I omitted to mention that the Q & A session was filmed, so for the really dedicated amongst you, here's the link: https://vimeo.com/42221230
( If the password box is blank, enter fscolin )
It's been edited down to just over an hour and I can assure you that no anmals were harmed during the production. ;-)
Full Sail University, Orlando, Fla.
When I started this blog, a couple of years back, I had no preconceptions as to where it would go. I hoped then, as I still do, that a few people out there might enjoy reading about some of my experiences while working in the British music business in the '60s and '70s...first as an agency booker, then artiste manager and later as international promotion manager for Charisma Records. Oh, and even later as a 'journalist'.
Now..with over 10,000 page hits logged, I guess there must have been a tad more than a few, so I'm very pleased about that.
Well, this week, for the first time, I had the opportunity to share some of my reminiscences 'live'...at the above, impressively equipped, University here in Orlando, where I am visiting my son.
Around 16 students and faculty members assembled to hear me ramble on for a couple of hours about my career and the groups I worked with...many of whom went on to become internationally famous and some of those are still performing today...who would've put money on that back then?!
I really had fun going 'live', as it were. I was made to feel extremely welcome by the organisers...my audience was attentive, asked informed and intelligent questions and even applauded at the end! I couldn't have been more warmly received.
So, I'd just like to say thank you to the organisers for their efforts in making this very enjoyable experience happen and if there's anyone else out there interested in hearing me chunter on...I'm available! ;-)
After twice postponing the original date for the showing of this remarkable documentary, the BBC have finally scheduled transmission for Sunday 19th February at 9pm on their BBC 4 channel. The other good news is that they are following the 75 minute programme with a separate 15 minute film: ‘Barbara Thompson in Concert’ - featuring two of Barbara's compositions – “Stairways” from the Bracknell Jazz Festival in 1979 and “Breathless” from the Stuttgart concert filmed in 2005, from the recently released DVD "Barbara Thompson's Paraphernalia - Live '05".
Anyone interested in Barbara's brave fight to keep playing and writing her music should try to make sure that they watch this very moving programme, depicting the way this progressively debilitating condition (it's not actually defined as a disease) gradually impairs the sufferer's ability to function.
Having watched the preview DVD, I admit that I 'welled- up' on more than one occasion. This highly acclaimed film by eminent director Mike Dibb, shows how, together with drummer Jon Hiseman ( her husband and musical partner for nearly 50 years), she has fought every inch of the way..never ever giving in to 'Mr. Parkinson' as they wryly refer to the awful shadow that fell over Barbara and Jon's life more than 10 years ago.
Try not to miss it.
Wednesday 23rd November.
Barbara and Jon will be going to the Houses of Parliament this afternoon, to attend another reception promoting the BBC documentary "Playing against Time". A host of MPs and media celebrities, including Melvyn Bragg, will be there to view a 30 minute excerpt of the highly accaimed Mike Dibb film, due for screening on BBC4 in February 2012 (still no firm date available at the time of writing). Previous screenings have met with nothing bit the highest praise for this very moving portrayal of Barbara's brave fight against her Parkinson's condition. As soon as we are given the date of transmission, it will be announced.
The first time I saw Jimi Hendrix play was sometime in October 1966, at the Cromwellian Club, a late-night drinking venue west of Knightsbridge. It catered for a motley crowd of music biz types... including musicians, agency/management people, TV/radio presenters, music press journalists and the like...together with a variety of trendily garbed 'liggers' (musician's term for the multitude of 'wannabees' who seemed to have nothing else to do in life than 'hanging-out' at gigs and other places frequented by the pop and rock fraternity).
He was being squired around by Chas Chandler, former bass-player with the Animals, who was now turning his hand to management and had just met 'Jimmy' (as it was then spelled) in New York and was so blown-away by his skill as a guitarist that he decided to bring him back to London. He was astute enough to know that the quickest and best way to launch an unknown, but mightily talented, artist was to impress all the aforementioned 'music biz types' by taking him round the key venues they frequented, like the Cromwellian, Speakeasy, Bag o'Nails (venue for the first official press launch), the Scotch of St. James etc., and either have him sit-in with the band..or just get up and play solo in the interval. This strategy paid off brilliantly in the long-term, but brought little or no immediate income.
