Pete Clemons recalls when Broadgate suffered a knock-on effect from the beach riots

While out for a walk with a friend recently we were talking about old scooters and, of course, the conversation soon got around to the ‘Mods’ who made that particular mode of transport famous during the 1960’s.

My friend then went on to mention that of all the youth cultures and fads which have existed over the last 50 years the ‘Mod’ fashion has never really disappeared which of course, when you think about it, is quite true.

When the term ‘Mod’ was first coined during the 1950’s it was used to describe traditional jazz players and their followers. The common denominator though for 1950’s ‘Mods’ and those ‘Mods’ that followed during the 1960’s was the fact that they had both been style conscious and sharply dressed, as they still are to this very day.

One of the earliest written examples of this can be found in the 1959 novel ‘Absolute Beginners’ by Colin MacInnes where he describes modern jazz players and their style conscious fans as ‘modernists’ later shortened to ‘Mods’.

Coffee bars at that time were associated with many forms of music and attracted youths and teenagers of differing backgrounds. And due to the fact they were open after the pubs had closed meant that these youngsters had a place to meet and listen to the various music styles and discuss the latest films, magazines and other things that were flavor of the day. And it was from here that ‘Mods’ developed their ideas and identifying features such as the scooters.

And, I am sure that, anyone who lives in the vicinity of The Craftsman pub will also agree with me as they will have noticed, as I have, the regular scooter rallies taking off from that particular pub car park on a Sunday morning. It really is a great sound when I hear all those Vespa’s, Lambretta’s, and such like, all take off.

When you talk about the ‘Mod’s’ music created by bands like The Who, The Kinks, The Small Faces and relatively, more latterly, The Jam and The Secret Affair should spring to mind along with music genres such as Ska and Soul.

You will also immediately think of those beach towns such as Brighton and Margate, Southend and possibly others like Clacton, Bournemouth and Skegness and other areas of the UK where, during the early 1960’s, the ‘Mods’, along with rivals the ‘Rockers’, would sort out the their differences – particularly during bank holiday weekend of May 1964.

What you wouldn’t necessarily do is associate the events of 1964 with Coventry. So what might surprise you would be for you to learn that Coventry City centre did actually get caught up in those skirmishes and brawls that caused moral panic within the British Government back then.

Just after those infamous bank holiday beach scenes a series of minor disturbances seemed to culminate in a major incident in Broadgate. The Deputy Chief Constable, at the time, stated that it was not gang warfare as such but that it had all been more a case of exhibitionism. The series of events were reported widely at the time and some of the reporting went like this:

“At the time of the beach riots rumours were rife in Coventry that the city would feel a knock on effect. On the Wednesday after those bank holiday disturbances two juveniles were arrested for committing a breach of the peace but no special significance could be placed on the attendant circumstances.

Many rumours supported the possibility of what can only be described as an invasion by young people not living in Coventry. “
A report from a Monday newspaper, again from May 1964, reported on the previous weekend’s activities as follows:

“The disturbances which shattered the peace of Coventry’s Precinct and traffic free shopping areas on Saturday afternoon gave many people their first taste of the sort of hooliganism which has recently blighted the country’s seaside resorts.

One shopper stated ‘I had to get out of the way of a crocodile of black-leather jacketed ruffians coming from the direction of the Precinct. They streamed diagonally across Trinity Street without regard to the traffic which was held up’. ‘While the end of the column was opposite Boots the Chemist the front was outside the Fire Station’ he added. “

The ‘Mod’ scene musically had also begun in Coventry during 1964 and continued and for a couple of years as it carried on well into 1966. The Matrix Ballroom can lay claim to staging the very first Mod gig in Coventry after it had put on a band from Liverpool along with our very own beat band ‘The Sorrows’. Pubs and clubs such as The Cheylesmore and The Walsgrave put on regular Mod nights that included bands and artists such as The Ray King Soul Band, The Steampacket (complete with Rod Stewart), Herbie Goins, Zoot Money and many others.

It did not last. Like all fashion statements, people change, circumstances change and fashions change and so did ‘Mod’ fad. At least until Pete Townshend revived the whole thing, when, his album of the same name provided the inspiration for the 1979 film Quadrophenia. And from then on it never quite went away.

