The Godfather of British Jazz; The Life and Music of Stan Tracey; Clark Tracey

Clark Tracey [+–]

Musician

Clark Tracey is an award-winning drummer, composer, arranger and band leader, who spent thirty-five years on the road as a member of his father’s groups. He is also a record producer, the promoter of a jazz club and jazz festival, a teacher and the author of a drum tutorial.

This is the first biography of jazz pianist and composer Stan Tracey CBE (1926-2013). Drawing on personal diaries, Stan’s many interviews over a career that spanned 70 years, and his own recollections of working with his father, Clark Tracey draws a picture of what made Stan Tracey a unique character in jazz music. In this very personal account, Stan’s wit and wisdom come shining through in abundance.

The book begins with Stan’s memories of war-torn London and his first experiences of hearing jazz. As a teenager, he joined ENSA and the RAF Gang Show. During the next three years he played at more venues than many musicians do in a lifetime, including a period in the Middle East. Once demobbed, Stan befriended pianist Eddie Thompson, vibraphonist and drummer Victor Feldman and clarinettist Vic Ash and began his professional career. He toured with Kenny Baker’s band and the Kirchin Band before joining the Ted Heath Orchestra, after which he began recording under his own name. He was invited by Ronnie Scott to be the house pianist at Scott’s new club, where his legendary status grew in the next six years. He accompanied giants of American jazz such as Stan Getz, Sonny Rollins, Roland Kirk, Dexter Gordon, Freddie Hubbard and many others. During this period he wrote and recorded the seminal album Under Milk Wood, which to this day remains his best-selling work. Stan left Ronnie’s club during a period of drug addiction and in the 1970s found himself penniless. His wife Jackie employed her skill in the music business and began presenting concerts to keep Stan afloat, while he found new musical friends in the free/improvised idiom of the time, such as Mike Osborne and Keith Tippett. Commissions for suites emerged and Stan’s writing skills found an outlet through the formation of his various groups that were to last for nearly thirty years. Stan’s achievements and awards are numerous and in many cases unique. As well as an OBE and a CBE, he received several lifetime achievement awards and in his last year was the first recipient of the Ivor Novello Jazz Award.

The book includes a complete discography of all commercial recordings featuring Stan Tracey, compiled by Stephen Didymus.

Series: Popular Music History

Preliminaries

Preface [+–] vii-viii

This is the first book about the life of jazz pianist and composer Stan Tracey CBE (1926-2013). Drawn largely from his personal diaries and some of his many interviews, his son Clark Tracey pieces together what made the late Stan Tracey a unique character in jazz music. Stan’s wit and wisdom also come shining through in abundance in this long overdue account of one of the UK’s most important jazz musicians. In a career that spanned 70 years, Stan Tracey recalls his earliest memories in war torn London and his first experiences of hearing jazz. As a teenager, he joined ENSA and the RAF Gang Show and for the next three years played at more venues than many musicians do in a lifetime. Once demobbed, Stan befriends pianist Eddie Thomson, vibist and drummer Victor Feldman and clarinettist Vic Ash and begins his career in music. He toured with Kenny Baker’s band and the Kirchin Band before joining the Ted Heath Orchestra, then began recording under his own name. He was asked by Ronnie Scott to be the house pianist at Scott’s new club, where Stan’s legendary status grew for the next six years. He accompanied giants of American jazz such as Stan Getz, Sonny Rollins, Roland Kirk, Dexter Gordon, Freddie Hubbard and many others. During this period he wrote and recorded the seminal album Under Milk Wood, which to this day remains his best selling work. Stan left Ronnie’s club following a drug addiction and in the 1970s found himself penniless. His wife Jackie employed her skill in the music business as an A&R from previous years and began presenting concerts to keep Stan afloat, as he formed new musical friendships in the free/improvised idiom at that time, such as Mike Osborne and Keith Tippett. Commissions for suites emerged and Stan’s writing skills found an outlet again through the formation of his various groups that were to last for nearly 30 years. Stan’s achievements and awards are ample and in many cases unique. Recipient of an OBE and a CBE, Stan also received several lifetime achievement awards and in his last year became the first recipient of the Ivor Novello Jazz Award.

