at night, the house sits at night. | 0:04:50 | 0:04:53 | |
Eh, you've got to be a bit of a late night person to be a politician. | 0:04:53 | 0:04:57 | |
If you get relaxation out of jazz, if you get excitement out of jazz, | 0:04:57 | 0:05:01 | |
if you can switch off and concentrate on jazz | 0:05:01 | 0:05:04 | |
after a day on quite different things, | 0:05:04 | 0:05:06 | |
then this is the place to come. | 0:05:06 | 0:05:08 | |
It's coming home, it's a little nest of happiness. | 0:05:08 | 0:05:14 | |
It's good sounds, sounds that heal. | 0:05:14 | 0:05:18 | |
All the recent wounds are all healed here at Ronnie Scott's | 0:05:18 | 0:05:24 | |
because there's always somebody blowing something beautiful, | 0:05:24 | 0:05:27 | |
talking a kind of um... unconscious poetry, | 0:05:27 | 0:05:33 | |
that only good music can speak to you. | 0:05:33 | 0:05:36 | |
'Capturing the bird in flight. | 0:05:53 | 0:05:55 | |
'This time the Chicago saxophonist Johnny Griffin | 0:05:55 | 0:05:57 | |
'is caught by the lens of David Redfern whose images you see all over the club. | 0:05:57 | 0:06:02 | |
'A visual history of this place called Ronnie's.' | 0:06:02 | 0:06:06 | |
# There will be other lips that I may kiss | 0:06:14 | 0:06:17 | |
# Uh, uh, um | 0:06:17 | 0:06:20 | |
# They won't thrill me like yours used to do | 0:06:20 | 0:06:23 | |
# Say I may dream a million dreams | 0:06:24 | 0:06:27 | |
# But how can they come true | 0:06:27 | 0:06:30 | |
# If there will never, ever be | 0:06:30 | 0:06:32 | |
# Another-oho-oho-other you... # | 0:06:32 | 0:06:35 | |
# I never go back to Georgia | 0:06:41 | 0:06:44 | |
# Cos I like London, aah... # | 0:06:44 | 0:06:47 | |
Can you remember when you first met Ronnie Scott? | 0:07:22 | 0:07:25 | |
I remember that one really well because I went by the club | 0:07:25 | 0:07:28 | |
and I was coming down them little steps and fell. | 0:07:28 | 0:07:32 | |
Oh man, you know on them iron steps? | 0:07:32 | 0:07:35 | |
I hurt my leg. I was mad with Ronnie Scott ever since. | 0:07:35 | 0:07:41 | |
And now, you know, he's a very good, close friend and he's funny too. | 0:07:41 | 0:07:46 | |
'But Ronnie had done a tremendous job about the promulgation of our music. | 0:07:46 | 0:07:54 | |
'He's always had somebody in there, some of the younger guys, | 0:07:54 | 0:07:58 | |
'the older guys and he plays there. Ronnie does a terrific job with that club.' | 0:07:58 | 0:08:06 | |
'Frith Street, Soho. Ronnie Scott's isn't the hole in the wall it used to be, | 0:08:38 | 0:08:42 | |
'but a big sophisticated west end nightclub. | 0:08:42 | 0:08:45 | |
'Dependant now, on lucrative passing trade | 0:08:45 | 0:08:47 | |
'as well as hard core jazz fans. | 0:08:47 | 0:08:49 | |
'One thing that hasn't changed in 30 years is that Scott, | 0:08:49 | 0:08:52 | |
'armed with a tenor saxophone and a wisecrack, | 0:08:52 | 0:08:55 | |
is still earning his keep.' | 0:08:55 | 0:08:57 | |
Thank you and good evening, ladies and gentleman, on behalf of the quintet. | 0:09:24 | 0:09:28 | |
That's Dick Pierce on the trumpet and flugelhorn, Martin Drew on the drums, | 0:09:28 | 0:09:32 | |
Ron Mathewson on the bass, John Critchinson on the piano and myself. | 0:09:32 | 0:09:37 | |
Five musicians who brought a great deal of pleasure to very few people. | 0:09:37 | 0:09:40 | |
And that one was for a gentleman who asked for The Yellow Rose Of Texas. | 0:09:40 | 0:09:44 | |
But I hope he enjoyed that cos it does have a lot of the same notes in it. | 0:09:47 | 0:09:51 | |
Little touch of humour there. | 0:09:52 | 0:09:54 | |
I come from a very poor family in the east end of London. | 0:09:54 | 0:09:57 | |
We really were desperately poor. | 0:09:57 | 0:09:59 | |
Had to buy all our clothes at a war surplus store. | 0:09:59 | 0:10:01 | |
Let me tell you it was no fun for a nine year old Jewish kid to have | 0:10:01 | 0:10:05 | |
to go to school in the east end wearing a Japanese admiral's uniform. | 0:10:05 | 0:10:09 | |
'Ronnie Scott was born Ronald Schatt in Aldgate in 1927. | 0:10:12 | 0:10:16 | |
'Via the traditional route of Jewish youth clubs and bar mitzvahs, | 0:10:16 | 0:10:20 | |
'the young Ronnie learned the ways of musicians.' | 0:10:20 | 0:10:23 | |
My first saxophone lessons were from a guy called Jack Lewis | 0:10:23 | 0:10:27 | |
who was an old, retired, dance band saxophone player. | 0:10:27 | 0:10:30 | |
And he had a son called Harry Lewis, | 0:10:30 | 0:10:31 | |
who was a professional saxophone player, | 0:10:31 | 0:10:34 | |
who ended up marrying Vera Lynn. And so, that's my claim to fame. | 0:10:34 | 0:10:39 | |
I took lessons from Vera Lynn's father-in-law. | 0:10:39 | 0:10:41 | |
'The first instrument I ever bought was a cornet, which I bought | 0:10:41 | 0:10:46 | |
'from an antique shop and then I got a very old soprano saxophone, | 0:10:46 | 0:10:54 | |
'I mean a really old one with a double octave key. | 0:10:54 | 0:10:57 | |
'The double octave key went out at around 1827. | 0:10:57 | 0:10:59 | |
'I thought "God this is difficult." And then my parents saw that | 0:10:59 | 0:11:05 | |
'I was serious about trying to play something and they bought me a tenor saxophone.' | 0:11:05 | 0:11:10 | |
'During the early war years, Ronnie Scott and his friends | 0:12:00 | 0:12:03 | |
'hung out with all the professional musicians they could, hoping for the big break.' | 0:12:03 | 0:12:09 | |
'Well the first job what I got, I think one of those places was at... | 0:12:09 | 0:12:13 | |
'a place called The Jamboree' | 0:12:13 | 0:12:15 | |
and Carlo Krahmer was the band leader and they had a very good band there. | 0:12:15 | 0:12:20 | |
And as I remember, the tenor saxophone player in the band was leaving | 0:12:20 | 0:12:24 | |
and his replacement couldn't start for two or three weeks. | 0:12:24 | 0:12:28 | |
And Carlo asked me if I'd fill in for those two or three weeks. | 0:12:28 | 0:12:32 | |
And I told him "Look, I've only been playing a year or 18 months," | 0:12:32 | 0:12:36 | |
or whatever it was. I was about 16-17 years old. | 0:12:36 | 0:12:40 | |
And he said, "Well it doesn't matter, | 0:12:40 | 0:12:42 | |
"I'm contracted to present six musicians." | 0:12:42 | 0:12:45 | |
And the band says, all you've got to do is sit there. | 0:12:45 | 0:12:48 | |