My recollection is that he played on his own that night at the 'Crom', though it's completely possible that my memory could be playing tricks on me and it was actually with the recently formed Experience line-up. One thing I am sure of is that everyone was blown away by his unique and flamboyant talent, myself included, although I did feel that with with such an amazing guitar-playing ability, he didn't really need to show off by playing with his teeth...but then what did I know!!!
At the time, I was working for the Rik Gunnell agency as a booker and a few days after that night, John Gunnell said he'd agreed with Chas. to put Jimi on at our club, the Ram Jam in Brixton, on the 10th December as the support act for John Mayall's Bluesbreakers, a kind of trial gig. Assuming they would do well, he told me to follow this up with another appearance, this time as the main attraction, a few weeks later. So, I got in touch with Chas and pencilled in the second date for February 4th in a 'double' with our other club, the Flamingo in Soho, normal practice for all head-lining acts. Of course, the first appearance was well-received, so I went ahead and confirmed the February date.
Now, although the music press had already reported on some of the 'showcase' gigs he had played, Jimi was, at that time, still relatively unknown as far as the wider general public was concerned, so I negotiated the second deal on that basis, which Chas...eager to get as much exposure for Jimi as possible in these early stages, was more than happy to accept. I think the contract was drawn up with a fee of £75 (the double) for the second date, still several weeks ahead. In the event, this proved to be extremely fortuitous, as in the interim period, Jimi's first UK single "Hey Joe", which had been released the week after his Ram Jam support spot, was climbing steadily up the charts. By the time of the appearances at the Ram Jam and Flamingo, it was at #6 in the Record Retailer (the 'official' chart), with the Melody Maker, I think, putting it at number one!
Chas. was, I recall, pretty miffed at the time, as he hadn't asked for a 'chart clause' to be included in the contract (often insisted on by agents and managers if they thought that the artist had a record out that might chart by the time of a gig taking place), so the contracted fee stood. With the Flamingo, it didn't have that much effect, as the club was fairly small and had a limited capacity...but the Ram Jam, a much larger venue, with a different and younger audience, the difference was incredible. Usually, the crowd was around a few hundred, depending on how big a 'name' was playing...but of course, with all the publicity surrounding the meteoric chart rise of the single, combined with the press reports and 'word-of-mouth', the club was packed to the gills and the box 0ffice 'take' was probably a record (no pun intended)!
However, after that, the Jimi Hendrix Experience took off like a rocket...especially in the USA and that was the last time he played at the club!
Postscript:
Once the Experience took off, I didn't see Jimi again until September 1970 at the ill-fated Fehmarn Festival in Northern Germany, just a couple of weeks before his untimely death.
The Festival was incredibly badly organised, the weather was horrendous, with heavy rain deterring many of the acts from appearing because of the danger of electrocution, though Jimi did play, I believe. I didn't get a chance to speak to him...indeed on the bus that took us to the site, he sat alone and his demeanour seem to indicate that he didn't want to talk to anyone. He looked pretty sick and as far as anybody could see, no-one from his entourage was around. The following is an excerpt from Jon Hiseman's biography "Playing the Band":
Colosseum flew to Hamburg, where they met up with Hendrix and Canned Heat. Jon relates what ensued: “We got to the site about 8.30pm and the rain was coming down in sheets. The local police had rigged up searchlights, I assume to control the crowd. The storm was unrelenting, with a force nine gale driving the rain horizontally across the stage. There was no food or drink; the whole thing was a nightmare. Finally, Sly and the Family Stone decided to brave the elements and set up on stage to a forest of crouching umbrellas. Then, with the amps on and the band ready to go, the canopy over the stage tore and most of the band’s backline was drenched in rainwater."