“Anyone remember The Green Onion. 1965/66. It was a very early MOD record club. Every Saturday night at a ballroom dancing school on the green opposite the station. I was the promoter and DJ, played regularly at The Gaff, The Whisky and Spikes Place.”

We are being asked to write down our thoughts, for future generations, from this unprecedented time in history. So here is my contribution from what will be an overriding memory……….

The pineapple Thief guitarist and chief songwriter, Bruce Soord, has always come across as a charming and affable kind of guy and his songs equally as compelling. There is never any cynicism in the words, no nastiness., Bruce seems to just simply write about what he cares about.

And clearly he cares about his band and his audience as he treated us to the most wonderful private and intimate acoustic session on Saturday evening. It was clearly a strange experience all round. There was Bruce, alone in his studio, trying to get his head into a position where he would normally have a sea of faces in front of him. And there were us, staring at him, from our phones or laptops.

After a few takes, plugs engaged and buttons pushed, he began with ‘Shoot First’, his debut song for his K. Scope label in 2008, and the opening track from the album ‘Tightly Unwound’.

While setting up for the next tune Bruce revealed that he is a self taught guitarist, taking up the instrument as a 14 year old learning his craft from a Bert Weedon ‘play in a day’ book. He does admit to having a few bad habits though.

After setting up a looper pedal, ‘Willow Tree’ followed. A song about a particularly special tree. Bruce admitted that being alone in his studio was a strange affair. And, this seemed to reset his mind onto the current situation as he romanticised about the simple pleasure of being able to get into record shops again and suchlike.

After resetting the looper pedal Bruce then played a truncated version of ‘Part Zero’. And given the flood of comments it clearly delighted the audience which, by now, was swelling up towards the 1000 mark.

A question about his songwriting prompted an answer along the lines that there was no strict process as such. It’s an organic kind of thing. He starts with the germ of an idea and simply sees where his finger take him.

For the introduction of the next song, ‘No Man’s Land’, Bruce explained that it is a tricky piece and has sometimes made a mistake when performing it with his band. If he hears drummer Gavin Harrison ting a bell then he knows he has errored.

I personally know nothing very little about music and despite being at the birth of it, I never realised that the next song, ‘Snowdrops’, was in 6/8 time. Again a looper was deployed as was a shaker. So visual were the effects of this song you could almost hear the clapping from the attentive crowd on this side of the screen.

Another question followed, this time about further collaborations with Jonas Renkse. This brought the response that Jonas was, currently, extremely busy. However, as Bruce continued, his door was always open. Jonas just needed to turn up at the studio – never say never is the watchword there.

A further question prompted Bruce to admit that, as a schoolboy, he was different from the norm. While everyone was into Duran Duran he was listening to Alan Parsons and such like. Additionally he confessed that nowadays, and given advances in technology, the production of Alan Parsons music could be classed as light and easy. But he still found the construction of guitar solo’s by the likes of Ian Bairnson and Camel’s Andy Latimer to be magical. Guitar solos don’t just happen and those guys have that special something that can create them.

To wrap things up Bruce introduced a baritone guitar and set about an incredible version of ‘The Final Thing on my Mind’ complete with the most compelling of improvisation. This included the use of looper pedal, shaker and both acoustic and electric guitars. From this side of the laptop you could almost hear the gasps of delight.

Other answers to questions, that spring to mind, had Bruce thinking back to early gigs at venues like the late lamented Orange Box in Yeovil. He also admitted feeling for other artists who had had to cancel tours due to this virus and how fortunate he felt having successfully completed the last Pineapple Thief tour. The pain of suddenly having your income drop straight off a cliff was unimaginable.

All in all this had been a masterclass and an incredibly uplifting hour and a quarter. It was a wonderful gesture and great display in artistry. And huge thanks go to both Bruce and his assistant. And to echo Bruce’s final words before signing off, perhaps next time we could even venture out of our living rooms and do this for real. Lets hope this is possible sooner rather than later.

Roy Orbison visited Coventry on several occasions. Here is a transcript of a review from the first of those visits during 1964 when he thrilled a sell out audience at the Coventry Theatre.
The big ‘O’, Roy Orbison, had a fantastic reception when he appeared at the Coventry Theatre recently. He, together with Freddie and the Dreamers, provided superb entertainment which ranged from the sublime to the ridiculous.