And so that's what I did for two or three weeks, virtually just miming. | 0:12:48 | 0:12:52 | |
'Carlo was a great collector and a very knowledgeable musician | 0:12:52 | 0:12:57 | |
'and he had one room which was lined with records. | 0:12:57 | 0:13:00 | |
And we used to go round there occasionally | 0:13:00 | 0:13:03 | |
and listen to the latest imports which he managed to get. | 0:13:03 | 0:13:06 | |
And that was the first time I heard Charlie Parker play, | 0:13:06 | 0:13:11 | |
I'd heard of Charlie Parker, | 0:13:11 | 0:13:12 | |
Red Cross I think was the name of the track as I remember. | 0:13:12 | 0:13:18 | |
It just seemed to be the right... contemporary way to play, you know. | 0:13:33 | 0:13:38 | |
It's very difficult to put into words, but it turned us all around. | 0:13:38 | 0:13:42 | |
'Charlie Parker and the new jazz became a symbol of protest | 0:13:54 | 0:13:57 | |
'for an entire generation. | 0:13:57 | 0:13:58 | |
'For a lot of young Britons, Parker's music seemed to be a vision of the future. | 0:13:58 | 0:14:02 | |
'But it could only be experienced through records. | 0:14:02 | 0:14:05 | |
'Though his fire sprang directly from the beleaguered black American culture that had spawned jazz, | 0:14:05 | 0:14:11 | |
'Parker appealed to outsiders everywhere. | 0:14:11 | 0:14:13 | |
'The hipster was born, embracing bebop culture as an antidote | 0:14:13 | 0:14:17 | |
'to the elitism of European high art | 0:14:17 | 0:14:18 | |
'and the often maudlin pop music of the day.' | 0:14:18 | 0:14:21 | |
Well, I suppose we were always... | 0:14:21 | 0:14:23 | |
'Here are three hipsters, part of Ronnie Scott's circle, | 0:14:23 | 0:14:26 | |
'whose lives were changed by Charlie Parker.' | 0:14:26 | 0:14:29 | |
Don't forget that when bebop came out the Melody Maker's chief critic, | 0:14:29 | 0:14:34 | |
Edgar Jackson, said um... "this is a load of rubbish. | 0:14:34 | 0:14:38 | |
"Charlie Parker can't play his instrument. | 0:14:38 | 0:14:40 | |
"This isn't modern harmony, it's wrong notes." | 0:14:40 | 0:14:43 | |
-And so he damned it right from the off. -That's true, yeah. | 0:14:43 | 0:14:46 | |
And so because it was damned in the eyes of the musical establishment, | 0:14:46 | 0:14:49 | |
because we were trying to play this, we were unemployable. | 0:14:49 | 0:14:53 | |
I mean this is why we had to form our own scene. | 0:14:53 | 0:14:55 | |
That's right, still are! | 0:14:55 | 0:14:57 | |
THEY ALL LAUGH | 0:14:57 | 0:14:59 | |
Well, I think what had happened was we'd recognised a language, | 0:14:59 | 0:15:03 | |
a musical language, that was for our time. | 0:15:03 | 0:15:05 | |
That was our time. | 0:15:05 | 0:15:07 | |
And we just took to it like that. | 0:15:07 | 0:15:10 | |
That's why I say I don't... I mean, when I first heard Ronnie, | 0:15:10 | 0:15:13 | |
Ronnie was always playing, was always playing that way. | 0:15:13 | 0:15:17 | |
Not exactly bebop, but that was the road it was going down. | 0:15:17 | 0:15:21 | |
And he had the technique and the power to play it. | 0:15:21 | 0:15:24 | |
There was never any question of being a kind of player now, and then a different player. | 0:15:24 | 0:15:31 | |
It just grew, didn't it? Just went on. | 0:15:31 | 0:15:33 | |
-It was the same for all of us. -And it wasn't just the music. | 0:15:33 | 0:15:37 | |
I mean, the same thing happened in art. | 0:15:37 | 0:15:40 | |
You look at the Jackson Pollocks and the Mark Rothkos and those kind of people, | 0:15:40 | 0:15:45 | |
who broke away from the previous static forms of painting. | 0:15:45 | 0:15:49 | |
They went on a similar path. I suppose the war must have been | 0:15:49 | 0:15:52 | |
the big catalyst, really, for the whole thing. | 0:15:52 | 0:15:55 | |
-War always creates a revolution. -Well it smashed all the existing values, | 0:15:55 | 0:15:58 | |
they all went out of the window. | 0:15:58 | 0:16:00 | |
'The union ban meant you couldn't hear American artists | 0:16:13 | 0:16:16 | |
'like Parker, Lester Young or Billie Holliday in the flesh. | 0:16:16 | 0:16:19 | |
'If you couldn't raise the fare to the States, but knew your way around a dance band song book, | 0:16:19 | 0:16:24 | |
'one way was to get signed up for Geraldo's Navy - | 0:16:24 | 0:16:27 | |
'the orchestras that entertained transatlantic passengers. | 0:16:27 | 0:16:30 | |
'It may not have meant playing the music you dreamed of, | 0:16:30 | 0:16:33 | |
'but it took you to the Holy Grail of New York's jazz clubland - 52nd Street.' | 0:16:33 | 0:16:37 | |
'The boat docked at pier 90, I think it was. | 0:16:40 | 0:16:44 | |
'Which was right, virtually at 52nd Street. | 0:16:44 | 0:16:46 | |
'So we get off the boat, down the gangway and then look up. | 0:16:46 | 0:16:50 | |
'And on the lamppost, you know those famous lamppost signs? | 0:16:50 | 0:16:53 | |
'It said 52nd Street, and we thought what?!' | 0:16:53 | 0:16:57 | |
The little brownstone buildings all had cellars and basements | 0:16:57 | 0:17:00 | |
and they were all clubs on either side of the road. | 0:17:00 | 0:17:03 | |
And outside each club there was a doorman with his hat and uniform, | 0:17:03 | 0:17:09 | |
looking a bit tacky I suppose, but saying, "Come one fellas now, Lady Day just going on." | 0:17:09 | 0:17:14 | |
Another one saying, "Dizzie's Big Band going on fellas, no cover charge." | 0:17:14 | 0:17:18 | |
I mean, it was just like fairyland. | 0:17:18 | 0:17:20 | |
All these people that you had always wanted to hear all your life and you | 0:17:20 | 0:17:23 | |
had to choose which one, you couldn't hear them all at the same time. | 0:17:23 | 0:17:27 | |
'To the young jazz tourists, New York meant cliffhanging music, | 0:17:34 | 0:17:39 | |
'un-rationed luxuries, hip fashions and the feeling that the distance | 0:17:39 | 0:17:43 | |
'between dreams and fulfilment was shorter than it was in London.' | 0:17:43 | 0:17:48 | |
'When they came back, it seemed to be to a community of musicians that were stuck in the past. | 0:17:51 | 0:17:56 | |
'They met, gossiped and exchanged work, commercial work not jazz, | 0:17:56 | 0:18:00 | |
'in Archer Street off Piccadilly - an open air job centre. | 0:18:00 | 0:18:04 | |
'The young players tried to create their own world for their own music. | 0:18:06 | 0:18:10 | |