At this point, a very nervous stage manager agreed to sign an affidavit stating that it would be too dangerous to perform. Adding to the general mayhem, a number of German Hell’s Angels were roaming around, looking very menacing. So, it was straight back to the airport, without appearing, and home to the warmth of the recording studio. During this epic saga, Jon bumped into a very sick Jimi Hendrix several times and was horrified at the state he was in. As far as Jon could see, no one in his entourage seemed at all concerned and it brought back Jon’s worst memories of the Graham Bond era. Tragically Jimi was dead within a few days of returning to London.
"Playing against Time". Directed by Mike Dibb for BBC4 TV
Apparently the powers-that-be at the BBC have decided, in their wisdom, that it would be better to put this documentary into context by inserting it into a 'jazz weekend' planned for transmission on BBC4 TV sometime in February 2012. They are sweetening the pill somewhat with the suggestion that they will also screen a concert performance from Barbara's band Paraphernalia in the same weekend schedule.
Mike Dibb, the director and owner of the film, immediately made representations to them that the film was primarily about Parkinson...not so much about jazz, and that it deserved a much wider audience than the relatively smaller number of viewers that would be attracted by a weekend of jazz programmes. The programme planners, it seems, did not listen...so there was no alternative than to make the best of the situation. At the time of writing, the exact date and time of February transmission hasn't been announced.
Given that the BBC is supposed to maintain some element of being a public service organisation, this decision would seem to be not just arbitrary, but misguided, to say the least. The film has already had several screenings in London before invited audiences of Parkinson sufferers and healthcare professionals and all have been lavish in their praise of both the information it imparts and the overall message of hope that it brings regarding the future treatment of the many and various debilitating conditions affecting the brain.
The film is a 75 minute'musical-medico' documentary about Barbara's fight to keep performing, while suffering from her ever deteriorating Parkinson's condition. It's directed by Mike Dibb, who was responsible for the original film about Jon (Hiseman)and Barbara back in 1979, titled "Jazz, Rock & Marriage". Mike has a great track record of music docs, including award winning Miles Davis, Keith Jarrett & Astor Piazzolla films. Good company!
The film is underscored by Barbara's music throughout.
The new transmission date will be posted just as soon as it is known.
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Meanwhile, the newly released DVD by Barbara Thompson's Paraphernalia "Live '05" (TMDVD0611) is available in the UK from CKA's own website; Amazon.co.uk and in Germany from www.viking-music.de
For more details, go to: www.temple-music.com
On the 2010 European tour.
Saturday 20th August 2011.
This evening, at a festival in Northern Germany, Colosseum will go onstage for the last time. For a combination of reasons, Jon Hiseman, Barbara Thompson (who took over founder-member Dick Heckstall-Smith's role when he died in December 2004), Clem Clempson, Dave Greenslade, Mark Clarke and lead vocalist Chris Farlowe are finally calling it a day.
The primary ( but not the only) reason is almost certainly the increasing severity of Barbara's Parkinsons condition, which makes playing ever more of a struggle for her. Even with the band tailoring the programme so she could pace herself, it has become just too arduous for her to play lengthy tours. Another likely factor was how much longer the band could keep up the flow of new material vital for it to continue playing and recording its own music. It's pretty astonishing that they have managed to keep it going for 17 years, following their reunion in 1994 - after a break of 23 years! This has to be down , initially a least, to their shared desire to revisit the music they played between 1968 (when they first formed) and 1971, when the original group disbanded to go their separate ways. In due course, Dick Heckstall-Smith, who inherited the material from the partly-finished third Colosseum album; went on to complete it and release it under his own name, with the apt title: "A Story Ended".
The original line-up, with James Litherland, playing poolside
at the Montreux Jazz Festival, June 1979
Colosseum will be sorely missed, though it has to be said, more in Germany than anywhere. Yes, they still have their loyal fans in the UK, though thinner on the ground now than back in '68-'71 (the first incarnation), when they could fill the Albert Hall. When they re-formed 23 years later, in 1994, it was exactly the same line-up as the one that disbanded in October 1971...not many 'reunion' bands from that era could make this claim! As well as that, the maturity that those 20 plus years had brought to everyone's playing just added to the band's cohesion and spirit... in short, they were better than ever! The German audiences welcomed them back ecstatically...and continued to give them one standing ovation after another...and I'm willing to bet tonight will be no different.
