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Showing posts with label guitar. Show all posts
Showing posts with label guitar. Show all posts

Sunday, 28 April 2024

Sunday Silliness

Silly Songs With Simple Chords
C and G7 

         Cows in the kitchen, moo moo moo,
         Pigs in the pantry, grunt oink ooh,
         Lambs on the landing, baa baa boo,
         Skip to my Lou my darling.

         There’s a horse in the hallway, neigh neigh neigh,
         A donkey in the doorway, bray bray bray, 
         Ducks and chicks in the chairs all day, 
         Skip to my Lou my darling. 

         Get all these animals out of this place,
         They make a lot of noise, they take a lot of space,
         There’s no room left for me or you,
         Can’t skip to the loo, you can’t get through.  

Wednesday, 27 October 2021

Tuning Gadget

This is my old guitar tuner from the nineteen-seventies. It works by resonance: when an in-tune guitar string is played, the matching part of the tuner will vibrate in sympathy. In the photograph the E indicator on the left is vibrating, showing that the lower E-string is tuned to the correct pitch.

I never used it much. I usually found it easier to tune by ear, by tuning one string against a piano or tuning fork and then resonating the other strings against each other at the fifth fret, or by oscillating the harmonics at the fifth and seventh frets (either you’ll know what I’m talking about or you won’t).  

However, I do now use an electronic tuner which works in much the same way as the older one, by sensing the frequency of vibrations in the wood of the guitar, working out what note it makes and displaying it digitally. Here it shows the lower E-string is slightly sharp, vibrating a little more rapidly than it should. The string needs to be slightly less tight. 

The electronic tuner is better in noisy concert settings when everyone else is trying to tune their instruments at the same time and you can’t hear your own. It is more accurate: with the old tuner you had to judge the indicators by eye. It is also chromatic: it detects and indicates any note in the 12-note chromatic scale (including semitones) whereas the old tuner only picks up the six notes of standard guitar tuning. So you can use it to tune a ukulele which has a C-string, or change your guitar to DADGAD tuning. 

It will measure the pitch of almost anything. Our central heater boiler is an A-sharp. My electronically adjustable standing desk motor is between an E and an F. My beard trimmer seems to be a two-note mixture of C and G. And my nose and ear hair trimmer (ugh!) starts off at E and rises to G-sharp as it picks up speed. I haven’t yet measured Phoebe’s purr, though.

You can even measure your own voice. When you sing or speak it causes your whole skull to resonate, so by clipping the tuner to the end of a ruler held at the other end in your teeth, you can see the frequency. For example, you can test how accurately you can sing a musical scale or arpeggio, such as the C-E-G-C of a C-major chord: 

Not very in my case. Sorry about the horrible noise. Well, you try singing with a ruler clamped between your teeth. That’s my excuse, anyway.

Wednesday, 10 March 2021

Plagiarised

Imitation may be the sincerest form of flattery, but having your writing and research stolen most definitely is not. That’s abuse. It recently happened here. This is what I managed to do about it.

Left: screen grabs from parts of my own page. Right: screen grab from part of the offending page. 


At the beginning of January, I planned a different New Month Old Post from the one I used. It was about a guitar teacher called Eric Kershaw who taught an evening class at Leeds College of Music in the early nineteen-seventies. He had been one of Britain’s top ‘swing era’ guitarists of the nineteen-thirties and -forties, playing in leading bands and West End shows, with his own programme on national radio. His 1946 book, Dance Band Chords for the Guitar, sold an amazing seven and a half million copies. He later became a lecturer in jazz guitar at Leeds College of Music. My post recalled what his class was like and how much I enjoyed it. Much of this was down to Eric’s eccentric brilliance.  

I first posted it on the 1st August 2015, and, in considering re-posting, I looked around to see if any more recent information had come to light. I discovered a page on a WordPress site which, astonishingly, apart from minor re-sequencing, contained over 1,300 verbatim words and two original images from my own post. That goes well beyond “fair use”. I was extremely annoyed. My original piece had taken considerable time and research.

The only contact channel on the site seems to be through comments on an ‘About’ page, so I left a complaint. That was on the 4th January. Comments are moderated, and my comment was not approved. A later comment by someone else on the 8th January was approved, which makes it likely that my comment was seen. I therefore gave fourteen days notice requesting acknowledgement of my material and a link to my page, with a warning that I would otherwise file a copyright claim with WordPress which could result in the whole of the site being shut down.

When this was also ignored, I demanded my material be removed immediately. This is the comment I made on the 22nd January 2021.
You have not responded to my earlier request. You cannot simply steal other people's original content and post it as if it is your own. My piece was published online in August 2015 at https://www.taskerdunham.com/2015/08/eric-kershaws-guitar-class.html   My email address is taskerdunham@btinternet.com   I now require that you remove all my content from your WordPress web site immediately.

WordPress regards breaches of its terms and conditions as a serious issue. They provide a page explaining how to report content that is spam, unsuitable or abusive (https://wordpress.com/support/report-blogs/), and for breaches of copyright they make it easy to submit a Digital Millenium Copyright Act (DMCA) Notice:

If your copyrighted material has been used without your permission and in violation of the law, please submit a formal DMCA notice by following the instructions found here: http://automattic.com/dmca

I completed the form giving details of my site, the offending site, and the material involved:

The copyrighted work is a blog page recalling the copyright holder’s personal memories of a musician called Eric Kershaw. The offending site reproduces this material from Paragraph 6 on the offending page, beginning “In the autumn of 1974  …” Practically the whole of the remainder of the page is a verbatim copy of material which begins at Paragraph 5 of the copyright holder’s page, comprising approximately 1,300 words and 2 original images of music. 

WordPress agreed and it did the trick. This is what the Eric Kershaw page looks like now.

WordPress will have notified the site owner giving the opportunity to challenge the removal. This has not happened to date. I keep checking that my material has not reappeared on the site. If it does, Wordpress would probably remove the site completely. 

Blogger provides a similar way to report offending content at: https://www.blogger.com/report

I have added a copyright notice to my blog using the Attribution gadget in the Layout section. For what good it does, the following now appears at the bottom of every screen:

Original text and images © Tasker Dunham. Copyright will be vigorously defended.

Tuesday, 9 February 2021

Buddy, Can You Spare a Dime?

Brother Can You Spare a Dime sheet music cover

I know I keep going on about the folk band we are in, but here’s a confession: I don’t really like folk music. Well, that does depend on what is meant by folk music. I am certainly no big fan of those relentless jigs and reels played at breakneck speed on fiddles and flutes without any light or shade.

One thing I am a sucker for, though, is the music of what is often called The Great American Songbook: the melodies of Irving Berlin, Jerome Kern, George Gershwin and others, written roughly between 1930 and 1950. They really knew how to get your heart. 

