Search names, events, places, organisations, and sources across the archive.
Person
SHAW, Artie
Artie Shaw (born May 23, 1910, New York, New York, U.S.—died December 30, 2004, Newbury Park, California) was an American clarinettist and popular bandleader of the 1930s and ’40s. He was one of the few outstanding jazz musicians whose commitment to jazz was uncertain.
Shaw began playing in high school and turned professional in 1925. The first signs of indecision became apparent in the early 1930s, when he retired from music for a year. In 1935, at a New York swing concert, he played one of his own compositions accompanied by a string quartet. A jazz and dance band with a string section followed, but in 1937 he re-formed his band along more conventional lines and a year later became internationally known through his recording of Cole Porter’s “Begin the Beguine.” A string of hits followed, and Shaw’s popularity came to rival that of clarinettist Benny Goodman, the “King of Swing.” By this time Shaw had become known for his mercurial behaviour and perfectionism. He was harshly critical of himself and of the music business.
From 1939 Shaw lived alternately in Mexico and the United States, experimenting occasionally with small jazz combos that he called the Gramercy Five regardless of membership. While several public comebacks followed, including leadership of a U.S. Navy orchestra (1943–44), he dissociated himself from jazz almost totally after 1954 and did not play the clarinet again, although in 1983 he led a re-formed Artie Shaw Orchestra. He later worked as a farmer, theatre producer, and author. Among his writings are the three short novels collected in I Love You, I Hate You, Drop Dead! (1965) and the revealing autobiography The Trouble with Cinderella (1952). Shaw was married eight times, with actresses Lana Turner and Ava Gardner among his wives.
https://www.britannica.com/biography/Artie-Shaw
Artie ShawCONCERTO FOR CLARINET
Concerto for Clarinet is a composition for clarinet and jazz orchestra by Artie Shaw. The piece ends with a “legendary” altissimo C.
The piece is a “pastiche thrown together out of some boogie-woogie blues, clarinet-over-tom tom interludes, a commonplace riff build-up towards the end, all encased in opening and closing virtuoso cadenzas for the leader’s clarinet”.
Shaw and his orchestra performed the piece in the Fred Astaire film Second Chorus (1940), in which Shaw played himself.
Hear Artie Shaw performing his Concerto for Clarinet here:
Concerto For Clarinet (Shaw) by Artie Shaw & his Orchestra Spread over two sides of a 12-inch 78 disc, this extended number was also performed by Shaw and his band in the Paramount film “Second Chorus,” which starred Fred Astaire and Paulette Goddard.
Jack Harrison and Sam Sharp studying the score of Artie Shaw Clarinet Concerto
On October 6 1949, Jack Harrison played the first performance in W.A. of the Artie Shaw Clarinet Concerto with the Jazz Symphony Orchestra conducted by John Nugent Haywood at the Capitol Theatre.
JAZZ SYMPHONY OF 1949 – CAPITOL THEATRE – THURSDAY, OCT. 6 1949(One Night Only).1949’s BIGGEST MUSICAL SHOWSurprise Exclusive Engagement of Australia’s Topline Film, Radio Actor and Producer Star of “Overlanders” Film, Founder and First Conductor of Perth Symphony OrchestraJOHN NUGENT HAYWARDConductingTHE JAZZ SYMPHONY ORCHESTRA IN GERSHWIN’S “RHAPSODY IN BLUE”Featuring LOUISE D’ARCY – A.B.C. Concerto SOLOIST.HUGE LINE-UP OF THE STATE’S BEST PROFESSIONALS ! ! !SAMMY SHARP‘S JAZZ SYMPHONY ORCHESTRA of 28 Leading Musicians.ALBERT CHAPPELLE Dramatic Baritone in W.A.’s first presentation of the famous “SOLILOQUY” with Orchestra.JACKIE HARRISON First Performance in W.A. of the thrilling ARTIE SHAW “CONCERTO FOR CLARINET”with Orchestra.PHYLLIS FROST Sensational Blind B.B.C. Singer.CLIFF ADAM and “NIDDY” ROBERTS hilarious Comedy Duo.