Not the most handsome of performers Roy wins his acclaim solely on the merits of his voice. And what a voice he has. He stands with his guitar slung around his shoulders and, with hardly a trace of his thin lips moving, manages to make the lyric of every song come to life.

Emotional ballads are his speciality, and every ounce of feeling in a song comes effortlessly from his voice. Each song is thrillingly climaxed by a seemingly impossible high note which is reached without the slightest strain. Roy moved from one number to another without any break for introduction, and a burst of clapping greeted the opening bars of each one.

It was not that the girls did not want to scream it was just that they had great respect for a marvellous performer, and showed it by keeping quiet while he sang. Accompanying Roy were The Federals. This is a polished and professional group, even the guitaristists had music to read. They so obviously enjoyed accompanying so great a singer. They were all smiles and grinned at each other as each round of applause was more deafening than the one before.

Two drummers sat in behind Roy to supply the big beat which he likes so much. They produced a great rhythm and were so intent on providing support worthy of the worlds greatest balladeer that, by the end of the act the skin on one of the bass drums was stretched so much by the pounding, that the dent in it could be seen by the audience.

The big ‘O’ must be used to wild receptions by now but even so he looked pleased that everyone was happy and several times gave a little nervous twitch behind his cupped hand. The results of this very elaborate set up was a quality most singers can only achieve on record.

Another group on the bill was Freddie, complete with his new hair cut, and the Dreamers who gave their usual comedy routines. One slight change this time, the drummer split his trousers when trying to lift the fallen bodies of the guitarists. I do not think that was supposed to be in the act.

Freddie revealed the quality of his voice with the serious ‘I Understand’. His control over the audience was obvious as they stopped their laughing and screaming to listen to the moving lyric.

A lot of toddlers were in the audience and, in answer to many requests sent to his dressing room by the Mums and Dads, he dedicated to them ‘You Were made For Me’.

The Dreamers get funnier with every performance. And this was a night that had everything.

Baginton village, on the southern border of Coventry, is well known locally for its Air Museum, the Lunt Roman Fort, and the 500 year old oak tree that stands proudly on the Coventry Road. In the Mill and the Oak, Baginton also has a couple of decent pubs.

You may not think so now but this village, with a population of around 900, once played a small but significant part in Coventry’s out of town entertainment. And, for a short while, was the ‘must go’ place to be. The early 1960s saw Baginton, or to be more precise the airport, play host to what was billed as the biggest ‘twang’ in the Midlands.

Baginton airport opened in 1935 and played a significant role during the Second World War when it played host to a squadron of the Polish air force.

The main entrance to the airport was via the Coventry Road / Stoneleigh Road and it had its own flying club, which was essentially a couple of old converted prefabricated huts.

The Astra Club, located in the flying club opened during November 1962. It all began auspiciously enough with regular Sunday sessions in the company of the Norman Allen Broadcasting Quintet who supplied the latest in song and rhythm. The club also had a roulette and baccarat table. But no sooner had 1963 dawned the Astra Club would soon become recognisable by it’s more familiar name of the Coventry Flying and Country Club.

Back in 1962 the venue would not have been easy to get to. You either had a long walk or, as many youngsters were doing, you needed to get yourself a car or motorcycle.

All started well enough. By early 1963 ‘Planets Twist Club’ had located to the venue and had regular sessions with Ricky Dawson and the Millionaires. And by mid 1963 Friars Promotions were involved and were providing entertainment for Wednesday and Thursday evenings as well as the weekend ahead. Sessions were from 8pm till midnight with two top groups at each session. Additionally there was the music of Johnny Kinghorn in the clubs restaurant from 11pm till 1am.

The Flying Club also attracted artists the calibre of Screaming Lord Sutch and The Savages, who apparently demolished the stage, and The Swinging Blue Jeans amongst many others. Apparently the Flying Club had many wild nights.

During March 1964 the airport had a weekend of pleasure flights and a selection of the city’s recording artists were flying high on the Sunday morning. The Matadors, The Echo four and Johnny B Great and the Goodmen were among those, not only plying their talents over that weekend, but were also on those flights.