Next time I get chance at our Zoom folk meetings, I’m going to sneak in Brother Can You Spare a Dime on the pretext that the tune is based on a Russian-Jewish lullaby the composer’s mother had sung to him as a child. His family had fled when he was nine to escape the pogroms in what is now northern Poland.

Here is my MuseScore arrangement for guitar and bassoon. The bassoon sounds great. It sounds even better when Mrs. D. plays it for real. 

OK, I’ll shut up about MuseScore now for a couple of months.

Brother Can You Spare a Dime was composed in 1931 by Jay Gorney with lyrics by E. Y. ‘Yip’ Harburg (his middle name was Yipsel). It has been called the anthem of the Great Depression. It asks why honest Americans who served their country building railroads and skyscrapers, ploughing fields and fighting wars, “always there right on the job”, have been abandoned to the bread lines. Some saw it as anti-capitalist propaganda and tried to have it banned. Recordings by Rudy Vallée, Bing Crosby and Al Jolson were massive hits at the time and may have influenced the 1932 election of President F. D. Roosevelt and his ‘New Deal’. 

It is said that when Harburg and Gorney were writing the song they had struggled to find consistent meaning. They went for a walk in New York’s Central Park, where a destitute young man with collar up and hat down approached them and begged: “Buddy, can you spare a dime?” They looked at each other and knew they had their hook and their title. 

Bing Crosby’s version was the most successful. I prefer Rudy Vallée’s – he sticks to the tune whereas Crosby bends it slightly to his own interpretation. But then, I like lots of things by Rudy Vallée. Al Jolson, to my mind, goes too far in that it starts to become more about how dramatically he sings it. The song is supposed to be about fear, grief and anger rather than sadness and loss. We have gone from relentless jigs and reels towards weeping sentimentality, which I don’t like either. However, Jolson does not go as far as George Michael’s more recent makeover. The YouTube video of one of his live performances, in which the audience whistle and cheer every time he sings a long note, just looks and sounds wrong. It might be less unbearable in audio-only. There are well over fifty other recordings, too. 

For those who like lyrics as well as melodies, perhaps to sing as a lullaby to imbue their grandchildren with a sense of social justice, Harburg’s words are powerful and moving. I especially like the line about “Half a million boots...” This is the guy who went on to write the lyrics for The Wizard of Oz including Somewhere Over The Rainbow, who only became a lyricist after the Wall Street Crash put his electrical business into bankruptcy.  


They used to tell me I was building a dream
And so I followed the mob
When there was earth to plough or guns to bear
I was always there right on the job

They used to tell me I was building a dream
With peace and glory ahead
Why should I be standing in line
Just waiting for bread?

Once I built a railroad, I made it run
Made it race against time
Once I built a railroad, now it's done
Brother, can you spare a dime?

Once I built a tower up to the sun
Brick and rivet and lime
Once I built a tower, now it's done
Brother, can you spare a dime?

Once in khaki suits, gee we looked swell
Full of that yankee doodly dum
Half a million boots went sloggin' through hell
And I was the kid with the drum

Oh, say, don't you remember, they called me Al
It was Al all the time
Say, don't you remember, I'm your pal
Buddy, can you spare a dime?
 

In the nineteen-seventies, the New York Times invited Harburg to write more contemporary lyrics. He came up with:

Once we had a Roosevelt
Praise the Lord!
Life had meaning and hope.
Now we're stuck with Nixon, Agnew, Ford,
Brother, can you spare a rope?

Perhaps we need an update for today.

Wednesday, 27 January 2021

Mickey’s Son and Daughter

Gorilla by The Bonzo Dog Band


In January 1971 (fifty years ago!), I went to Westfield College in London for the weekend to a friend’s twenty-first birthday party. Among his records, I noticed Gorilla by the Bonzo Dog Doo-Dah Band, a humorous and quirky group of musicians in which Vivian Stanshall and Neil Innes were the best-known names. It was so entertaining I went out and bought it myself as soon as I got home. Even my dad liked it. One of its most memorable tunes is Mickey’s Son and Daughter.

Records usually get played for time and then put away and forgotten, which is what happened to Gorilla, but years later I heard Mickey’s Son and Daughter again, surprisingly at a ceilidh. The band had started off with Gallopede or some other dance in cut time, but then, as is the practice, they swapped to a second tune which I recognised as Mickey’s Son and Daughter. It fitted unexpectedly well. “The stork has brought a son and daughter to Mister and Missus Mickey Mouse”, I sang along to the future Mrs. D. while simultaneously attempting to impress her with my reeling skills. “It’s by the Bonzo Dog Doo-Dah Band,” I tried to explain.

As mentioned recently, our present-day folk band in which we play guitar and bassoon are currently meeting only through Zoom, and one of the regular agenda items is ‘Tune of the Week’. Anticipating my turn coming up again soon, I started to put Mickey’s Son and Daughter into MuseScore, and searched around for more information.  

Sheet Music - Mickey's Son and Daughter (Lisbona-Connor)

I had always assumed it to be written by Neil Innes or Vivian Stanshall like most of the other tracks on Gorilla, but, no, it wasn’t. It was written in 1935 by songwriters Eddie Lisbona and Tommie Connor, and first recorded by Henry Hall and the BBC Dance Orchestra. Other orchestras, including the Scottish Symphony Orchestra, included it in their Christmas concert programmes that year, drawing complaints in the press that it was not the sort of music leading classical orchestras ought to be playing. Nevertheless, it proved very popular.

Of the composers, Eddie Lisbona wrote dozens of songs for top performers, such as Gently (French Jolie) for Elvis Presley and Petula Clark (1961). Tommie Connor is best known for I Saw Mommy Kissing Santa Claus (1952) and the English lyrics to Lili Marlene (1944). 

The Henry Hall and Bonzo Dog versions are very different. I used ideas from both in putting together this MuseScore version. Here it is arranged for guitar and bassoon with default piano chords. It plays just once without the repeat. 

And to encroach on the territory of Immortal Jukebox, here are the Bonzo Dog and Henry Hall versions, and another recorded for the Woolworth's Crown label by The Rhythm Rascals. 

 

The Rhythm Rascals: Mickey's Son and Daughter

If the above videos do not appear for some reason, then the links are: 


For the record, the full lyrics on the sheet music are:

A million million people are happy, bright and gay,
The bells are ringing the steeple, it’s a public holiday.

All the world is so delighted, and the kids are all excited,
‘Cos the stork has brought a son and daughter to Mister and Missus Mickey Mouse.
All the mayors and corporations, have declared such jubilations,
‘Cos the stork has brought a son and daughter to Mister and Missus Mickey Mouse.