“SOPHISTICATED LADIES” STRING ENSEMBLE All-femme String ensemble heard with success over A.B.C.PETER HARRISON Well-known Radio Personality and Announcer, also prominent “Old'” Jazz Authority.HARRY BLUCK Producer who successfully directed the “Jazz Symphony of 1948”, “Jazz Jamboree,” “Battle of Bands” and other successes.ADMISSION – 3/-, 4/-, 5/- (plus tax) – BOX PLAN AT NICHOLSONS. – BOOK EARLY TO AVOID DISAPPOINTMENT. The West Australian Friday 30 September 1949 page 37Artie Shaw rehearsal article1950 – REHEARSAL FOR SAMMY SHARP’S JAZZ FANTASIASaturday September 16 1950(photo) from left to right: Jack Harrison, Jim Beeson, Betty Wittaker, Sammy Sharp and Keith Whittle. The West Australian Tuesday 19 September 1950 page 121950 Jack rehearsing Artie Shaw“JAZZ FANTASIA”October 1 1950The Young Australia League – will present Sammy Sharp and his orchestra of 25 in the third annual Jazz Fantasia at the Capitol Theatre on October 1. Supporting artists will include Louise D’Arcy, Jack Harrison, Betty Whittaker, Bryn Gifford, Phyllis Frost and Keith Hounslow. The compere will be Peter Harrison. [3]A BLITZ IN MUSIC WILL FOLLOW THE BANDThe Young Australia League band will march through the city as a prelude to Perth’s third Jazz Fantasia at the Capitol Theatre on Sunday, October 1. Sammy Sharp and his Jazz Symphony Orchestra, with many supporting artists will provide the programme at the theatre. One of the featured works will be a performance of London Fantasia, with pianist Louise Darcy as soloist. It is a musical story of the spirit of London during the blitz. Other artists will include: clarinettist Jackie Harrison; a State finalist in the concerto and vocal competition this year, Phyllis Frost; a blind singer who has been featured with Claude Brampton’s All Blind Orchestra in London; and Betty Whittaker, star of the Repertory Club’s Maritza. The show will be produced by Sammy Sharp and compered by Peter Harrison and Terry Scanlon.The Daily News Thursday 21 September 1950 page 12CAPITOL THEATRESunday, October 1stY.A.L. Presents“JAZZ FANTASIA”With SAMMY SHARP and his 25-piece Jazz Symphony Orchestra.Comperes; TERRY SCANLAN, compere Ice Follies (by courtesy David N. Martin, Mgr. Dr. Tiv. Circuit Aust. Pty. Ltd.); PETER HARRISON (by courtesy A.B.C.).Guest Artists IncludeLOUISE D’ARCY. Soloist of “London Fantasia” Jackie Harrison in “Clarinet Concerto”and Betty Whittaker, Bryn Gifford, Phyllis Prost, Jimmy Beeson.SAMMY SHARP will be featured in Harry James’s arrangement of “Concerto for Trumpet.” Prices 5/ 4/ 3/ plus tax. Box plan at Nicholsons. The West Australian Wednesday 27 September 1950 page 37
Hear Jack Harrison performing Artie Shaw’s Concerto for Clarinet here:
SPECIAL DELIVERY STOMPRecording Date: September 3, 1940, at RCA Victor Studios in Hollywood, California.
Artie Shaw and His Gramercy Five.
Released in October 1940 on Victor 26762.
The track famously features Shaw on clarinet alongside Johnny Guarnieri on harpsichord, Billy Butterfield on trumpet, Al Hendrickson on guitar, Jud DeNaut on bass, and Nick Fatool on drums.
January 1948Harrison family AgainSixteen-year-old Musician to give further broadcastWestern Australia was represented last week in “National Fair” from 6IX-WB-MD by twins, Jack and Jill Harrison and elder brother Ray. The Harrison family was put up as the best musical family in Australia. Jack Harrison, the 16 year old lad who played both the saxophone and clarinet, was such a success that the producers asked him to put up another challenge, so he is again appearing in the programme next Wednesday as the best clarinettist in Australia.Jack will again be accompanied by his twin Jill on the piano, and his brother Ray on the drums. This time Jack will be playing the clarinet only. His item will be “Special Delivery Stomp” one of Artie Shaw’s favourites.So far this is the first time two challenges have been put up by the same person. The West Australian selectors hope that this challenge is unbeatable, but listeners can decide that for themselves when they hear what the other States can produce to take up this challenge.The other five states also will be presenting their “exhibits” on Wednesday night at 8 o’clock, some again challenging and others answering challenges previously set. If anyone who knows of anything or anybody who could possibly be used as an “exhibit” in “National Fair”, he or she is asked to communicate with W.A. Broadcasters Ltd., Lyric House, Perth. The Broadcaster Saturday January 17 1948 Vol. 14, No. 720
The original music for “Golden Wedding” (originally titled “La Cinquantaine”) was written in 1887 by French composer Gabriel Marie, while Woody Herman’s famous swing arrangement by James “Jiggs” Noble was arranged and recorded in 1940.