Jon told me he isn't planning to make any announcements about it being the final appearance, preferring to let the band bow out quietly, without any fuss or drama...typical of his 'n0 nonsense' approach to nearly everything he's involved with. Of course, the rumours have been around in Germany for a while, as Jon has never tried to cover up Barbara's worsening Parkinsons condtition, which even with the latest drug therapy, steadily erodes her ability to play (though she still wows the audiences with her solos, inspite of this).
So, that's it then...Jon and Barbara plan to take things a bit easier...though knowing Jon as I do, I doubt this will mean him putting his feet up! He's hard-wired to keep doing stuff...and my guess is, his feet won't be touching the ground much more they ever have in the past. The Temple Music studio will still be busy, Paraphernalia's new DVD, "Live '05" which is just out, will require promoting, meaning the organising of interviews etc. and there's the BBC TV documentary about Barbara's fight with Parkinsons, "Playing against time", which is scheduled to be shown in October or November this year.
What now? Well, maybe the pace of life will eventually slow down a bit and the Hisemans will take some time to enjoy their new-found leisure time. The others, Clem, Mark, Dave and Chris Farlowe will keep on 'truckin' for as long as their health...and 'chops'..allow!
So...Colosseum, one of the first British bands to fuse jazz and rock, with a chunk of blues thrown in, will be 'truckin' no more...but it was great while it lasted!
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A momentary pause for reflection at an early rehearsal, c.1968
On the other hand....maybe a 'comeback tour' in 201...? Well, Jon has been known to say things like"never say never", but don't hold your breath!
I worked for Tony Stratton-Smith (known generally as 'Strat') at Charisma Records from 1972 to 1976, nearly all of that time as International Manager. This meant that I travelled a lot, mostly around Europe, liaising with the various label licensees and their press/promotion departments. I also made several trips to America, once with the boss (more of which later). The label's main artist at the time was, of course, Genesis...who were just beginning to really take off when I joined in June 1972. These were exciting times and I thoroughly enjoyed working with 'Strat'. I had a lot of respect for his way of operating, which was often bold, unpredictable and sometimes risky, but always interesting. His musical maxim was "anything good of its kind" and he gave a lot of artistes a chance who wouldn't have been given the time of day by most of the other labels. Charisma released many 'off-the-wall' albums, like those from Sir John Betjeman; Bo Hansson's "Lord of the Rings", not forgetting the fabulous Bonzo Dog Doo-dah Band/Vivian Stanshall albums and of course, those from Monty Python. It was great to have the opportunity of working with such a variety of original and unusual artistes, especially the last two, as our paths had already crossed back when I worked at Bron Artiste Management ('68-'71). In particular, I have very fond recollections of touring Germany with Genesis, working with some really effective Phonogram press and promotion staff on many of the lesser-known Charisma acts.
Working with Genesis was both interesting and exciting during those years, as their star was most definitely in the ascendant in the UK and word of their original and ground-breaking theatrical stage show was beginning to spread further afield, with Italy being the first foreign territory to recognise their unique talent. My brief was to extend that breakthrough in the other European countries, in particular Germany, the most important market for record sales. So, I floated the idea of a 'Charisma Tour package'...comprising Genesis, Lindisfarne and Capability Brown to Strat, making it clear that we would have to find some serious financial support for it to be viable, as no German promoter would be prepared to take on such a expensive and risky venture, given that none of groups were exactly well-known then. 'Strat' agreed without hesitation...typical of his readiness to back his acts with hard cash. I then took the idea to (at that time) top German promoters, Lippman & Rau, I had worked with them before (with jazz-rock band Colosseum) and rated them highly for their experience and professionalism.