Pluto’s giving a party and before the fun begins,
He’ll present a Gorgonzola to the father of the twins.
Mister Preacher’s eyes are glist’ning, and he’s fixing up a Christ
ning,
‘Cos the stork has brought a son and daughter to Mister and Missus Mickey Mouse.

The news is quickly spreading, the Christening day is near,
The town in happiness is heading to the party of the year.

All the cats and dogs are dancing, and the ‘ole grey mare is prancing,
‘Cos the stork has brought a son and daughter to Mister and Missus Mickey Mouse.
All the cocks are cock-a-doodling, all the lovebirds are canoodling,
‘Cos the stork has brought a son and daughter to Mister and Missus Mickey Mouse.

Pluto’s singing a chorus with the tortoise and the hare,
Clarabelle is in the barn dance with a great big grizzly bear,
All the world is so delighted, come along, you’re all invited,
‘Cos the stork has brought a son and daughter to Mister and Missus Mickey Mouse.

 

The Henry Hall recording has an additional section sung in animal voices. As best as I can make it out (please do let me know if you can get the bits I can’t), it goes:

There
s a crowd around the house of Mister Mickey Mouse
Let’s hear it split the air now lets see who is there
I
m Percy Pig the postman and I bring the telegram
I
m Charlotte Sheep and I have come to see the little lamb
I
m Donald Duck just waiting till my verse I can recite
I
m Henry Horse and I have brought my band to play all night
I
m Gertie Dog the … [cannot make out this line]
I
m Bertie Bleat the donkey, I am a silly ass

But who is this approaching just when all the fun begins
It’s Willy Wolf the wicked man, he’s come to take the twins
(in evil voice) Hello twins. Nice little twins.
(Mickey) Oh save my son and daughter
We
ll spray the sky with water [?]
(wolf) I
ve got more than I ought to
[sounds of a fight]
[cannot make out this line]
The bad old wolf has gone now
And we had to save the son and daughter of Mister and Missus Mickey Mouse. 

CORRECTIONS / ADDITIONS ARE SUGGESTED IN THE COMMENTS BELOW
 

Saturday, 5 December 2020

Come Lasses and Lads to Bangor

Musescore: Come Lasses and Lads to Bangor
MuseScore 3.5

Coronavirus has put paid to our WEA folk ensemble class. We won’t be starting again before spring at the earliest. I say it myself but we are pretty good. That is not because of any contribution I make sitting at the back banging out chords on guitar, but because of our accomplished fiddle, flute, banjo, mandolin, accordion, concertina and bass players, and Mrs. D. who takes her bassoon.  

Before the pandemic, we played concerts and ceilidhs, and carol services at Christmas, usually for charities. The leader got us good gigs. We twice played the ceilidh at the Underneath the Stars festival. We can therefore claim to have been on the same bill as Kate Rusby, The Proclaimers and Billy Bragg. Actually, we were on at the same time as the Proclaimers but people still walked 500 yards to fall down at our door.

Will we have ceilidhs again? All that clapping together, hand-to-hand chaining and swinging your different partners means that what one person has, everyone has by the end of the night. Then there is the puffing and panting, and laughing and shouting in loud voices, so the members of the band get it as well. Then, the wind players blow it back all over the dancers and non-dancers alike to ensure that no one escapes at all. If I was a coronavirus I would love ceilidhs.

So gigs and practice are off. Since March we have been meeting through Zoom. The problem with that is that the sound from different participants does not synchronise, and there are also volume discrepancies and other issues, so we cannot play all together. 

Zoom meetings are therefore divided into sections. We have a ‘Tune of the Week’ where someone introduces a new piece and plays it, and then we all play it again with everyone muted except the person whose tune it is. We have a ‘YouTube Clip of the Week’ which someone selects and introduces. We have a section where someone plays a new tune several times and the rest of us have to try to pick it up without any clues, even as to which key it is in, which is quite difficult. We have guest players: Northumbrian pipes and the hurdy-gurdy being amongst the most unusual things we’ve had. And we discuss everything.

A few weeks ago, I was ‘Tune of the Week’. Out came the nineteen-thirties News Chronicle Song Book (the topic of a recent post) and it fell open at the seventeenth century English air Come Lasses and Lads. So that it was. I played it through a few times to make sure I could, but then, overnight in my head, it transformed itself into Day Trip to Bangor, the one-hit wonder for Fiddler’s Dram in 1979. The two tunes are rather similar in places.  

We share music scores through MuseScore (pictured above), an amazing piece of software, especially as it is free. It does almost everything you could want, including scores for multiple instruments, chords, transpositions, different key and time signatures, and so on. It will also play them. But it is quite complex (because music is complex) and takes time to learn (although it is not the most difficult software I have used – 3D imaging is a level above.)

I put Come Lasses and Lads note-by-note into MuseScore (the free version does not yet do sheet music capture). I plucked out a bass line from the piano chord accompaniment and added and arranged Day Trip to Bangor by ear. Here to give everyone a severe dose of the rum-tee-tum-tees – the musical equivalent of coronavirus – is Come Lasses and Lads to Bangor, played by MuseScore, voiced for guitar and bassoon, with default piano chord accompaniment. 

Of course, at the Zoom meeting Mrs. D. and I had to play it ourselves. Let’s just say we got away with it. 

A couple of additional thoughts:

I don’t believe I heard the term “ceilidh” until around 1980. Before that they were “country dances” or “barn dances”. My mother used to go “old-time dancing” in a church hall. At school, we danced these dances from six to sixteen, which stood me in such good stead that when I later joined a social group which organised several “ceilidhs” a year, the future Mrs. D. was so impressed by my Gay Gordons that she married me. 

You might also ask whether the bassoon is really a folk instrument. Perhaps it is slightly unusual, but eighteenth and nineteenth century village bands often included a serpent which sounds at a similar pitch (think Thomas Hardy). And what did they have in Fiddler’s Dram? Drowned out by the rather strident voice of the lead singer was a bassoon. 


Tuesday, 20 October 2020

The Song Book

If by chance I loose this book 
If by chance you find it 
Remember Kathleen is my name 
And Clayton comes behind it. 
 
The News Chronicle Song Book 1931
 
Around 1960, my father came home with a copy of The News Chronicle Song Book given to him by an acquaintance who lived in the East Riding village of Asselby. It was in a terrible state, but he stuck it back together and fitted a brown paper jacket on which he wrote: “This book was paper backed and repaired on a wet Thursday afternoon February 25th 1960 by [him, me and my brother]”. A father on his half-day off keeping his two children occupied during school half-term.
 
The introduction suggests:
Singing together is a form of amusement and delight. It is a glorious way in which we can, in large bodies, express something which we could not tell in any other way. But the love for Community Singing should be started and finished in the home. … With this Song Book the “News-Chronicle” hopes to encourage and bring back singing in our home. The Community Singing will take care of itself.
I wholeheartedly agree but have never been much of a community singer. Despite a good sense of pitch, I find it difficult to hear my own voice in groups. At home, though, yes. What fun it gave us. No one played an instrument, we just turned the pages and sang. 
 