'Like the short-lived Club 11 at the beginning of the 1950s.' | 0:18:10 | 0:18:13 | |
'Throughout that decade, adventurous jazz and dance band music lived uneasily side by side. | 0:18:22 | 0:18:27 | |
'But the beboppers began to win a new audience. | 0:18:27 | 0:18:30 | |
'Ronnie Scott, by this time the most highly regarded saxophonist in Britain, | 0:18:30 | 0:18:34 | |
'started to lead successful bands of his own, | 0:18:34 | 0:18:37 | |
'over the years steadily reducing the proportion of schmaltz required to get work. | 0:18:37 | 0:18:41 | |
'In 1957, he formed an all out jazz band, The Jazz Couriers, | 0:18:41 | 0:18:45 | |
'with the prodigious young saxophonist Tubby Hayes. | 0:18:45 | 0:18:48 | |
'When The Couriers folded, | 0:18:48 | 0:18:50 | |
'Scott and an old playing partner, Pete King, teamed up again. | 0:18:50 | 0:18:55 | |
'This time not for a band, but for an old Scott dream of home.' | 0:18:55 | 0:18:59 | |
The club was never intended to be what it's turned out to be. | 0:19:00 | 0:19:04 | |
It was somewhere for us to try and improve and try and develop our music. | 0:19:04 | 0:19:11 | |
Because what we were doing, we were earning a living playing in dance bands, | 0:19:11 | 0:19:15 | |
but we really didn't get a chance to play. | 0:19:15 | 0:19:17 | |
And it was, really, getting the chance to play and maybe have | 0:19:17 | 0:19:21 | |
a decent piano and a microphone and maybe a light or something. | 0:19:21 | 0:19:26 | |
And that's all we really set out to do. | 0:19:26 | 0:19:28 | |
'On October 30th, 1959, Ronnie Scott's club opened | 0:20:00 | 0:20:04 | |
'in a basement in Gerrard Street, in the heart of China Town, | 0:20:04 | 0:20:08 | |
'where the strongest drink was stewed tea, | 0:20:08 | 0:20:11 | |
'the dressing room was a cubbyhole | 0:20:11 | 0:20:13 | |
'and the attractions were strictly local musicians.' | 0:20:13 | 0:20:16 | |
This is the site of the first club and what a sight it is. | 0:20:23 | 0:20:26 | |
It was 39 Gerrard. We had kind of a Heath Robinson awning | 0:20:26 | 0:20:32 | |
that went up here and covered the stairs which we had to roll up and take away every night. | 0:20:32 | 0:20:36 | |
Amazing. | 0:20:36 | 0:20:38 | |
This used to be a taxi driver's all night hang out thing with a little coffee bar. | 0:20:38 | 0:20:43 | |
And they used to come down here and play cards, the cab drivers. | 0:20:43 | 0:20:47 | |
And I think, as I remember, on Sunday afternoons, they used to run some things. | 0:20:47 | 0:20:52 | |
-Yeah, and Saturday nights. -Saturday nights, yeah. | 0:20:52 | 0:20:56 | |
And the landlord, a guy named Jack Forder, was an ex-cab driver. | 0:20:56 | 0:21:02 | |
Eh...wasn't doing very well, the place, | 0:21:02 | 0:21:05 | |
and he asked us if we would like to take it over full-time. | 0:21:05 | 0:21:08 | |
Which we did. Paid the rent which was something like, | 0:21:08 | 0:21:11 | |
I don't know, £12 a week? Something like that. | 0:21:11 | 0:21:14 | |
How did you furnish the place the first time around? | 0:21:14 | 0:21:17 | |
Very sparsely, if I remember correctly. | 0:21:17 | 0:21:21 | |
-Eh, just chairs and a few... -We went down the east end, I remember. -The east end, yeah. | 0:21:21 | 0:21:26 | |
To a wholesale, kind of furniture manufacturer | 0:21:26 | 0:21:28 | |
and bought, I don't know, 50 or 60 chairs. | 0:21:28 | 0:21:33 | |
-And we...hired a piano, I think? -Yeah, we did, yeah. -Hired a piano. | 0:21:33 | 0:21:38 | |
-Had trouble getting the piano downstairs. -Yeah. | 0:21:38 | 0:21:41 | |
And... Sorry. Two and six all night. | 0:21:41 | 0:21:45 | |
And we hired some sound equipment and painted everything white. | 0:21:45 | 0:21:52 | |
Everything in sight was painted white. | 0:21:52 | 0:21:55 | |
And we opened, went from there. | 0:21:55 | 0:21:57 | |
'At its gayest and brightest, the west end has | 0:22:48 | 0:22:51 | |
'the real look of Christmas. | 0:22:51 | 0:22:52 | |
'Movies, theatres, restaurants do their part to see | 0:22:52 | 0:22:55 | |
'that a good time will be had by all. So why should anyone worry? | 0:22:55 | 0:22:58 | |
'There's certainly nothing disturbs the minds of the happy folk | 0:22:58 | 0:23:02 | |
'who are starting out on a jolly evening. | 0:23:02 | 0:23:05 | |
'But only a stone's throw from the bright lights, it's a different story. | 0:23:05 | 0:23:08 | |
'This is Soho, catering for all tastes, low included.' | 0:23:08 | 0:23:12 | |
'Well you have to remember, in those days, the situation of jazz musicians | 0:23:12 | 0:23:16 | |
'was a powerless one. You could play jazz,' | 0:23:16 | 0:23:19 | |
but you had to work for people that... | 0:23:19 | 0:23:21 | |
They called themselves jazz club proprietors, what they really were | 0:23:21 | 0:23:26 | |
were petty felons, most of them. And they would hire a room, | 0:23:26 | 0:23:30 | |
hire musicians, give them thrupence each and pocket the proceeds. | 0:23:30 | 0:23:33 | |
They were nothing to do with music. | 0:23:33 | 0:23:35 | |
They were going to sell music cos it made money, that's all. | 0:23:35 | 0:23:38 | |
'So when Ronnie finally formed a club it was a revolutionary thing to do | 0:23:38 | 0:23:43 | |
'because there had never been a club where when you went to work | 0:23:43 | 0:23:47 | |
'you were working for one of the fellas. There had never been that, ever. | 0:23:47 | 0:23:51 | |
'Not in the history of British music.' | 0:23:51 | 0:23:54 | |
'From 1959-1961, Ronnie Scott's club served the local jazz scene. | 0:23:55 | 0:24:00 | |
'But eventually, to cover the rent, the club began to need stars with more rarity value. | 0:24:00 | 0:24:05 | |
'Which at that time meant Americans.' | 0:24:05 | 0:24:07 | |
'Union regulations about foreign players were the stumbling block, | 0:24:08 | 0:24:12 | |
'but Pete King eventually broke the impasse bringing in Zoot Sims, | 0:24:12 | 0:24:16 | |
'one of the most relaxed and elegant members of the 1940s Woody Herman band, | 0:24:16 | 0:24:21 | |
'to be the first of a dazzling list.' | 0:24:21 | 0:24:23 | |
'Apart from it being an education for everybody, it was somehow | 0:25:20 | 0:25:23 | |
'an accolade for the club. It made the club a more serious business. | 0:25:23 | 0:25:27 | |
