Harlem
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Text Box: HARLEM  1920/30’s Jazz Orchestra Harlem was founded in 1981 for the creative interpretation of the big band sounds of the 1920s and 30s.  It has regularly featured in festivals, clubs, dancehalls ad theatres throughout Europe, including a long run of performances at London’s Barbican Centre, often in the company of distinguished guest vocalists and instrumentalists. The band’s musical starting point is transcriptions of the recorded performances of the great classic bands like those of Duke Ellington, Benny Carter, Fletcher Henderson, Luis Russell, etc.  Increasingly, though, our own original compositions and arrangements have become a performance feature. As well as club sessions, this band regularly performs three shows written by Paul Munnery, each lasting approximately 2 hours: Harlemania, featuring the clubs of 1920/30s New York, Sweet and Hot, a brief history of jazz, and The Cotton Club Story, the music of the Cotton Club throughout the 20s and 30s.  Find out more about this exciting band from the dedicated web site, www.harlemjazz.co.uk. The musicians John Falloon (trumpet) . . . . . . . . has many years experience of playing big band jazz, reflecting an interest in a wide variety of styles; he was  a founder member of HARLEM’S precursor, the Dud Clews Jazz Orchestra.  For twenty years he has also co-led a quintet, Footprints, appearing with them in concerts, clubs and festivals.  His contribution to HARLEM as section leader, soloist and adviser has been invaluable: his clean, incisive sound provides an ideal lead for the brass section and his wide range of influences make for consistently interesting, thoughtful improvisations. Brian Bates (cornet) . . . . . . . . has led Coventry’s Tierra Buena Jazz Band since 1958 in an unbroken run of Monday night jazz sessions, hosting  along the way Wild Bill Davison, Ken Colyer, Ray Foxley and Sammy Rimington; he now combines this with membership of Rod Chambers’ Louisiana Joymakers and of course, HARLEM, of which he is a founder member.  His unique solo style is hot yet relaxed, marked by an instinctive sense of timing, and reflects his lifelong appreciation of the great New Orleans trumpeters.  Brian is also well known as an accomplished and entertaining singer: his vocals have become a vital ingredient in the band’s repertoire. Tony Davis (trumpet) . . . . . . . . is well known throughout  Britain and Europe, where he has travelled extensively as a long term member of the ever popular Midlands band, the Zenith Hot Stompers.  In recent years he has played festivals and clubs with his own band, the Kaminsky Connection, which he founded in 2002 with singer Judy Eames.  His qualities as an always interesting “hot” soloist and as a tight section player cannot be overstated; his recruitment into Harlem’s ranks in 2002 furnished the band with a uniquely creative voice that is greatly valued. Paul Munnery (trombone) . . . . . . . . has more than forty years experience in the creative interpretation of big band jazz of the 1920/30s.  He was the trombonist with the pioneering Dud Clews Jazz Orchestra for nearly two decades until its demise in 1980, and founded HARLEM the following year.  He also leads a six piece 1930s style band, and has guested in clubs and festivals throughout Britain.  Additionally he has worked extensively with Jeff Barnhart’s British Band, Keith Nichols and various projects relating to the development of “vintage” and mainstream styles.  He’s best known for his robust delivery in the manner of his main influences – Higginbotham, Nanton, Harrison , etc. Bob Caldwell (alto/clarinet) . . . . . . . . is another veteran of the Dud Clews Jazz Orchestra, and a mainstay of several midlands based bands over several decades.  He was a long term member of Bob Oliver’s Hot Seven, and leads his own quartet.  His solo style is suggestive of the more melodic of the 1930’s altoists, e.g. Don Redman, Willie Smith.  He’s furnished HARLEM with several arrangements, including an original (“Waggle Dance”).  Bob combines a busy playing schedule with his role as jazz correspondent for the Coventry Evening Telegraph. John Osbourne (alto/baritone/clarinet) . . . . . . . . served his apprenticeship on the Birmingham scene as a member of several “classic” style bands, including those led by Ken Ingram and the late Chris Williams (the Nighthawks).  For a decade or so he’s played alongside his old school friend, Norman Field, in the latter’s Jazz Wizards.  A founder member of HARLEM, he’s valued especially for his booty baritone solos and for his well developed sense of humour which has taken the heat out of many a potentially calamitous episode on the road. Dave “Spud” Taylor  (tenor/clarinet) . . . . . . . . is a former army bandsman who began playing jazz in the 1950’s; he “retired” from music for a couple of decades, returning with a stormy vengeance in the 1970’s to play with a variety of bands including Brian’s Tierra Buena Jazz Band and Bob Oliver’s Hot Seven.  His hot, fluid performance on tenor saxophone and especially clarinet, reflects a wide range of influences, yet it is very much his own voice which we hear.  Rachel Hayward (banjo/guitar) . . . . . . . . demonstrates her long affection for New Orleans jazz in a clean, uncluttered rhythmic style that never fails to swing a band.  This is reflected in her work with Norman Thatcher, Chris Pearce and with Ken Pye’s Creole Serenaders with whom she’s accompanied Sammy Rimington, Sam Lee, Dan Pawson and Ken Colyer.  Since joining HARLEM and Paul’s smaller band she’s in increasing demand as a guitarist in a variety of bands, including Tony Davis’ Kaminsky Connection. Tony Sharp (double bass) . . .    . . . . is a consummate musician whose mellow tone and mature harmonic skills have commended him to just about every Midlands based band at some time or other over several decades.  He is another recent addition to “Harlem’s “ ranks. Nick Gill – (piano) . . . Nick is the founding father of the Oxford Classic Jazz Band, whose personnel is drawn from a select group of high profile experts in early jazz styles.  Nick’s repertoire covers the whole vintage gamut: ragtime, blues, stride, swing all delivered with great rhythmic and harmonic proficiency.  He is in much demand at festivals all over the country. Nick Ward (drums) . . . . . . . . is in Mike Durham’s words “… arguably the finest vintage-style percussionist in the UK today.”  His skill, drive and especially his unerring good taste have led to appearances with Keith Nichols, the Pasadena Roof Orchestra, Harry Strutters Hot Rhythm Orchestra, the late Ben Cohen the Fryer-Barnhart  International All-stars, Jeff Barnhart’s British Band, and HARLEM, whose performances he has been propelling with style and distinction for many years.  Nick is beyond doubt the first choice as percussionist for any serious project relating to the earlier jazz styles.