The cover gives an idea of what it contains. Looking again now turns up some great favourites: 
  • Dashing Away With a Smoothing Iron 
  • Come Lasses and Lads 
  • Billy Boy 
  • David of the White Rock 
  • Ye Banks and Braes
  • Marching Through Georgia 
  • Camptown Races 
  • Go Down Moses 
  • A Roving 
  • Eternal Father 
  • O Come, All Ye Faithful 

Wow! How long a list can get I away with? All two hundred? I feel a sing-song coming on. 

‘Twas on a Monday morning … me Nancy kittl’d me fancy … doo-dah doo-dah … to trip it up and down … tell old Pharoah to … bring me the harp I adore … I’ll go no more a roving … in peril on the sea. 

                                                *                          *                          *
 
We have a tape recording from 1963 of one of my dad’s unselfconscious performances. His granddad had been a sea captain which, he said, conferred upon him an inherited natural aptitude in the delivery and interpretation of sea shanties. 
 
“And now from my sea shanty series,” he announces, his tongue in a twist, “the old song book page one hundred and twenty four: Bound for the Rio Grande.”
 
Two children mutter and snigger in the background. 
 
“One moment please.” 
 
Struggling to keep a serious demeanour and in tune, he begins to sing: “I’ll sing you a song of the fish of the sea ...” 
 
That must be one of the daftest opening lines of any song, ever, and it defeats him. A hesitant pause is followed by a total breakdown into helpless laughter. All three of us. 
 
 
I suppose the lyrics of some of these songs are questionable these days, but not as questionable as the lyrics we used to sing on guitar nights in Leeds where I lived after leaving school, where familiarity with these songs gave me malign influence. Imagine four twenty-ish-year-old lads in a shared house with guitars and bottles of beer.  
 
Tavern in the Town became a song about the television rent collector who was a creep, and what he did with sheep. So did Camptown Races with the “doo-dah”s changed to “dildo”s. They are stuck in my head forever, and, of course, unrepeatable. Except for the one to the tune of The Ball of Kirrimuir about the owner of the house who knew we would never do any cleaning so did it all himself in return for us doing his washing up: 
Dave does all the cleaning, and that’s a job he hates, 
And so to appease him we have to wash the plates. 
… possibly the only case where our version was less deplorable than the original (although you won’t find any such words in the book). 
 
The News Chronicle Song Book 1931

The book has given sixty years of pleasure and continues to do so (perhaps that’s for a later post), more than twice as long as the original owner assuming she got it new when published in 1931. Who was she, I often wondered, the girl who misspelt “lose”? I never thought to ask. The wonders of internet genealogy reveal she was born in 1924, married someone called Roantree in 1951, moved in later life to Bridlington and died in 2010. By the time her book passed to us, she had three children of her own. I never knew them despite being of similar age and from the same area. She must have written the inscription in the nineteen-thirties. Did she ever think of it again? 
 
I don’t know if anything remains of Sycamore Farm. All I remember of Asselby is a village on a road to nowhere, on a tongue of heavy mudstone between the confluence of the Rivers Ouse and Derwent, where there was once an awkward bend through a disused railway crossing. I went once or twice to the Black Swan pub there but preferred the Kings Head at the end of the road in Barmby-on-the-Marsh. They had a better dartboard.
 

Saturday, 18 July 2020

Twelve Bar Blues

In 1965, Paul McCartney awoke with a lovely melody in his head. He hurried to the piano so as not to forget it, and came up with these words:
Scrambled eggs,
Oh my baby how I love your legs,
Not as much as I like scrambled eggs,
We should eat some scrambled eggs.
Like many dabblers with musical instruments, I too occasionally wake up with a tune in my head. Sometimes they might even be original. And sometimes there are words. Out of the fertile depths of my own imagination have emerged such timeless classics as: Sitting In Bed With A Cold, I Can’t Sing Very Well and She Was Only A Chartered Accountant’s Daughter. I contend they are every bit as good as Scrambled Eggs. If only Paul McCartney had left things as they were I might have been up there with the greatest songwriters in the world. Unfortunately he had to spoil it by waking up another morning with a completely new title and set of lyrics for his tune: Yesterday.

I am probably going to get into trouble for this, but I woke up one morning with a fully formed set of twelve-bar blues lyrics in my head. The idea seems so obvious it cannot be original, yet there appears to be nothing like it on the internet. Gender stereotyping it certainly is, possibly sexist as well, but if it is offensive then please re-educate me. Otherwise, could someone tell me where it came from? It is not autobiographical.


[hackneyed riff to begin:]

I’m in a house full of women, a house full of women and me
I’m in a house full of women, a house full of women and me
There’s her mother, my woman, three daughters, the maid and me 
[hackneyed riff]

I’m in a house full of women, where do you think that puts me?
I’m in a house full of women, a house with a hierarchy
There’s her mother, my woman, three daughters, the maid, the dog and me
[spoken: “don’t even beat the dog”]

Went down to the pub
Came home to my bed
The lights were out
The door was locked
Now I’m sleepin’ in the shed

I’m in a house full of women, a house where I always lose
I’m in a house full of women, a house where I don’t get to chose  
Can’t leave the seat up, drink whisky, smoke, fart, swear or play the blues.
[hackneyed end riff]

Thursday, 9 April 2020

Instruments

Piano, 'toy' xylophone and tenor guitar

How many musical instruments are there in your house?

It came up in conversation a few weeks ago at the orchestra where Mrs D plays bassoon. Some answers were truly astonishing.

Our answer is 29. That surprised us but it is nowhere near as many as some. At the folk band I’m in, one chap, let’s call him Clive, could probably outdo them all. He spends every spare moment attending residential workshops of one kind or another, for ever having just come back from a few days playing Dixie banjo or resonator slide guitar, or making Bodhráns, or something similarly esoteric. He keeps bringing along his latest instrument to show us. You get the impression he could single-handedly equip an attempt on the world record for the largest ceilidh band (at present 288). 

To get to our 29, I have counted anything capable of playing a simple melody in tune with other instruments. It is boosted by the kids’ instruments that are still here as they haven’t really left yet. Son takes after mum and did grades in piano and violin. Daughter is more of a dabbler like me but can get a tune out of almost anything.