'This was still in Gerrard Street where it was still a very pokey little hole. | 0:25:27 | 0:25:31 | |
'And I remember, I mean, how insufferable people are. | 0:25:31 | 0:25:34 | |
'You brought down Zoot Sims, Ben Webster, | 0:25:34 | 0:25:37 | |
'Sonny Stitt, Stan Getz, everybody and there were complaints?! | 0:25:37 | 0:25:42 | |
'Why do you only bring saxophone players down? | 0:25:42 | 0:25:44 | |
'Why this policy? And Ronnie said, | 0:25:44 | 0:25:47 | |
'"You go open your club and invite who you want. | 0:25:47 | 0:25:49 | |
'"In the meantime, the world's greatest saxophone players | 0:25:49 | 0:25:53 | |
'"are being paraded through for our benefit. | 0:25:53 | 0:25:55 | |
'"It's a fantastic business." | 0:25:55 | 0:25:57 | |
'It made the club something very much more | 0:25:57 | 0:26:00 | |
'than a local, parochial thing. | 0:26:00 | 0:26:01 | |
'It put it on a European, and eventually the world, map.' | 0:26:01 | 0:26:05 | |
'The first group as such that we had was the Bill Evans Trio.' | 0:26:22 | 0:26:26 | |
And when Bill arrived... Well before Bill arrived, | 0:26:26 | 0:26:29 | |
we decided that the piano we had wasn't good enough for Bill Evans. | 0:26:29 | 0:26:33 | |
So we sold it I think, just a couple of days before he was due to arrive, | 0:26:33 | 0:26:41 | |
with the idea of hiring a piano from a firm that was in the vicinity. | 0:26:41 | 0:26:48 | |
And we...arranged a week beforehand what piano we wanted. | 0:26:48 | 0:26:54 | |
And they arranged that they were going to deliver it and so on. | 0:26:54 | 0:26:57 | |
And then, a representative came down from this piano hiring place, | 0:26:57 | 0:27:03 | |
took a look at the premises, and said well... | 0:27:03 | 0:27:05 | |
This is the day before Bill Evans is due to open. | 0:27:05 | 0:27:07 | |
And we got no piano and he said "Well no, I'm sorry. | 0:27:07 | 0:27:10 | |
"We can't hire you a piano." I said, "Well, why not?" | 0:27:10 | 0:27:14 | |
"If you take it down the stairs, it's liable to get damaged." | 0:27:14 | 0:27:17 | |
Then, "I didn't know it was a jazz club." | 0:27:17 | 0:27:19 | |
And I think he had visions of people pouring beer into the piano | 0:27:19 | 0:27:24 | |
and girls laying on it. I don't know what he thought would happen to it. | 0:27:24 | 0:27:27 | |
'And finally I remember Pete saying to him "Look, bugger off." | 0:27:30 | 0:27:33 | |
'Or words to that effect, you know.' | 0:27:33 | 0:27:35 | |
'But in the end we managed to find a piano belonging to someone or other. | 0:27:41 | 0:27:47 | |
'A nice grand piano. But, I mean it was a very last minute thing | 0:27:47 | 0:27:51 | |
'I was just wondering what the Bill Evans Trio were going to do without a piano? | 0:27:51 | 0:27:55 | |
'Maybe Bill would dance or sing or something.' | 0:27:55 | 0:27:57 | |
'In those early days, most of the American soloists came alone and needed local accompaniment.' | 0:29:03 | 0:29:08 | |
'For seven years the house pianist at Ronnie Scott's was Stan Tracey -- | 0:29:11 | 0:29:16 | |
'a gifted improviser and composer in his own right.' | 0:29:16 | 0:29:18 | |
-Oh, I don't believe... -What was that? -It's a string gone. | 0:29:32 | 0:29:35 | |
-They just tuned it. -Yeah. -Don't tell Pete. | 0:29:35 | 0:29:38 | |
LAUGHTER | 0:29:38 | 0:29:39 | |
-Oh... -Just like the old days! -Just like the old days. | 0:29:39 | 0:29:43 | |
What is it like working in here these days? | 0:29:43 | 0:29:46 | |
I cannot tell a lie, I preferred working in the old place. | 0:29:46 | 0:29:49 | |
Um... For me it was more adventurous. I suppose, I mean, it had to be | 0:29:49 | 0:29:56 | |
because the whole situation was new, working with those guys | 0:29:56 | 0:30:01 | |
and the whole atmosphere was different. | 0:30:01 | 0:30:04 | |
'Which of those players did you feel the happiest with?' | 0:30:04 | 0:30:07 | |
'Well, there were several I felt very happy with, | 0:30:07 | 0:30:10 | |
'but the one that stands out above all the others for me, was Sonny Rollins | 0:30:10 | 0:30:16 | |
'for his inventiveness. You know, night after night. | 0:30:16 | 0:30:19 | |
'Tremendous.' | 0:30:19 | 0:30:21 | |
'You never really knew what to expect. For instance, | 0:30:30 | 0:30:33 | |
'there was one night we played Three Little Words for the first set complete, about an hour. | 0:30:33 | 0:30:40 | |
'Had a break and came back on. And played Three Little Words for an hour. | 0:30:40 | 0:30:44 | |
'And there was so much invention going on that it really didn't matter. | 0:30:44 | 0:30:50 | |
'You know, it was quite a fantastic gig...experience.' | 0:30:50 | 0:30:55 | |
'That was my first experience in England, playing at Ronnie Scott's.' | 0:31:00 | 0:31:05 | |
And actually if you recall, | 0:31:07 | 0:31:10 | |
the club at that time was on German Street? | 0:31:10 | 0:31:13 | |
-Gerrard Street. -Gerrard Street, sorry. | 0:31:13 | 0:31:17 | |
And it was in the basement, | 0:31:17 | 0:31:20 | |
so it was very similar to a lot of clubs in New York in a way, | 0:31:20 | 0:31:24 | |
that are down in the basement, you know. | 0:31:24 | 0:31:27 | |
So...physically, | 0:31:27 | 0:31:30 | |
it was pretty much like a lot of jazz clubs, you know. | 0:31:30 | 0:31:35 | |
Small, comparatively small. Um... | 0:31:35 | 0:31:40 | |
Crowded, you know, and the cigarette smoke | 0:31:40 | 0:31:42 | |
and all of this stuff, you know. | 0:31:42 | 0:31:45 | |
So it was... I felt quite at home there, actually. | 0:31:45 | 0:31:50 | |
Stan Tracey tells the story of the first rehearsal he remembers with you | 0:31:50 | 0:31:55 | |
when you came in and the band was waiting there. | 0:31:55 | 0:31:57 | |
-And you asked for Prelude To A Kiss, I think. -Mmm-hmm. | 0:31:57 | 0:32:01 | |
And, as Stan remembers it, you played it all afternoon | 0:32:01 | 0:32:04 | |
and then never asked for it at any point on any of the shows. | 0:32:04 | 0:32:08 | |
Is that the way you often rehearse with a band? | 0:32:08 | 0:32:10 | |
Well it's possible because I was probably trying to hear the band | 0:32:10 | 0:32:15 | |
and let them hear me and... | 0:32:15 | 0:32:17 | |
Sort of get an idea of my approach. | 0:32:17 | 0:32:21 | |
A lot more so than actual songs that we would play, | 0:32:21 | 0:32:27 | |
because of course, I like to play in a spontaneous manner. | 0:32:27 | 0:32:30 | |