Drummer Nigel Lomas remembers the venue well. ‘ During 1963 and 1964 I played there on several occasions with Johnny B Great and the Goodmen often sharing the bill with the likes of Marty Wilde,Screaming Lord Sutch, Denny Laine and the Diplomats, Carl Wayne and the Vikings, Keith Powell and the Valets. Also several Coventry area bands who followed us in the professional world, including The Matadors,The Mighty Avengers, The Sorrows, Tony Martin and the Echo Four, The Beat Preachers plus a host of semi-pro local bands. It was a great live music venue and always seemed to be packed when we were on,I assume it was for the rest’.

The venue was licensed till 1am and had increased it’s gaming facilities till 3am each night. Add to that it’s rural location and I think there lies a few clue’s as to why the club disappeared as quickly as it had appeared in terms of being a major entertainment venue.

By June 1964, under two years after it had first opened its doors, the Astra Club had reverted back to being another, more sleepy, run of the mill club. And gradually, went into a slow tail spin as the attraction of the venue grew less and less popular.

During the short time in existed as a music venue the flying club certainly left its mark as, whoever you speak to that attended the place, clearly has fond memories of the it.

In a recent article about Clifton Hall, Rugby, I mentioned the first three resident groups.

Danny Storm and the Strollers, Buddy Britten and the Regents and Robby Hood and his Merry Men.

As a 19 year old Danny Storm had packed a lot of experience into a short space of time. His talents as a ballad and rock singer earned him a growing legion of fans. The reception he would get at the Co-op hall in Nuneaton suggested he was destined to become a box office attraction. But Danny kept a cool head and always remained modest about his success. He became a big friend of Joe Brown and signed up for the Pye Piccadilly recording label that gave Joe, amongst others, his hit ‘A Picture of You’. Danny himself made two big hits for the label ‘Honest I Do’ and ‘Just You’. He also made a third cut ‘I’m Thinking of You’. Danny also made several TV appearances and even featured in the film ‘House That Rock Built’. Danny was backed by harmony duo The Strollers, Roger James and Tony Clarke who was a lad from Coventry and who became producer of The Moody Blues. But the Strollers were a versatile group who comprised various musicians during their existence.

Buddy Britten was once a guitarist for Billy Fury. But then he went a long way in a short space of time as he became a top billing artiste in his own right. He went from Billy’s band to Vince Taylor as lead guitar. And it was while he was with Vince that he first met Reg Calvert. And it was at that point that Buddy began to star on his own as Reg saw more than a guitar player. Reg encouraged Buddy to sing. It was from there that Buddy was tested by the Decca recording company. 22 aspiring pop singers were tested that day but it was Buddy who got the nod. He was asked to make a record. The song he released was ‘Dont Spread it Around’. After that test he moved to Clifton Hall where his success grew, particularly from Reg Calvert’s Friday night dances. And that popularity produced a second single ‘My Pride, My Joy, My little Girl’.

Robby Hood was from Bermondsey, London. He became well known for dressing up on stage as the legendary outlaw from Sherwood Forest. Several top show business personalities tipped Robby for stardom and to rival the likes of Adam Faith. For months Robby practised at Clifton Hall with his backing group, The Merrie Men, perfecting their stage presentation. Under his birth name of Mike West, six foot Robby began his career with Johnny Kidd and the Pirates where he added vocal support to their massive hit ‘Shakin All Over’. It is understood that Robby gave Johnny Kidd the idea for the infamous eye patch in order to cover a squint. Robby stayed with the Pirates for over 12 months. Another break came when producer Jack good offered Robby a spot on ATV-TV’s popular ‘Boy Meets Girl’ show that starred Marty Wilde. However, Robby turned this opportunity down in favour of a six month tour of Germany. On his return Robby took up the offer of a pantomime role in a production of Cinderella. It was a bit of an unusual career move but Robby said at the time ‘you never know when the experience might come in handy’. Some of the group members of Robby’s backing group The Merry Men went on to form the Fortunes.

During its time as the school of rock, Clifton Hall played host to many groups including Mike Everest and the Alpines, Tanya Day, Baby Bubbles, The Liberators who became Pinkertons Assorted Colours and a whole host of others.