Piano
Electronic Keyboard
Trombone
Bassoon
Son’s violin
Daughter’s violin
Clarinet (Buffet B12)
Clarinet (Selmer Signet)
Epiphone jumbo acoustic guitar
Teisco Tremo Twenty electric guitar
Ashbury electro-acoustic tenor guitar
Tanglewood electro-acoustic guitar
Nylon stringed acoustic guitar
Mandolin
Soprano ukulele
Baritone ukulele
Single octave ‘toy’ xylophone in D
Chromatic harmonica
Ocarina
Tenor recorder
Alto recorder
6 descant recorders
Penny whistle
Set of ‘toy’ plastic whistles in C

The Cramer upright piano (pictured), from my wife’s childhood, is the oldest, followed by the electric guitar acquired for £10 from a friend of my brother around 1972, but it still plays. The bassoon is next, then my Epiphone acoustic guitar from Kitchen’s music shop in Leeds around 1975. I still have the receipt for the Buffet clarinet for £237.58 dated the 14th March, 1990. Except for some of the recorders, the others are mostly less than twenty years old. The four-string GDAE tenor guitar (also pictured above) is newest, bought this year. I am still too much in denial to admit how much it cost.

We have, between us, also had other harmonicas, bassoons, violins and guitars, including an electric bass lost many years ago during a house move. It seems only yesterday I was pretending to be able to do an A-chord on my first guitar (a metal stringed Sheltone) around 1965. It wasn’t an easy guitar to play, but it strengthened my hands and toughened the ends of my fingers.

Thursday, 13 June 2019

Rather a studious kind of boy

A few years ago I contributed to a book about the firm where my father used to work. Recounting people and incidents over the phone I was told: “I remember you as being rather a studious kind of boy”.

I suppose that’s right. I was too timid to join football, rugby or cricket teams and rarely participated in any other sports. I read a lot, played and listed to music and spent possibly too much time on my own.

It occurs to me that, as they age, those sporty people who played highly physical team games can no longer do so. Some manage to keep up club and racquet games for a while, and others take up the likes of bowls and walking football, etc., but eventually even these can become too much. Readers, writers, musicians and creative people, on the other hand, can keep going until they lose their marbles, or even longer.

I’m glad to have been rather a studious kind of boy.

Saturday, 15 December 2018

Not The Best Policy

This year’s Christmas story is a tale of deception gone wrong, from the early nineteen-seventies.

Oxford Dictionary of Quotations
“You idiots, you scoundrels, you rogues and vagabonds! Be sure thy sin will find thee out!”

Brendan’s impression was spot-on. It was as if Grimston Stewart was right there in the room with you spouting his pretentious, second-hand drivel. It was all there: the rhythms, the cadences, the clipped intonation, the rolled ‘r’, the arrogance.

“You riff-raff! You ne’er do wells! You scum of the earth!  ...”

Brendan could stretch and twist his face to look as silly and pompous as Grimston too, with all the quirks and mannerisms you didn’t notice until pointed out. You could imagine Grimston in his Noel Coward dressing gown, posturing like some vain intellectual exhibitionist: Oscar Wilde or Aubrey Beardsley, perhaps. The only thing missing was the long cigarette holder.

“I shall not dull my palm with felony. Honesty is the best policy.”

Grimston was a fake. He would have you believe his clever quips and jibes were his own invention, but we knew he got them from a dictionary of quotations hidden in his room. Nick, the other member of our shared house, had a theory he was really called Stuart Grimston but had changed it to Grimston Stewart to sound more impressive. I thought Grimston sounded like a dog’s name. At least it wasn’t hyphenated – not yet.

Whatever his name, we were making the most of his absence. Grimston had left for a winter holiday with wealthy friends, and the shared house was less censorious without him; and noisier. We could stay up late drinking and smoking, playing our guitars, singing vulgar songs, having beer-mat fights and shouting foul language at each other. We could leave the lights on, bottles all over the floor, bins overflowing, the toilet filthy, crumbs on the kitchen table and the sink full of dirty plates, like “the dunghill kind who delight in filth and foul incontinence.” House sharing works best when everyone is compatible, but Grimston, some kind of accountant, did not fit in, the wayward liberals we were. There is always one.

His absence was fortuitous because the scheme Nick had conceived would have sent him into a torrent of protest, with or without acknowledgement to the Bible, Shakespeare and other luminaries from his dictionary of quotations.

“We shall find ourselves dishonourable graves,” mimicked Brendan. 

“Hasn’t anyone thought of this before?” I wondered. “Three hundred quid each just for telling a few stories! It seems so easy.”

“It is,” Nick reassured us, “as long as we think it through properly and don’t say anything stupid ...”

“Les absents ont toujours tort.”

“... like that!”

It certainly seemed a fascinating idea. For Nick, it was a project – an intellectual exercise with a profitable conclusion. Brendan just liked the thought of the money.

Nick went through it again. We were to hide all our valuables in his lock-up garage, disarray the house to give the appearance of a break-in, go back home to our parents for Christmas, and on our return report the burglary to the police and make an ‘authentic’ insurance claim for the loss of our possessions. We congratulated ourselves on the ingenuity. It was so simple – the perfect crime.

We ransacked the house according to plan, broke open the cellar window, forced the locks on our room doors and decanted the contents of drawers and cupboards on to the floor. Late at night we discreetly packed our possessions into Nick’s car and transferred them to the seclusion of his garage: our guitars, my hi-fi, Nick’s bicycle and Brendan’s camera. No one saw us at all.

Back at the house, elated, phase one complete, a big bottle of Strongbow each, we rehearsed our interview with the police.

“Now tell me again,” said Brendan in his best Chief Inspector Barlow voice, “where did you say you were at the time of the break-in?”

“Er – staying with my parents,” I replied unconvincingly.

“I see. Do you have insurance?”

“Yes, thank goodness.”

“It’s an insurance fiddle isn’t it?”

“No, I was away visiting ...”

“Don’t lie to me you piece of filth.”

“Honest! It’s true. I really was ...”

Brendan switched into his Grimston Stewart voice.

“Honest implies a lie. Isn’t that right Chief Inspector Barlow?”

I only hoped the investigator assigned to our case lacked the analytical aggression of television’s Detective Chief Inspector Barlow.

Suddenly I realised we had overlooked one important point, the one critical mistake.

“How do we explain why our rooms have been burgled, but not Grimston’s?”

Nick and Brendan were taken aback. How could we have forgotten that? Either we had really to break into Grimston’s room and steal his stuff, or we had to invite him to join in the scheme. The first seemed a whole level of dishonesty higher than insurance fraud. The second was out of the question, Grimston would never participate.

We stood outside Grimston’s door.

“I am no petty villain,” preached his voice. “You must reinstate the status quo and make good the damage, or I shall report you to Her Majesty’s Constabulary.”

“Shut up Brendan,” I said. “It’s not funny.”

I kicked at Grimston’s door in disgust and turned away, only to turn back on Nick’s gasp. It had not been locked. The door had swung open.

“That’s not like him,” said Brendan, for once using his own voice.