It's possible that we did that, yeah. Yeah. | 0:32:30 | 0:32:34 | |
'You know there was a lot of people there doing an engagement. | 0:33:48 | 0:33:52 | |
'It was really packed every night. | 0:33:52 | 0:33:54 | |
'And you know, when you play music into a club, | 0:33:54 | 0:34:01 | |
'you know, the music stays in the walls.' | 0:34:01 | 0:34:03 | |
'And when you walk in there you can feel some of the music | 0:34:06 | 0:34:11 | |
'that's been played there for all these years ago.' | 0:34:11 | 0:34:14 | |
'So that night, even though we had stopped playing, the music was still...there, | 0:34:18 | 0:34:25 | |
'everything was still there. You could feel it all there, you know? | 0:34:25 | 0:34:29 | |
'So then I asked Ronnie and Peter, I said, "Look, let me stay down here and I'm going to write some music. | 0:34:29 | 0:34:35 | |
'"I'll be quiet. There won't be anybody here and I can work and the atmosphere's perfect." | 0:34:35 | 0:34:39 | |
'So they said, "OK." And everybody went home and locked the doors. | 0:34:39 | 0:34:45 | |
'And most of the score and the sketching for Alfie was done right in the club.' | 0:34:45 | 0:34:52 | |
'"Are they all like that? | 0:35:25 | 0:35:27 | |
'"Are all who like what? | 0:35:27 | 0:35:29 | |
'"Jazz musicians, do they all inhabit another galaxy? | 0:35:29 | 0:35:32 | |
'"He seems to have a little trouble making contact | 0:35:32 | 0:35:35 | |
'"with life as we know it on the planet Earth. | 0:35:35 | 0:35:38 | |
'"I guess he's got tunes | 0:35:38 | 0:35:40 | |
'"going on in his head all the time. Conversation comes second. | 0:35:40 | 0:35:43 | |
'"That's why he talks in quotations a lot of the time. | 0:35:43 | 0:35:46 | |
'"We all do. All our best lines are nicked from Duke Ellington or Ronnie Scott. | 0:35:46 | 0:35:50 | |
'" 'Have a nice life,' is Ronnie's. 'Love You Madly,' is the Duke's. | 0:35:50 | 0:35:55 | |
'"Music's the real way of speaking. | 0:35:55 | 0:35:57 | |
'"All the rest is just filling in time between gigs. | 0:35:57 | 0:36:01 | |
'"And that's jazz.' | 0:36:01 | 0:36:03 | |
Hello, Dorothy. How are you? | 0:36:21 | 0:36:23 | |
Friday and Saturday at six? | 0:36:23 | 0:36:25 | |
'Misterioso is my first proper, grown-up novel.' | 0:36:31 | 0:36:35 | |
It's also the title of a piece of music by Thelonious Monk. | 0:36:35 | 0:36:38 | |
The novel deals in part with jazz and jazz clubs and that kind of ambience. | 0:36:38 | 0:36:44 | |
And what I've tried to do in writing about jazz, | 0:36:44 | 0:36:48 | |
is to try to crack the riddle of what happens? You know, why... | 0:36:48 | 0:36:51 | |
I think jazz musicians are like writers in the sense that | 0:36:51 | 0:36:56 | |
you don't actually choose to be one, it chooses you. | 0:36:56 | 0:36:59 | |
And having been chosen, you don't really have too much choice. | 0:36:59 | 0:37:03 | |
I think the other thing we have in common is that we're confronted | 0:37:03 | 0:37:08 | |
with the equivalent of a blank sheet of paper. | 0:37:08 | 0:37:10 | |
In our case, in a writer's case, a real blank sheet of paper. | 0:37:10 | 0:37:13 | |
And what I know is, I'm going to write a scene or a group of scenes. | 0:37:13 | 0:37:18 | |
And I know there is a theme which you're going to carry out. | 0:37:18 | 0:37:23 | |
And if you're going to develop over 32 bars, let us say, | 0:37:23 | 0:37:27 | |
but I don't know what the notes are and I'd sit at the typewriter. | 0:37:27 | 0:37:30 | |
And I'd play the notes that developed that theme. | 0:37:30 | 0:37:33 | |
'And as Lester Young used to say, it's about telling a story.' | 0:37:36 | 0:37:39 | |
'In 1965, the club moved to the current plusher and bigger premises | 0:39:02 | 0:39:06 | |
'in Frith Street.' | 0:39:06 | 0:39:08 | |
'Gerrard Street just became too small, you know, if we wanted to do anything at all ambitious. | 0:39:09 | 0:39:14 | |
'I mean, Gerrard Street was the kind of place that you had to pack | 0:39:14 | 0:39:17 | |
'the place every night to pay the rent. | 0:39:17 | 0:39:20 | |
'And very often we were packed and still didn't pay the rent. | 0:39:20 | 0:39:25 | |
'So we had to move to somewhere bigger.' | 0:39:25 | 0:39:27 | |
But the night we opened, I remember there was no electricity here, | 0:39:32 | 0:39:35 | |
or very little electricity. I mean only a few things were connected | 0:39:35 | 0:39:39 | |
like the amplification was connected and that was about all. | 0:39:39 | 0:39:43 | |
-We had candles... -Candles, yeah. | 0:39:43 | 0:39:45 | |
-..on all the tables. -Wires were hanging down all over the place. | 0:39:45 | 0:39:48 | |
It's amazing the GLC then, | 0:39:48 | 0:39:53 | |
passed us to allow us to open, actually. | 0:39:53 | 0:39:56 | |
Yeah. And there was no... There was no distinction between | 0:39:56 | 0:40:00 | |
the gents and the ladies toilets, I remember. Very bohemian. | 0:40:00 | 0:40:04 | |
You know, really very French. | 0:40:04 | 0:40:05 | |
But people took it very well, you know. And it worked. | 0:40:05 | 0:40:09 | |
-Yusef Lateef and Ernestine Anderson... -Anderson we opened with. | 0:40:09 | 0:40:13 | |
-Yeah, that's right. -It was great. Great music. -Very good. | 0:40:13 | 0:40:16 | |
When Buddy Rich came down, you were undergoing some more building work. | 0:40:16 | 0:40:20 | |
What happened then? | 0:40:20 | 0:40:22 | |
We took on the extra part of the club as it is now. | 0:40:22 | 0:40:25 | |
Buddy's band opened and I remember Howard coming down | 0:40:25 | 0:40:29 | |
a couple of days prior to it saying, "Oh, God. We've got to cancel." | 0:40:29 | 0:40:33 | |
"You'll never be open in time," you know. | 0:40:33 | 0:40:35 | |
I remember Buddy saying on the microphone when he opened | 0:40:35 | 0:40:38 | |
that it was the first time he'd ever worked in a garage. | 0:40:38 | 0:40:41 | |
-In a condemned building. -Was it condemned building? Oh, right. | 0:40:42 | 0:40:47 | |
Who put the lights out? All right, West Side. Here we go. | 0:40:47 | 0:40:52 | |
One, two, three, four, five, six, seven, eight. | 0:40:54 | 0:40:58 | |
Believe it or not, ladies and Jews, he's here! | 0:41:20 | 0:41:24 | |
The comic of the century, the legendary...yes! Mel Brooks! | 0:41:24 | 0:41:29 | |
Ha-ha, ha-ha. | 0:41:29 | 0:41:31 | |