Coventry group The Boll Weevils can be traced back as far as 1963, when it is believed they were formed. It was a challenging time for a group to be forming then because trends and tastes were changing rapidly.

The BO WEEVILS (Boll Weevils)

“And the Boll Weevils illustrate, more aptly than anyone else in the poll, the shift in the pop music business. They are jazz-based, short haired and very mod. An alto-saxophonist, Fred Liggins, is the often frighteningly proficient lead instrumental voice. Vocalist-harmonica player, Tim James frequently throws pop music convention to the wind and begins skat-singing.” From Coventry Express, Friday May 28th 1965 Citybeat by Paul Connew .

From the late 1940s and very early 1950s Reg Calvert realised that promoting teen dances would prove to be a great venture. He seemed to instinctively know that this was what would the country needed after the tough war years.

After promoting his own little shows in a Yorkshire village near Huddersfield, Reg Calvert was drafted into the army. While there he was confined to barracks for a period of time for running dances outside of the camp.

After demobilisation Reg opened a recording studio in Darlington. But it wasn’t a successful move as he lost all his money in the venture. Reg, now married, moved to Southampton where he began to produce and sell popcorn. This time he found success and made enough money to open two shops. This also gave him the opportunity to start promoting shows again. This time at the Bannister Ballroom, Southampton.

And throughout those early years he knew he had to change style as the music altered. And this was particularly good judgment as the Lonnie Donegan style of skiffle and Bill Haley and his Comets arrived on the scene. So Reg Calvert started to promote rock n roll shows, but then he quickly hit on a difficulty. The best acts were not to be found in and around Southampton. And it was at this point he decided he needed to up sticks again and find somewhere in the Midlands.

He found Clifton Hall near Rugby and it was just right for what he wanted. It was big enough to house three top groups. The were Danny Storm and the Strollers, Buddy Britten and the Regents and Robby hood and his Merry Men. Additionally Clifton Hall was central enough for him to promote his shows. And from that base he was able to promote shows at places like Andover, Banbury, Cheltenham, Worcester, Evesham, Kidderminster, Burton, Atherstone and Nuneaton.

Clifton Hall gained the nickname ‘The School of Rock’ as it conjured up images of young pop singers practising all day for the shows to come. And that was exactly what it became. The hall had spacious gardens, recording rooms, a billiard room, a football pitch and a large and luxurious lounge that Reg would get his singers to work to make the shows he put on as perfect as possible. Songs had to be sung over again in order to get the vocal and any backing correct.

And Reg was a strict disciplinarian, his rules included no alcohol and no girls to be brought to Clifton Hall. But they also had plenty of freedom. There was no set time for bed for example. And if someone wanted to play drums in the middle of the night then there was no irate neighbours to come knocking on the door complaining. They were a world unto themselves.

And throughout the early to mid 1960s Reg Calvert’s ‘Teen Beat’ shows were one of the most regular and popular Friday night features around. So popular that reg also insisted that his acts put on special early evening shows for a younger audience, prior to the main event later that night.

He even made recording stars of his early acts. Robby Hood cut a song called ‘Whistle My love’ which had been adapted from Walt Disney’s song in the film ‘Robin Hood’. Danny Storm recorded ‘I’m Thinking of You’ following up with ‘Honest I Do’. While Buddy Britten released ‘My Pride, My Joy, My Little Girl’. The majority of those compositions were self penned by the artists themselves. An unusual thing in those days.

What a year 1980 was for Coventry born singer songwriter Hazel O’Connor. Hazel, as most know, starred in the iconic film, ‘Breaking Glass’. In addition to playing the lead role, Hazel wrote all the songs in the film. Yet despite all its success, Hazel received none of the expected royalties. As such, and in Hazel’s own words, ‘I’ve never known what it’s like to sell hundreds and thousands of records and live off the royalties. But the good thing is I quickly learned to live off what I did, my live work’. And that’s why, today, Hazel works as hard as ever touring.

A tour promoting the Breaking Glass album gave rise to the support band who had been selected by Hazel. And that band was Duran Duran who, as a result of those gigs, gained their first recording contract.