Nick disappeared into the room and quickly identified the reason for the lax security. Grimston had taken most of his things with him. Typical! He trusted no one. All we had to do was tip the remaining contents of his drawers and cupboards on to the floor to give the appearance of a search. There was nothing anyone would have wanted to pinch, but Grimston would believe we really had been burgled.

In one drawer we found the notorious dictionary of quotations. Nick picked it up.

“I think this will have to be stolen,” he said triumphantly.

The plan was exceeding expectations. Not only would Grimston be speechless when he found out about the burglary, he would not be able to look up anything to say about it either.

We could now put phase two into action. The three of us went home for Christmas to secure Barlow-proof alibis. Grimston, returning from holiday, was first back, and went to the phone box to report the crime to “Her Majesty’s Constabulary”. When I got back a bored, solitary policeman was wandering around. I passed off my anxiety as distress. We had to answer one or two simple questions, none of them unexpected. Next day a fingerprint man visited and went through the motions of dusting a powdery mess of graphite on doors, windows, mirrors and drawer handles, but left without finding anything sufficiently well-defined for evidence. We submitted our insurance claim. Grimston even claimed for the loss of his silly dictionary. Well, he had been the one to insist we took out insurance in the first place.

The total value was impressive. The insurance company wanted to see receipts for the most expensive things. We each had a stereo and records, and I had a tape-deck as well. Guitars, fan heaters, cameras, slide projectors, electric toasters, books, clothing, the house television set and Nick’s bicycle brought the total claim to nine hundred and thirteen pounds, over three hundred each after Grimston’s miniscule claim.

And there was a bonus. Within a week Grimston had left. The area was “a den of iniquity unfit for habitation by righteous souls”. There would be no one to ask awkward questions as to how we had recovered our possessions when the time came to move them back.

Luckily, we did not retrieve them immediately. A few days later a detective constable visited the crime scene.

“It’s a good job you were insured,” he said. “There have been a lot of break-ins in this area recently. I have to say that unfortunately there is very little chance of recovering your possessions.”

Afterwards, we judged it safe to go for our things.

Nick had not been to the garage since the day of the ‘crime’. There wasn’t room for his car and in any case, he was worried someone might see inside and become suspicious. So we were already a little apprehensive when we drove round under cover of darkness. Nick turned off his lights and opened the door. It was difficult to see but I knew something was wrong. Nick felt it too.

Nick returned to the car and flashed the lights, flashed them again, and then put them on full beam. The garage was empty. A broken panel at the rear told us what had happened.

Brendan spoke first, in his own voice.

“The world’s full of bloody criminals. We can’t even claim on insurance ’cos we already have.”

I could see Nick’s thoughtful face in the headlights, and then it was he, not Brendan, who began to speak in quotations.

“Our worldly goods are gone away,” he declared. “We are wounded for our transgressions, bruised for our iniquities.”

Things were worse than I thought. In that awful moment I realised what had happened to that ridiculous dictionary of quotations.

Monday, 15 February 2016

Recording Artiste

Tasker Dunham reprises his Akai 4000DS tape recorder, Teisco MJ-2 Tremo Twenty guitar and 1970s multi-track guitar recordings

Well, who didn’t want to be a rock recording artiste in the early 1970s? They were stalked by groupies and earned a fortune. Rock music was still proper music, and posers who were more interested in what they looked like than how they sounded were still a minority.

Sadly, my own career as a rock musician progressed no further than the occasional front-room jam session with friends, and most of the time it was just me on my own in my bedroom. But with the help of my Akai 4000DS I did make some recordings. And you can hear them here. What a treat! Or maybe not.

Akai 4000DS

A year or two after upgrading my record player to hi-fi with a Heathkit AD-27, I began to think about getting a stereo tape deck. There was a lot in the press about the Akai 4000DS, and on seeing one in a York shop window I decided that was it. It took some time to save up. I eventually bought one in February, 1975, from Comet, Leeds, for £94.50. I still have it with its original box, and it still works when I have the urge to get it out just one last time. With it I bought a pair of first-rate AKG K160 stereo headphones. The documents at the end of this piece were at the bottom of the Akai box.

Overnight, I became one of the most active borrowers from the music section of Leeds Central Library which then consisted almost entirely of vinyl LPs. Naturally, most of what I borrowed I taped. The Akai sound quality came near to that of the original records, and easily outperformed the audio cassettes and soon-to-be-obsolete stereo audio cartridges that most people were using then. Perhaps the main disadvantage of reel-to-reel was lack of convenience. The spools of magnetic tape could be awkward to load and manipulate, and could never be played in a car. But what they lost in convenience they gained in quality. Even when audio cassette players were enhanced by Dolby Noise Reduction to reduce tape-hiss, the 4000DS was still superior. Akai did in due course pay lip service to market fashion by bringing out its own Dolby model, the 4000DB, but it seemed unnecessary.

In the record library, I chanced upon lots of lesser-known recordings – serendipitous discovery tends not to happen these days with online sources. Among the most memorable were recordings by Eric Kershaw, the subject of an earlier post, and Laura Nyro. I became fascinated by Laura Nyro’s multi-layer recordings in which she sang all her own harmonies.* I wanted to try it myself – not necessarily the singing but the multi-track recording.

Laura Nyro of course had a state-of-the-art recording studio which was beyond me, but I did have a newly-bought Akai 4000DS. Among its facilities were tape dubbing, sound mixing, sound-on-sound and sound-with-sound recording, which allowed you to mix and merge two tracks at a time.

Teisco Tremo Twenty MJ-2 E-200
Now, let’s be absolutely clear about this. Nothing of my own unoriginal music, insensitive compositions, bad timekeeping or clumsy performances are in any way comparable to Laura Nyro, but I did manage to put together several pieces, and in recent years digitised them to YouTube. So now, the nearest I’ll ever get to being a rock star with a recording contract, I am going to post them here.

The guitar in the recordings, incidentally, is a nineteen-sixties Tremo Twenty, also sold as the Teisco MJ-2 or E-200. Until I got it out of its original stiff canvas/cardboard case to photograph for here and looked it up, I had no idea that, despite being pretty basic, the Tremo Twenty version is fairly rare. One collector states he knows of only three still in existence, one in a museum in Switzerland. Well mine makes four. It might originally have come from Woolworths, but I bought it second hand from a friend of my brother for £10. It no longer has the original knobs because I had to replace the pots, and is a bit worn and battered now and unflatteringly adorned with forty year old stickers and transfers, but it still plays.**

First efforts were simple two-part chord and melody improvisations mainly around Beatles’ songs, followed by three-part pieces which involved laying down a bass line first. In places these improvise some way from the original melodies. I also attempted a Bach Two-Part Invention from some piano music left in the rented house I lived in. There are a couple of my own tunes I later reworked with music software. Except for one short example, I will spare you me singing.