Yes, I'm here at Ronnie Scott's because he promised | 0:41:31 | 0:41:35 | |
ten visits here for nothing if I do this cockamamie show. | 0:41:35 | 0:41:40 | |
-You were a drummer... -I was a drummer before I was a comic. | 0:41:40 | 0:41:43 | |
How did you first hear about it? | 0:41:43 | 0:41:44 | |
Ah... I first heard noise coming out of a window in Brighton Court. | 0:41:44 | 0:41:49 | |
Brighton Court, you say? | 0:41:49 | 0:41:51 | |
No-no. Not Brighton by the sea. | 0:41:51 | 0:41:53 | |
Not Brighton Pavilion furniture. | 0:41:53 | 0:41:55 | |
Brighton. Jews! Coney Island! Brooklyn. | 0:41:55 | 0:41:58 | |
Brighton Beach. | 0:41:58 | 0:41:59 | |
'There was a lot of noise coming out of a window. | 0:41:59 | 0:42:01 | |
'I was walking past with my friend Bobby. | 0:42:01 | 0:42:04 | |
'So we looked in the window and there was this Jewish Aborigine | 0:42:04 | 0:42:08 | |
at the drums. Sweat flying, sticks going. | 0:42:08 | 0:42:12 | |
'That was maybe the greatest hour of my life.' | 0:42:12 | 0:42:16 | |
'But Ronnie Scott's, he was great here. | 0:42:19 | 0:42:21 | |
'This is a great room for him. He heard himself properly, you know?' | 0:42:21 | 0:42:25 | |
And he could do very pretty things here | 0:42:25 | 0:42:27 | |
and he didn't have to be too loud, you know? | 0:42:27 | 0:42:29 | |
This is a great place, a great place for Buddy to play. | 0:42:29 | 0:42:32 | |
You made The Producers, which is about bad businessmen | 0:42:32 | 0:42:35 | |
-trying to be good businessmen by a round about route. -Right. | 0:42:35 | 0:42:39 | |
-Do you think... -Do you think that's what Ronnie's doing? | 0:42:39 | 0:42:42 | |
-Well he's often said... -He's making money on his taxes? -No-no I don't think it's like that. -No? | 0:42:42 | 0:42:47 | |
He says it would be a disadvantage to be a good businessman in the jazz business. | 0:42:47 | 0:42:51 | |
-You would be a fool. -If you knew about business you wouldn't bother. | 0:42:51 | 0:42:55 | |
You couldn't break even. Right. Never. | 0:42:55 | 0:42:57 | |
You would never be able to pay the musicians, | 0:42:57 | 0:42:59 | |
the help at the bar, the people who clean up at night, | 0:42:59 | 0:43:04 | |
the waiters, the busboys, the waitress. | 0:43:04 | 0:43:08 | |
You could not... You can't. | 0:43:08 | 0:43:10 | |
Because you can't ask them to pay enough money to cover your nut. | 0:43:10 | 0:43:13 | |
Ever. You can't do it. I mean... It's a losing proposition. | 0:43:13 | 0:43:17 | |
'But Ronnie lives for jazz. He lives for the sound of horns | 0:43:36 | 0:43:40 | |
'and glissandos on keyboards and, I mean, he lives for that. | 0:43:40 | 0:43:43 | |
'I mean he's... He's like I am. | 0:43:43 | 0:43:45 | |
'I mean, he's a Jew freak who cannot live without great jazz music, you know.' | 0:43:45 | 0:43:51 | |
TELEPHONE RINGING | 0:43:51 | 0:43:55 | |
'Good afternoon, Ronnie Scott's.' | 0:43:55 | 0:43:58 | |
'The club is the most peculiar thing. When you're running a... | 0:43:58 | 0:44:01 | |
'When you're running a club for music and not for money, | 0:44:01 | 0:44:07 | |
'you don't set any budgets like normal, sensible businessmen would do. | 0:44:07 | 0:44:13 | |
'You just go ahead and do the thing and somehow or other | 0:44:13 | 0:44:17 | |
'you hope it's going to work, you know. And there were times | 0:44:17 | 0:44:21 | |
'when you thought "Oh, good Lord. I think we might have cracked it this time." | 0:44:21 | 0:44:28 | |
'And no sooner you think that, pop! | 0:44:28 | 0:44:31 | |
'And about six or so years ago we'd gotten very behind with the VAT, | 0:44:31 | 0:44:37 | |
'the PAYE and things like that. | 0:44:37 | 0:44:40 | |
'And it looked as though we were going to have to pack it in.' | 0:44:40 | 0:44:44 | |
I remember when the chains were going to go on the door | 0:44:44 | 0:44:48 | |
and the accountant turned round to Ronnie | 0:44:48 | 0:44:51 | |
and we were having this sort of final crunch meeting. | 0:44:51 | 0:44:53 | |
The accountant said, "Look, you've got to stop." | 0:44:53 | 0:44:56 | |
And Ronnie looked at me and said, "Well, do we stop?" | 0:44:56 | 0:44:59 | |
"Now? What do we do, Pete?" | 0:44:59 | 0:45:00 | |
And I don't know whether it was the horror of not knowing | 0:45:00 | 0:45:05 | |
what was going to happen, it was too late for the self-greed | 0:45:05 | 0:45:09 | |
or whatever it was that made me say it or... | 0:45:09 | 0:45:13 | |
But it was just a gut feeling. | 0:45:13 | 0:45:14 | |
I said, "Look, Ron, we can't stop. We've got to go on." | 0:45:14 | 0:45:17 | |
And Ronnie looked at the accountant and said, "No, we're going on." | 0:45:17 | 0:45:21 | |
Some of the people who came in the club, they were part of the underworld fraternity | 0:45:22 | 0:45:26 | |
-in this district during the years. -Hmm. -Including Albert Dimes. | 0:45:26 | 0:45:30 | |
Well, yeah. Well Albert Dimes was the kind of Godfather, at that time. | 0:45:30 | 0:45:34 | |
And I knew him simply because he was a friend of my father's. | 0:45:34 | 0:45:40 | |
And they used to go racing together, you know. | 0:45:40 | 0:45:44 | |
Um... And when we opened here | 0:45:44 | 0:45:49 | |
he bought us a magnum of champagne. | 0:45:49 | 0:45:53 | |
This was in 1965, he bought us a magnum of champagne. It's over there. | 0:45:53 | 0:45:57 | |
And he said when you're out of debt, open the bottle, you know. | 0:45:57 | 0:46:03 | |
It's still unopened, you know, but I think we may open it shortly. | 0:46:03 | 0:46:08 | |
Or auction it at Sotheby's. | 0:46:08 | 0:46:10 | |
Or just keep it. I think we'll just keep it. | 0:46:11 | 0:46:14 | |
'If you're in the jazz business, you're not going to be a rich man' | 0:46:14 | 0:46:18 | |
'That's not quite the exercise.' | 0:46:18 | 0:46:21 | |
They used to say if the musicians had spent | 0:46:22 | 0:46:24 | |
the same amount of energy and time and study and application | 0:46:24 | 0:46:28 | |
studying accountancy, they'd all be millionaires. | 0:46:28 | 0:46:31 | |
Which I think is probably true. | 0:46:31 | 0:46:33 | |
There's no more dedicated or hard-working person. | 0:46:33 | 0:46:36 | |
Although they would often deny that. | 0:46:36 | 0:46:38 | |
They're the only idealists I've ever come across, as it happens. | 0:46:38 | 0:46:41 | |