The bill we agreed on was Genesis, Lindisfarne and Capability Brown and a short-ish tour was quickly put together. Unfortunately, here's where my recall becomes less than sharp and I can't be sure exactly how many dates were fixed, but one important event occurred that I do clearly remember, which was when Fritz Rau came to me with a surprising suggestion. It seems he'd had a phone-call from the producer of an important TV show that was being filmed in Cologne, the upshot of which was that the featured group had pulled out for some reason and he wanted to know if Genesis could replace them. I think it must have been a day off, but it meant that they would have to drop everything and fly to Cologne immediately, do the show to backing tracks and fly back the next day. Fritz stressed the importance of the TV show and how it could be a big break for them. I related all this to the group and they agreed that it was too good an opportunity to miss...so off we went, filmed the show and the following day rejoined the tour. Then, some time later, I heard that a couple of the guys in Lindisfarne were a bit miffed that the spot wasn't offered to them, especially as they had a couple of chart successes under their belts, which Genesis at that time hadn't. I tried to explain that unfortunately, their UK hits didn't count for much in Germany and that the producer had specified Genesis as the group he wanted. I think they eventually understood that I couldn't have played it any other wayand didn't hold it aginst me. For Genesis, the TV show was a very important step toward their eventual breakthrough in the German speaking territories and they returned to play many more tours and built an incredibly strong following.
I suppose it could be said that Genesis, at that time, weren't very "rock 'n'roll", in as much as they took their music and stage act extremely seriously and although they appreciated the value of promotional activities..press receptions, interviews, photo shoots etc. they never concerned themselves with whether they were viewed as 'stars'. They worked hard finessing their performance, both musically and theatrically. That being said...I don't know many other groups that took their wives and girlfriends with them on tour, or requested to go skiing on one snowy visit to play in Oslo.
I also have some good memories of working with Lindisfarne (one of which I posted recently) and a flying promotional vist to Copenhagen with the two Terry's (Jones and Gilliam) from the Monty Python team as well as TV shows in Switzerland with Clifford T. Ward and in Amsterdam with Gary Shearston, whose hit "I get a kick out of you" brought forth requests from the TV producers for Gary to dress up in '30s 'Noel Coward' style clothes! Requests that Gary politely (for an Australian) declined.
'STRAT'
But I think one of the best memories of my time at Charisma has to be the trip I made to NewYork with the boss...Tony Stratton-Smith, when we were trying to forge Transatlantic relationships with record companies, management and agency execs. and the music press. Strat being Strat, we did it in style! No Economy Class tickets were brooked...we flew First Class on Japan Airlines. He insisted that I book a Suite at the Algonquin Hotel, because of its literary connections (it was the site of the famous 'Round Table' where the famous"New Yorker" writers James Thurber, S.J.Perelman, Robert Benchley and Dorothy Parker met for their editorial meetings). He also suggested that I get the hotel staff to set up a well-stocked bar in our Suite, so we could entertain (and impress) our music biz guests, who came in their droves. I've no idea how much (or little) the trip influenced subsequent events with regard to any actual deals being done, but we certainly had a great time!
After 4 years however, I sensed that things at Charisma were changing somewhat. Strat wasn't around quite as much and eventually he announced that he was planning to bring in someone to be 'him' on a daily basis, as he wanted to spend more time with his other love; 'horse-racing'. This didn't sit well with me, as I couldn't see how I could run the International Dept. the way I felt it should be if I had to report to anyone but Strat. To cut a long story short(ish!), around this time of uncertainty, I was approached by Bruce May, who was managing Bert Jansch (a Charisma artiste back then) as well as Ralph McTell, John Martyn and a couple of singer/songwriters. He invited me to join his company in a similar role to the one I had at Charisma and after a couple of meetings to discuss details, I decided that maybe the time was right for a move. Strat understood my reasons for leaving and was very encouraging..saying that Bruce and I would make a good team! So, after four incredibly interesting and pretty exciting years, I left Charisma...the most original and unusual record company around. Do I regret leaving...well, yes and no. As time went on, events happened that would probably have seen a parting of the ways anyway. But I will never forget working for Strat's maverick label...nor do I regret a moment of my time there.