Here is the list of recordings:

  • Here, There and Everywhere  (chords and melody with some planned improvisation)
  • Yesterday  (chords and melody with some planned improvisation)
  • It’s Only Love  (bass, chords and melody with some planned improvisation)
  • You’re Going To Lose That Girl  (bass and chords with planned improvisation)
  • No Reply  (bass and chords with planned improvisation)
  • J S Bach Two-Part Invention #1, in C Major  (two melody lines) This is a long way from perfect but I was fairly satisfied with it at the time, despite one or two slight synchronisation problems in the recording.
  • Improvisation to an unknown piece (chords with truly improvised melody). I wish I could still improvise lead guitar parts on the spur of the moment as in parts of this. Most of the above were pre-planned, but this wasn’t.
  • Red Mini Van (own composition: three-part bass-chords-melody jazz piece)
  • Walk With Ladies (own composition: three-part bass, chords and melody, followed by a section reworked more recently with music software)
  • Blue (own composition: three-part bass, chords and melody, followed by a section reworked more recently with music software)
  • Not Good Enough (also called Impress - own composition: bass and chords with two voice parts - oh dear!)

Leak 3200 tuner-amplifier and Wharfedale Glendale XP3 speakers
Leak 3200 tuner-amplifier and Wharfedale Glendale XP3 speakers

The 4000DS was not my last piece of expensive hi-fi equipment. When at last I got to university in 1977, I expected to have to self-fund the first term due to a previous grant for four months at teacher training college. Surprisingly, I was awarded a full grant, so the money I had saved went on hi-fi equipment and a holiday. My dad had commandeered my earlier Heathkit stereo to play his Bing Crosby records, so I bought a new system for university: a Leak 3200 tuner-amplifier and a pair of Wharfedale Glendale XP3 speakers. I later added a Sansui SR-222 turntable and a Sharp RT-10 cassette deck.

In total, the tape decks, headphones, tuner-amp, turntable and speakers came to roughly £500, which is today’s inflation-adjusted equivalent of about £2,800, and possibly half as much again in terms of earnings growth. Not bad for a university student. Reckless perhaps, but not as reckless as the risk of blowing it by feeding an electric guitar through it.


POSTSCRIPT: I contacted the owner of the website MIJ_60s_Guitars who responded “That is one rare guitar. It’s the first real Teisco I have seen with that logo. And the first surf green MJ-2L guitar as well. So I was double excited to see it. I have one like this that is copper brown, but Teisco brand. It is still the only copper brown one I’ve seen. But any surf green Teisco is really rare.”

** If you want to hear an MJ-2 played well, take a look at this. Bear with it for a couple of minutes - he starts with the chords to the Beatles Day In The Life before he really gets going. 

* Laura Nyro (1947-1997) is not especially well known, but she was a major influence upon a whole catalogue of distinctive and original artistes. Elton John described her as one of the most important, overlooked performer/songwriters. I was knocked for six by the genius and originality of the first of her records I borrowed from the library, Christmas and the Beads of Sweat, and by the energy of the next, Eli and the Thirteenth Confession. She rarely performed live; her forte (perhaps in both senses of the word) was the recording studio where she layed down impressive multiple layers of sound, singing all the harmonies herself. Eli’s Comin’ illustrates this brilliantly. 

There is an identical instrument, same colour, same instrument number, but much cleaner, pictured a couple of scrolls down at http://www.jedistar.com/jedistar_vintage_guitar_dating_t3.htm.   Here are close ups of my own logo and instrument number:
Teisco Tremo Twenty MJ-2 E-200

Instruction booklet covers and receipts:


Images: 

Instruction booklets: Akai 4000DS, Leak 3200, Wharfedale XP, Sansui SR-222, Sharp RT-10


Saturday, 1 August 2015

Eric Kershaw's Guitar Class

Memories of a guitar class run by one of Britain's top swing-era guitarists.

Once upon a time, there were so many local authority evening classes it was hard to know which to take. There was an enormous choice of crafts, arts, sports, languages and examination subjects, but you had to make up your mind and enrol promptly or you would find your preferences full to capacity. From the nineteen-seventies to the nineteen-nineties, I brushed up my French, learned to recognise wild plants, studied the history of the cinema, explored my family history, played clarinet badly in an orchestra, tried to improve my writing skills (I know, it doesn’t show), and grazed my knees on a climbing wall in preparation for a scary weekend up rock faces in Borrowdale. I even retook my ‘A’ levels.

But if you look now, the informal classes once enjoyed by so many have closed. There are hardly any on offer at all. They began to disappear around ten years ago after a government “consultation” concluded (ignoring their popularity) that publicly subsidised evening classes were no longer needed because of alternatives such as television, libraries, the National Trust, English Heritage, museums, art galleries, the internet and the University of the Third Age. Funding was diverted into basic skills training for the unemployed: numeracy, literacy, information technology and work-based courses. The only publicly funded classes were to be those that led to approved qualifications. By 2008 over a million places had been axed.

Sue Blackmore summed it up in the Guardian in 2009 after a disappointing experience at a sculpture class. All that she and the other participants wanted was, unsurprisingly, “to do some sculpture.” The friendly young teacher would have been delighted to oblige, but no, to be funded the course had to lead towards a BTEC (Business and Technology Education Council) ONC (Ordinary National Certificate) qualification. It was bogged down in the blinkered bureaucracy of today’s educational ideology: aims, objectives and personal learning goals. The whole of the first term was taken up in putting together a portfolio of design investigations to achieve twelve learning outcomes, such as being able to “discuss and develop ideas with the advice of your tutor”,  and “identify potential hazards in the craft room”.  And all they had wanted was to do some sculpture!

Leeds College of Music, Woodhouse Lane 1990s
Leeds College of Music, Woodhouse Lane, around 1990

Thank goodness none of this claptrap was around in the autumn of 1974 when all I wanted to do was to learn to play guitar a bit better. I went along to Leeds College of Music on Woodhouse Lane and, unsure of which course to do, was steered by the enrolment clerk towards “the one with Eric Kershaw, the guitar book author.” I’d never heard of him, but she said his name with such reverence I signed up there and then.

Eric Kershaw (1916-1983), I soon discovered, was one of the top guitarists in Britain during the nineteen-thirties and nineteen-forties ‘swing’ era. Before the war, “Eric Kershaw and his Rhythmic Guitars” appeared regularly on the B.B.C. National and Northern radio stations, and later he played in the leading bands of Jack Parnell and Cyril Stapleton, and in countless West End shows. However, he was best known for his internationally best selling book ‘Dance Band Chords for the Guitar’ first published in 1946, which had sold an amazing seven and a half million copies. He had been appointed lecturer in plectrum and jazz guitar at Leeds College of Music in 1970, a post he held until his retirement in 1981.