During the year in which Hazel became a household name she met up with Hugh Cornwell. Hazel and her band had supported The Stranglers on several gigs. And Hazel and Hugh became ‘very good buddies for a small amount of time, maybe a week, but then he got put in prison. He has such a brilliant mind, his lyrics and music are quite amazing, as is his cynicism and dry wit’.

During March 1980 The Stranglers guitarist and songwriter, Hugh Cornwell, was given an eight week prison sentence and fined £300 at a West London court. He had admitted to five charges of possessing drugs. Hugh along with a rock promoter, who worked for Harvey Goldsmith Entertainments, were stopped at a routine roadblock at Hammersmith Broadway on November 1 1979, and drugs were found in the car.

During the passing of the sentence it was said by the magistrate that ‘the pair were intellectual men of mature years who had a great influence on the lifestyle of teenagers and who should not cause damage to the morals and physical well being of those who admired them. Both had had a university education that made their involvement in the drug scene all the more contemptible’.

It was assumed at the time that the sentence could have wider implications for The Stranglers themselves. Countries like the United States and Japan were known to take a tough line with visitors who had been convicted with drug offences and this might affect any future dates.

While in prison Hugh spent 12 hours a day scrubbing floors, cleaning and washing up, earning £1.30 a day in prison wages. He also gained a stone and a half in weight during the five weeks due, in part, by the carbohydrates in the prison diet. Hugh was adamant that this involvement with the drug scene was over and also his prison career.

On his release from Pentonville prison, five weeks later, he was met at the gates by a small crowd that included his Mother, Hazel O’Connor, Stranglers drummer Jet Black and several news reporters. When asked what prison life was like he said ‘Why don’t you go and find out for yourself’?’. During a later interview Hugh revealed that ‘it was the most inhuman , demoralising experience of my life. All the bitterness is knocked out of you in there. It’s a hell, you can’t imagine how bad it is in prison. I just hope I can do something about it one day. When I was sentenced they slapped handcuffs on my wrists and drove me through the centre of London. I was looking at people outside the van while I cupped my hands smoking a cigarette.’

Hazel O’Connor and Hugh Cornwell remain friends and have since toured together. But Hazel also tours regularly with Coventry band, The Subterraneans, and more recently, Toyah Willcox. Fingers crossed that a tour, originally scheduled for this time, holds up later in the year.

Beginning in January 1960, both Eddie Cochran and Gene Vincent were part of a tour of the UK that ended in tragedy. Eddie Cochran was killed and Gene Vincent seriously injured after a high speed car accident in Chippenham.

Coventry was the second gig on the tour schedule. The first being in Ipswich on the 24th January. And, after the Ipswich gig, there were three days of rehearsals at a studio in Gerrard Street, London, before the tour resumed on the 28th.

Much has been written about Eddie Cochran, in regard to the tour. But, I always felt that Gene Vincent had been a little neglected. So I was delighted to come across a news report, from Coventry that, prior to the gig, introduced the city to him.

A young man whose name has held a consistently high position in the popularity polls and best sellers charts, both here and in America, is 21 years old Gene Vincent.

‘The first singing success for the likeable young man came when he was serving as a boiler tender in the US Navy. He was 17 at the time, and he spent most of his evenings with his guitar on the deck of the tanker, singing for his shipmates.

On his demobilisation he returned to his home town of Norfolk, Virginia, more determined than ever to make singing his career. He was not to wait long, he auditioned for a local radio show,and quickly became the star of that show.

This was followed within a few weeks by another important audition, this time with Capitol Records, and again Gene won through, this time being chosen from nearly 200 rock ‘n’ roll singers. Since then, backed with his own group the ‘Blue Caps’ he has recorded countless singles, EP’s and LP’s, many of which have had the distinctive style that he has developed from his love of country music’.

After the gig there then appeared to be a mixed review of it all. It suggested that the audience inside enjoyed the gig, but they were not going to set the greater world alight. But at that time the country was still wary of rock ‘n’ roll and saw it as a threat.

‘Gene Vincent the American singing star who added to his scores of successes on his present tour of Britain with a tumultuous reception at the Gaumont on Thursday.