'And I know all kinds of writers and actors and politicians. | 0:46:41 | 0:46:45 | |
'I only ever met idealists in the jazz world, nowhere else.' | 0:46:45 | 0:46:49 | |
'Quite good thank you, Prime Minister. | 0:46:49 | 0:46:51 | |
'So shall we press on with affairs?' | 0:46:51 | 0:46:53 | |
'Stuff the affairs of the nation, I want to cook.' | 0:46:53 | 0:46:56 | |
AUDIENCE LAUGHTER | 0:46:56 | 0:46:58 | |
'Malcolm Warren from the Press Office would like a word.' | 0:46:58 | 0:47:01 | |
'Oh, right. Bring him in.' | 0:47:01 | 0:47:03 | |
'Good afternoon, Prime Minister.' | 0:47:04 | 0:47:06 | |
'Good afternoon, Malcolm. I'm expecting the cabinet secretary | 0:47:06 | 0:47:10 | |
'any moment so could you keep this brief?' | 0:47:10 | 0:47:12 | |
I try to keep up to date, but I'm afraid my present job's interfering. | 0:47:12 | 0:47:15 | |
I've become a less regular attender at Ronnie's in the last 12 months. | 0:47:15 | 0:47:20 | |
Once I've got the health service sorted out I shall start coming back. | 0:47:20 | 0:47:24 | |
'But I've wound up debates against John... | 0:47:24 | 0:47:27 | |
'I can't go to sleep when I've wound up a debate, the adrenaline's going. | 0:47:27 | 0:47:31 | |
'And the driver's driven to Ronnie's when I left the house.' | 0:47:31 | 0:47:35 | |
He knew I wasn't going to go home | 0:47:35 | 0:47:36 | |
and I've spent the night unwinding and relaxing. | 0:47:36 | 0:47:39 | |
Hi, have we closed anymore hospitals down? | 0:47:40 | 0:47:42 | |
Not in your patch, but good to see you on neutral ground. | 0:47:42 | 0:47:46 | |
John, we've been talking about interests in jazz and so on. | 0:47:48 | 0:47:51 | |
Now, I'm like Ken. I'd probably like to go to | 0:47:51 | 0:47:54 | |
the second sitting, if you like. | 0:47:54 | 0:47:56 | |
But, they're never the same, first or second, are they? | 0:47:56 | 0:48:00 | |
And you're wondering what you've missed on the first. | 0:48:00 | 0:48:03 | |
So I'm a one for trying to take the two sessions | 0:48:03 | 0:48:05 | |
and join the night people, as Ken refers to them as. | 0:48:05 | 0:48:08 | |
Though I think this is the closest we've ever sat to each other. | 0:48:08 | 0:48:12 | |
Now I'm really asking you this as politicians. | 0:48:12 | 0:48:14 | |
Jazz has traditionally had a rather anarchistic image, | 0:48:14 | 0:48:17 | |
do you think it's losing that? | 0:48:17 | 0:48:19 | |
I don't think it is losing that. | 0:48:19 | 0:48:21 | |
I think the MJQ was saved by having a great vibes player. | 0:48:21 | 0:48:25 | |
Who even in a dinner jacket was still a great vibes player. | 0:48:25 | 0:48:28 | |
But it was never my favourite setting for jazz | 0:48:28 | 0:48:31 | |
and never my favourite group. | 0:48:31 | 0:48:33 | |
And I think, all the time what happened was, | 0:48:33 | 0:48:35 | |
that people who emerge in jazz tend to be, | 0:48:35 | 0:48:38 | |
not exactly alternative society, but they are rebellious. | 0:48:38 | 0:48:42 | |
They're distinctive, they're personal. | 0:48:42 | 0:48:44 | |
It is a very personal music. | 0:48:44 | 0:48:46 | |
And jazz is classless. Jazz isn't classed. You know classical music, | 0:48:46 | 0:48:51 | |
in a way, is part of our social structure of class, quite frankly. | 0:48:51 | 0:48:55 | |
But jazz isn't and it's because of that, people look down on it. | 0:48:55 | 0:48:58 | |
It doesn't get the good opportunity to have it expressed | 0:48:58 | 0:49:01 | |
and that's something we should do more about. Jazz is about rebellion. | 0:49:01 | 0:49:05 | |
We have these young, black players coming out of south London. | 0:49:05 | 0:49:08 | |
I still don't know whether Courtney Pine is as good as they say he is, | 0:49:08 | 0:49:12 | |
I've still never caught him live. | 0:49:12 | 0:49:14 | |
But that is coming out of a slightly alternative background. | 0:49:14 | 0:49:17 | |
I go in the States when I'm over there | 0:49:17 | 0:49:19 | |
and it hasn't become really respectable. | 0:49:19 | 0:49:22 | |
And Ronnie's has become a fashionable place, | 0:49:22 | 0:49:25 | |
but, dare I say it, John and I don't come here | 0:49:25 | 0:49:27 | |
because we think it's become totally respectable. | 0:49:27 | 0:49:30 | |
But you do think that what they're doing here still means something | 0:49:30 | 0:49:34 | |
to people of your age and for generations of jazz players? | 0:49:34 | 0:49:37 | |
Oh, yeah. I really respect what they're doing | 0:49:37 | 0:49:39 | |
because there's no other place like it, you know. | 0:49:39 | 0:49:44 | |
I mean, there's a lot of clubs that are opening now just to make money | 0:49:44 | 0:49:48 | |
out of what Ronnie Scott's is doing which is wrong. | 0:49:48 | 0:49:52 | |
'But Ronnie Scott's, they want to help jazz music, you know.' | 0:49:52 | 0:49:57 | |
'Current young musicians, like teenager Nigel Hitchcock, | 0:50:29 | 0:50:32 | |
'have come up on the crest of the 1980s jazz revival, | 0:50:32 | 0:50:35 | |
'the renewed interest in the music in this decade. | 0:50:35 | 0:50:37 | |
'It's been reflected in clubs, record stores, even advertisements for perfume. | 0:50:37 | 0:50:42 | |
'They brought a new audience to Ronnie Scott's, | 0:50:42 | 0:50:44 | |
'but young fans have also come to hear the surviving jazz giants | 0:50:44 | 0:50:48 | |
'of their parents' or even their grandparents' generation.' | 0:50:48 | 0:50:51 | |
'Of course a lot of other London jazz clubs have been run for love. | 0:51:04 | 0:51:07 | |
'And they've all helped to build a base for this remarkable music | 0:51:07 | 0:51:11 | |
'in a culture sometimes aggressively ignorant of it. | 0:51:11 | 0:51:14 | |
'But Ronnie Scott's enabled British fans and musicians | 0:51:14 | 0:51:17 | |
'to hear the creators and originators of jazz at close range. | 0:51:17 | 0:51:20 | |
'The place isn't always comfortable, the food wouldn't win prizes, | 0:51:20 | 0:51:24 | |
'the staff don't kiss your feet and the backstage ambience | 0:51:24 | 0:51:27 | |
'sometimes reminds you that jazz hasn't yet stopped being a man's world. | 0:51:27 | 0:51:31 | |
'But the club's 30 years of survival has been an achievement against all the odds.' | 0:51:31 | 0:51:35 | |
A place like Ronnie Scott's is the equivalent of so many | 0:51:47 | 0:51:51 | |
different things in classical music. It's a recital hall, | 0:51:51 | 0:51:55 | |