Acknowledgements [+–] ix

This is the first biography of jazz pianist and composer Stan Tracey CBE (1926-2013). Drawing on personal diaries, StanÃ¢â‚¬â„¢s many interviews over a career that spanned 70 years, and his own recollections of working with his father, Clark Tracey draws a picture of what made Stan Tracey a unique character in jazz music. In this very personal account, StanÃ¢â‚¬â„¢s wit and wisdom also come shining through in abundance. The book begins with StanÃ¢â‚¬â„¢s memories of war-torn London and his first experiences of hearing jazz. As a teenager, he joined ENSA and the RAF Gang Show. During the next three years he played at more venues than many musicians do in a lifetime, including a period in the Middle East. Once demobbed, Stan befriended pianist Eddie Thomson, vibraphonist and drummer Victor Feldman and clarinettist Vic Ash and began his professional career. He toured with Kenny BakerÃ¢â‚¬â„¢s band and the Kirchin Band before joining the Ted Heath Orchestra, after which he bagan recording under his own name. He was invited by Ronnie Scott to be the house pianist at ScottÃ¢â‚¬â„¢s new club, where his legendary status grew in the next six years. He accompanied giants of American jazz such as Stan Getz, Sonny Rollins, Roland Kirk, Dexter Gordon, Freddie Hubbard and many others. During this period he wrote and recorded the seminal album Under Milk Wood, which to this day remains his best selling work. Stan left RonnieÃ¢â‚¬â„¢s club during a period of drug addiction and in the 1970s found himself penniless. His wife Jackie employed her skill in the music business and began presenting concerts to keep Stan afloat, while he found new musical friends in the free/improvised idiom of the time, such as Mike Osborne and Keith Tippett. Commissions for suites emerged and StanÃ¢â‚¬â„¢s writing skills found an outlet again through the formation of his various groups that were to last for nearly thirty years. StanÃ¢â‚¬â„¢s achievements and awards are numerous and in many cases unique. As well as an OBE and a CBE, he received several lifetime achievement awards and in his last year was the first recipient of the Ivor Novello Jazz Award.

Chapter 1

Early Inspiration [+–] 1-13

This chapter covers Stan’s childhood, his experience during World War 2 and ENSA.

Chapter 2

A Wing and a Prayer [+–] 14-27

This chapter covers the RAF Gang Show, early gigs in Civvy Street and becoming a jazz pianist.

Chapter 3

Champing at the Jazz Bit [+–] 28-48

This chapter covers Stan Tracey’s trips to New York and his early associations with Kenny Baker, Ronnie Scot and Ted Heath.

Chapter 4

Soho Nights [+–] 49-63

This chapter covers Stan Tracey’s time as a house pianist at Ronnie Scott’s, his association with Stan Getz and his drug addiction.

Chapter 5

Late Set [+–] 64-81

This chapter covers Stan Tracey’s association with Sonny Rollins, his recording of a suite inspired by Under Milk Wood by Dylan Thomas, and his recovery from drug addiction.

Chapter 6

Grass Roots [+–] 82-98

This chapter covers Stan Tracey’s leaving Ronnie Scotts and his experience of hard times.

Chapter 7

Time and Changes [+–] 99-113

This chapter covers Stan Tracey’s association with Mike Osborne, John Surman and his new music commissions and performance tours.

Chapter 8

Nepotism Begins at Home [+–] 114-134

This chapter covers Stan Tracey’s British Council tours, his growing recognition and his new music.

Chapter 9

Onwards and Sideways [+–] 135-150

This chapter covers Stan Tracey’s association with Genesis and Blue Note and his compositions.

Chapter 10

The Jazz Marie Celeste [+–] 151-169

This chapter covers Stan Tracey’s association with new musicians, his time in Hong Kong and the reunion with Bobby Wellins.

Chapter 11

‘Twas Ever Thus [+–] 170-184

This chapter covers Stan Tracey’s further recognition, his overseas work and his association with Resteamed Records.

Chapter 12

The Godfather of British Jazz [+–] 185-195

This chapter covers Stan Tracey’s new compositions, his participation in festivals and his final illness and death.

Notes

Notes [+–] 196-202

Discography

Discography [+–] 203-320

Discography of Stan Tracey’s work.

End Matter

Index [+–] 321-331

Reviews

Awarded Certificate of Merit in the category of Best Historical Research in Recorded Jazz, 2018 Association for Recorded Sound Collections Awards for Excellence in Historical Recorded Sound Research

Like the music (and life) of its subject, Clark’s biography, which is supplemented by an admirably thorough discography, is single-minded, almost dogged, in its purpose: unsentimentally and dispassionately to document the career, in all its sometimes uncomfortable detail, of one of this country’s greatest musicians. It’s a considerable (and valuable) achievement.
London Jazz News

The pianist and composer had carved an indelible place for himself at UK jazz's top table, and this illuminating biography by his son Clark - a neat and attractively presented hardback - presents an unfailingly absorbing narrative recounting remarkable times.
The Beat

Clark's clear-eyed account of his father's life is a triumph, as is Stephen P. Didymus' splendidly comprehensive discography.
Jazzwise

Listen to his record as you read, they are the best accompaniment to this fine book.
Chris Searle, Morning Star

The Godfather of British Jazz is a book that will fascinate jazz fans.
The Northern Review of Books

As this very personal account confirms, Tracey was an extraordinarily dedicated jazz musician who has earned a place in a wider jazz pantheon than the British scene within which he predominantly worked. As John McLaughlin later remarked about Under Milk Wood, “This was not ‘British Jazz’ – this was world-class music” (p 68). Tracey not only spent a lifetime doing what he loved; he did it exceptionally well, creating an enduring body of work that deserves serious consideration. This book is a valuable addition to jazz literature.
Professor Ted Nettelbeck, Eric Myers Jazz

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The Godfather of British Jazz

The Life and Music of Stan Tracey

Clark Tracey [+–]

Musician

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