Eric Kershaw: Dance Band Chords

The evening class was superb. For much of the time we played through his arrangement of around a hundred popular songs from the thirties, forties and fifties which he had put together as a medley. It began with ‘Just You, Just Me’ and ended aptly with ‘The Song Is Ended’. There were separate bass, rhythm and “stave solo” parts for which he had written out the music by hand. He had then made cyclostyled (‘Gestetnered’) copies collated into books concertinaed together with sellotape.

“Look after these and don’t walk off with ‘em,” he warned as he handed them out, “you’ve got no idea how long it takes to stick ‘em all together.” We were allowed to take them home, but he wanted them back at the end of the course.

Most of us played from the solo part because Eric persuaded us we needed to learn to read music. He played the rhythm accompaniment himself, and also the ‘turnaround’ chord sequences which linked the songs together. Strangely, his own guitar was fairly ordinary. “The kids* have pinched all the best ones,” he explained. He didn’t seem to have a proper plectrum either. It looked to me like he used an old tiddlywink.

Top Hat, White Tie and Tails
Extract from Eric Kershaw's teaching book: stave solo and rhythm parts for 'Top Hat, White Tie and Tails'

“O.K. guys,” he would announce (we all being guys), “number thirteen, ‘Buddy Can You Spare A Dime’,” and off we would go, some coping better than others. I was not a proficient sight reader at all, but my main problem was Eric’s accompaniment which he played from memory. He didn’t just play the rhythm part and turnarounds as written, he slipped in all kinds of modified chords, riffs and decorations with absolute mastery. I just wanted to listen to what he was doing. Some of his phrases might easily have sounded corny, but from him they were perfect.

I demoted myself to playing accompaniment. That introduced me to dance band rhythms of which I had been only vaguely aware, such as quickstep, waltz, fiesta, rumba, tango, bossa nova and beguine.

There were also the solo pieces he showed us. One of them, ‘It’s the Talk of the Town’ (the 1933 pop standard), I practised for hours and became pretty good at it, although I would struggle to play it now.

Talk of the Town for guitar by Eric Kershaw
Eric Kershaw's arrangement of 'Talk of the Town' for guitar

Some of us met several times outside the class to play guitar, although for me this lasted no longer than a few months. I remember one chap whose distinctive double-barrelled surname I saw again on an office door a quarter of a century later when I attended a conference in the Education Department at Exeter University, but it was the summer vacation and he wasn’t around. Another student gave the impression of being seriously dim-witted, until he began to play his guitar, at which he was outstanding.

Three weeks before Christmas, Eric revealed he would not be taking the class any more. “It’s knocking me out,” he complained. The following week another lecturer appeared. Despite a display of unshakeable self-assuredness he did not know much about guitars. No doubt he was knowledgeable in his own field, but his attempt to teach us song structures was not well received. We wanted to play our guitars.

“Name any song,” he said, standing at the piano confidently. “Just name any song and I’ll show you how easy it is to work out the chord structure.”

After an awkward silence which seemed to go on for ever, the dim-witted student had a rare flash of inspiration.

“Er, Albatross,” he mumbled in a dopey voice, referring to the slow guitar instrumental by Peter Green and Fleetwood Mac.

The lecturer’s eyes drifted slowly to the far top corner of the room and then back again, his expression as vacant as the student’s.

“Er, I don’t know it,” he said. “What about ‘On the Street Where You Live’?”

This lecturer’s other bright idea was to enter us for a general musicianship exam. Without any preparation or idea of what to expect, I found myself in a practice room with an examiner who asked me to clap rhythms back to him, sing sequences of notes he played on a piano, and answer questions about musical notation and harmony. He said I had a good ear but should try to sing an octave lower. I think I managed as good a mark as anyone else, but it was far short of the pass standard.


Leeds College of Music Letter 1975

The one benefit of being abandoned by Eric was that he never asked for his cyclostyled books back. I still have both the rhythm and solo parts, and many hours of pleasure they have given me too. It might be of interest to scan and post them whole, but they are probably copyright (the original music publishers’ rather than Eric’s), and I may already have pushed my luck too far with the extracts above. I can, however, safely show you the contents list I wrote out on the front.

Eric Kershaw's teaching medley

Surprisingly and encouragingly, Leeds College of Music, which now describes itself as “a specialist music conservatoire based in the Quarry Hill cultural quarter of Leeds,” still offers short courses in acoustic guitar. The second level course, which costs £200 for fifteen evening sessions of ninety minutes, aims to enhance your key guitar skills with open chords, barre chords, basic improvisation, song styles, broken chords, riffs, strumming patterns and theory. I’d go for it if I lived near enough.

The words “key” and “skills” only hint at what must lie underneath in the course specification. I’m not sure whether Eric would have bought into all the paperwork involved, I suspect not. The lecturer who took over for the last couple of weeks had to spend his first twenty minutes sorting out Eric’s muddle of a register. You certainly would not get away these days with making it up as you went along, nor with “on completion of this course you will have played guitar with a tiddlywink.” The old College of Music building in Woodhouse Lane is now a Wetherspoons pub. I think Eric might have liked that.

Another public provision that has suffered massive cutbacks is the library service. Shortly after the guitar class ended, I came across Eric’s LP ‘Time To Swing’ in the wonderful Leeds Record Library. Of course I taped it for my own use, as we all did then, and I still have it. With Johnny van Derrick on violin, it falls into the same genre as Django Reinhardt and Stephane Grapelli, but shines with its own distinctive style. There are those who say Eric and Johnny were just as good, if not better than their older and more famous counterparts.

Time to Swing: Eric Kershaw

Of course, I can’t upload it here – you get copyright strikes for that kind of thing – but the recording has now re-emerged in MP3 format as part of ‘The Eric Kershaw Quintet – Hot Club’ which you can sample by following the link (Feb 2018: unfortunately, as stated in the comments below, this link seems no longer active, but it might be available on spotify - see link in the comments).

Track 7, ‘Until the Real Thing Comes Along’, begins with Eric playing in the same legato chordal melodic style as employed in the ‘Talk of the Town’ music above. In track 9, ‘Maybe You’ll Be There’, the violin takes the melody at first, but Eric’s exquisite accompanying chords and phrases are exactly the kind of thing he did in the evening class. My favourite, though, and it’s a difficult choice, is probably track 5, ‘Broken Date’, which begins with Johnny van Derrick’s haunting gypsy violin before Eric just as movingly comes in. That would definitely be one of my eight records for ‘Desert Island Discs’.

The MP3 recording is so much clearer than my (now digitised) old tape from a crackly library record. After all these years I’m going to pay for the download. 


* Eric’s son, Martin Kershaw, also became a top session guitarist. He has played with just about everyone you can think of.