There were no frantic scenes when the latest ration of rock ‘n’ roll reached Coventry last night. The two American and several British performers who made two appearances at the Gaumont on the same day drew shrieks inside the theatre, but seemed in little danger of losing their shirts outside’.

The fact is though that rock ‘n’ roll was here to stay. And, 60 years on, is still being heard today.

The Dud Clews Jazz Orchestra will forever be associated with Club Harlem. A regular jazz night, held weekly at the Mercers Arms, for almost ten years. Right from the off, and over time, the band steadily improved and were noted for the way they performed in a relaxed professional way. And during there time together there were very few changes in musical policy. The band’s repertoire enlarged enormously but always came from the same musical sources. And they were the same famous bands whose recordings first inspired Dud Clews to form the orchestra back in 1962 and was still the source of most of the material when the band finally folded. The band even managed to record an album for local label ‘Midland Sound Recordings’ during 1968.

Sax player Mac Randle wrote the following tribute ‘The young Coventry jazz trumpeter Dud Clews was determined to revive the exciting sounds of the ‘big bands’ of the twenties, like King Oliver and the Dixie Syncopators, Luis Russell, Fletcher Henderson and Duke Ellington that bridged the gap between the New Orleans & Chicago jazz bands and the later swing bands of the early thirties.

In 1963, after a long period of preparation and rehearsal, he opened the Club Harlem with the Dud Clews Jazz Orchestra. The band quickly progressed in repertoire and popularity but suddenly Dud was fatally injured in a motor accident. This was a terrible shock but almost spontaneously it was decided that the band must continue as best it could and Dud’s parents were in agreement with the keeping of his name at the head of the venture, so the Dud Clews Jazz Orchestra continued.

Dud’s fine Oliver-styled trumpet was greatly missed but the band recovered its composure and picked up again under the leadership of Derek Habberjam who at the time was switching from second trombone to superb tuba.

What typifies this band, capable handling of the material and retention of the idiom being taken as read, is the enthusiasm and good humour which is brilliantly captured in these recordings and which has never been surpassed by other bands since. Most of the arrangements were created and copied out by members of the orchestra plus the highly valued supporter and excellent arranger Peter Bright. The original few printed arrangements from the early days were still kept and played’.

During 1971 the orchestra held a special session at the Mercers Arms to celebrate the eight anniversary of the opening of Club Harlem. The Coventry Telegraph reported at the time ‘One could not help wondering what factors had provided the continuity to convert what could have been a nine-day wonder into an eight year phenomenon’.

The Telegraph continued ‘It is as difficult as it ever was to define the kind of people who comprise the audience. There is a hard core of jazz fans but the majority of people of every age group, occupation and degree of interest in the music, who come along every week because they like the atmosphere of Club Harlem’.

Of the band themselves only two members, who were present at the first rehearsal in 1962, and four who played at the first club session in November 1963, were still members of the band during 1971. Yet through all the changes in personnel and revolutions in popular music, the dated sounds of early Duke Ellington, Fletcher Henderson and Luis Russel still made those weekly audiences incredibly happy. And as far as Derek Habberjam and the Orchestra were concerned ‘that alone justifies the hard work’.

The 1970s saw the bands reputation spread and so did their popularity. This brought them bookings and appearances outside of Coventry. But like all bands the inevitable happened, and The Dud Clews Jazz Orchestra finally folded. This was during 1981 when, unfortunately, Derek Habberjam upped sticks and left the area.

During the bands 18 years tenure, many band members came and went. It would be great to eventually fill this page with all names but a 1976 line up that played The Burnt Post contained the following personnel:

Brian Bates – Trumpet (Tpt)
Brian Wathen (Watty) – Trumpet (Tpt)
Terry Perry – Alto Sax (Alt)
Mac Randle – Tenor Sax (Ten), Clarinet (Clt), Soprano Sax (Sop), Alto Sax (Alt)
Ollie Dow – Tenor Sax (Ten), Clarinet (Clt)
Cliff Williams – Baritone Sax (Bari), Alto Sax (Alt)
Paul Munnery – Trombone (Tmb)
Fred Brownson – Piano
George Beach – Banjo
Derek Habberjam – Leader, Tuba
John Astle – Drums