it's a concert hall, it's a place of learning | 0:51:55 | 0:51:58 | |
and it takes...such an important place. And you think, | 0:51:58 | 0:52:02 | |
"How can a club in Soho really be important to creativity | 0:52:02 | 0:52:07 | |
"and the serious artistic aspirations of a country?" | 0:52:07 | 0:52:11 | |
But I think that Ronnie Scott's is. | 0:52:11 | 0:52:13 | |
I think, if you agree with the subsidy of the arts, | 0:52:13 | 0:52:17 | |
that Ronnie Scott's should be subsidised | 0:52:17 | 0:52:19 | |
to the extent that wouldn't spoil it and make it feel... | 0:52:19 | 0:52:22 | |
as if it were on hallowed ground. | 0:52:22 | 0:52:24 | |
But I do feel that the future of a place like Ronnie Scott's, | 0:52:24 | 0:52:28 | |
and there is only one place like Ronnie Scott's, | 0:52:28 | 0:52:31 | |
should be assured. | 0:52:31 | 0:52:33 | |
You list this place in Who's Who as your club. | 0:52:33 | 0:52:36 | |
What is it that's special about it to you? | 0:52:36 | 0:52:39 | |
It's two things. I think A, it's the policy | 0:52:39 | 0:52:42 | |
that for 30 years the policy has been | 0:52:42 | 0:52:46 | |
to build outwards from the music. | 0:52:46 | 0:52:48 | |
And in these days of sort of designer design... | 0:52:48 | 0:52:51 | |
I mean God help us if one of those design consultants got in here. | 0:52:51 | 0:52:55 | |
to advise them on how they're packaging their product and all that, all that stuff. | 0:52:55 | 0:53:00 | |
It would be death. And basically I think I identify with what Ronnie... | 0:53:00 | 0:53:05 | |
Ronnie books the kind of music he likes to listen to | 0:53:05 | 0:53:08 | |
and by the same token I write the same kind of plays I would like to look at. | 0:53:08 | 0:53:12 | |
And that's a very basic, almost primitive, peasant-like attitude. | 0:53:12 | 0:53:15 | |
And that I adore. The fact that music comes first - | 0:53:15 | 0:53:20 | |
it's the only place you could come where the proprietor advises you not to eat the food. | 0:53:20 | 0:53:24 | |
I mean, I love all that stuff. | 0:53:24 | 0:53:26 | |
Plus I love the, the kind of ambience, cos you do come for an ambience | 0:53:26 | 0:53:32 | |
I mean, hence the hat. | 0:53:32 | 0:53:33 | |
Well, one of our kids bought me the hat saying, "You need this hat to go to Ronnie's." | 0:53:33 | 0:53:38 | |
And it reflects a kind of attitude from their generation to my generation | 0:53:38 | 0:53:42 | |
on how they think I should look to come to a place like this, if you see what I mean. | 0:53:42 | 0:53:47 | |
The notion of the... | 0:53:47 | 0:53:50 | |
baggy eyes and a world weary, gently sardonic guy | 0:53:50 | 0:53:57 | |
who would walk down the mean street and not be afraid | 0:53:57 | 0:54:00 | |
because, you know, I've heard the blues at midnight. | 0:54:00 | 0:54:04 | |
Which is absolute bollocks! | 0:54:04 | 0:54:06 | |
But it's amiable, congenial and quite, quite harmless. | 0:54:06 | 0:54:12 | |
I mean what I am is a little bald guy who writes plays. | 0:54:12 | 0:54:15 | |
But I come here and I can enter into another, slightly dream world. | 0:54:15 | 0:54:21 | |
'I mean the one thing that would destroy this place would be | 0:54:37 | 0:54:40 | |
'if you hit a hole in the wall and the sunshine got in. | 0:54:40 | 0:54:43 | |
'And this is not a place for sunshine. | 0:54:43 | 0:54:45 | |
'This is strictly under the stone territory.' | 0:54:45 | 0:54:48 | |
'Yeah, one says, "What's your day job?" | 0:55:02 | 0:55:05 | |
'What do you do during the daytime?' | 0:55:05 | 0:55:08 | |
Well I guess, personally... | 0:55:08 | 0:55:12 | |
..never foresaw it going this time at all. | 0:55:15 | 0:55:18 | |
-And, eh... -Like a prison sentence, really. | 0:55:18 | 0:55:22 | |
-We're just going to go on. -30 years in a jazz club. | 0:55:22 | 0:55:26 | |
Yeah, when we first started we had no ambitions at all, really. | 0:55:27 | 0:55:31 | |
I mean it was just a place for local guys to play. | 0:55:31 | 0:55:35 | |
And here we are 30 years later. | 0:55:36 | 0:55:41 | |
It's now become of world repute... | 0:55:42 | 0:55:46 | |
..and I guess in a way we're very proud of it. | 0:55:47 | 0:55:52 | |
Still employing lots of guys. | 0:55:55 | 0:55:57 | |
Lots of good music coming out. | 0:55:57 | 0:55:59 | |
Yeah, it is amazing, really. | 0:56:03 | 0:56:04 | |
I mean it's much easier to name the people that haven't played, | 0:56:04 | 0:56:09 | |
the musicians that haven't played here, rather than the ones that have. | 0:56:09 | 0:56:13 | |
One we didn't get - Duke Ellington. | 0:56:14 | 0:56:17 | |
No, didn't get Duke, didn't get John Coltrane. | 0:56:17 | 0:56:20 | |
Coltrane, no we never. | 0:56:20 | 0:56:22 | |
-And Charlie Parker. -Charlie Parker. | 0:56:22 | 0:56:24 | |
But there have been some marvellous nights at the place. | 0:56:24 | 0:56:28 | |
Some great nights. | 0:56:28 | 0:56:29 | |
AUDIENCE APPLAUSE | 0:56:29 | 0:56:32 | |
'I must make an apology | 0:56:32 | 0:56:34 | |
'because the only time I sing this song is when I play England. | 0:56:34 | 0:56:39 | |
'It never became a hit anywhere else. | 0:56:39 | 0:56:42 | |
LAUGHTER | 0:56:42 | 0:56:44 | |
# Every time | 0:56:51 | 0:56:55 | |
# We say goodbye | 0:56:55 | 0:57:03 | |
# I cry a little | 0:57:03 | 0:57:08 | |
# Every time | 0:57:08 | 0:57:12 | |
# We say goodbye | 0:57:12 | 0:57:17 | |
# I wonder why a little | 0:57:17 | 0:57:24 | |
# Why the Gods above me | 0:57:24 | 0:57:30 | |
# Who may be | 0:57:30 | 0:57:34 | |
# In the know | 0:57:34 | 0:57:39 | |
# Think | 0:57:39 | 0:57:40 | |
# So little of me | 0:57:40 | 0:57:45 | |
# They allow you | 0:57:45 | 0:57:50 | |
# To go | 0:57:50 | 0:57:55 | |
# When you're near | 0:57:55 | 0:58:01 | |
# There's such a air | 0:58:01 | 0:58:06 | |
# Of Spring about it | 0:58:06 | 0:58:11 | |
# I can hear a lark somewhere | 0:58:11 | 0:58:18 | |
# Begin to sing | 0:58:18 | 0:58:23 | |
# About it | 0:58:23 | 0:58:26 | |
# There's no love song finer | 0:58:26 | 0:58:32 | |
# But how strange the change | 0:58:32 | 0:58:36 | |
# From major to minor | 0:58:36 | 0:58:41 | |
# Every time we say | 0:58:41 | 0:58:49 | |
# Goodbye | 0:58:49 | 0:58:56 | |
# Good-bye. # | 0:58:57 | 0:59:05 | |
APPLAUSE | 0:59:05 | 0:59:08 | |
E-mail [email protected] | 0:59:08 | 0:59:11 |