Recording Dates: Recorded in New York City in late 1940 (with specific sessions on September 27, 1940, and November 9, 1940).
Release & Legacy: Released as a hit in 1941, the track became a jazz standard famous for Frankie Carlson’s 34-bar extended drum solo
https://www.britannica.com/biography/Woody-Herman
July 1949ROUND THE BALLROOMSAs a novelty, the burlesque cricket match at the Embassy this week — a highlight of the LCL Ball — was a winner. It featured Dr. Grace, “Demon” Spofforth and Bert Oldfield and it was cricket at its brightest! Guest artist Jack Harrison, noted clarinetist, presented Golden Wedding, accompanied by Keith Whittle, Embassy drummer, followed by Artie Shaw’s “Special Delivery Stomp” accompanied by full band. Premier Ross McLarty received 10 beautiful debs. They were in white, with pastel posies. Personalities noted were Wendy Jago of Cottesloe, in an off-the-shoulder marquisette. She was with Richard Knight of Inglewood. Her sister Anne (one of the debs.) wore white organdie tiered skirt with white lace and white kid gloves, accompanied by Peter Kyle of Nedlands. Nomai Foster, of Scarborough, in sea green lace frock with green elbow length mittens. Her partner was Jack Jago of Cottesloe. Joan Dohnt, of Dalkeith wore an off-the-shoulder white lace gown with a tulle waist and matching silk gloves in her deb. presentation and was partnered by Max Carter of Nedlands. Celine Croft from the northern suburbs chose an attractive pink lace top and pink taffeta skirt with matchings. She was seen chatting on the balcony with Harry Payne. From Mt. Hawthorn, Micky Moylan was cute in black taffeta with tartan trimmings. She was seen with Don King of North Perth. J. C. Williamson group included Adrianne Paterson in a smart black velvet gown with Victor Hough, Fay Agnew, very attractive in a powder-blue taffeta frock with rainbow-hued dashes in the bodice and skirt. Fay, who is only 19, comes from Auckland, New Zealand, where she was a vocalist with a leading Auckland band. In Australia she joined the J. C. Williamson show as a chorus girl. She intends to make the theatre her career and plans to go further afield. Mirror Saturday 9 July 1949 page 14Jack Harrison
Ronald Percival Jenkins was born 27th December 1913 in Fremantle.
He started his life on the stage as a dancer and then came to prominence in Perth as a clarinet and saxophone player who performed at hundreds of concerts, competitions and events only a few of which are highlighted on this page.
In 1937 he married Alice Mitchell in Fremantle.
1925
Master Ron. and Miss Sylvia Jenkins, who won the Three-step Competition at the recent R.S.L. Children’s Dance, were pupils of Miss Vera Stewart.
Advertiser (Fremantle, WA : 1921 – 1932), Friday 18 September 1925, page 1
MISS VERA STEWART’S CONCERT A WONDERFUL SUCCESS
The first Annual Variety Entertainment by the pupils of Miss Vera Stewart, was held at the Fremantle Town Hall, on Saturday evening last, before an audience which occupied every seat in the Hall, and proved to be one of the best shows of its kind ever staged in the Port. The programme included no less than 36 items (every one of which was encored), and it reflects the greatest credit on the stage management that the last item was disposed of a few minutes before 11 o’clock. 1 From first to last the show went with a pleasing swing, there being none of those breaks or delays which often characterised entertainments of this kind. The mounting and dressing were splendid—in some cases magnificent —and the accompaniments, played by Miss R. Droney (piano), and Piper Lindsay, went a long way towards the success of the show. The programme is too long to be dealt with seriatem and where everyone did so well it is difficult to select the “stars.” However special mention might be made of Nita Nankervis, Connie Rumble, Beatty Crake, Coralie Condon, and Hazel Davies, for their singing (and dancing), and the Misses Jenkins, Hazel Hall. Jean Radcliffe, Master Ron. Jenkins, and babies Joan Lemmens and Evelyn Essex. Miss Stewart was rarely off the stage, her dancing being entertainingly clever, and her leadership splendid.
Advertiser (Fremantle, WA : 1921 – 1932), Friday 11 December 1925, page 4
1936
Zionist Club Dance At Log Cabin
THE West Australian Zionist Athletic Club held a most enjoyable dance at the Log Cabin on Saturday evening. Ron Jenkins’ orchestra supplied the music. Novelties added to the fun of the evening, and credit is due to the energetic committee in charge of the arrangements.
Daily News (Perth, WA : 1882 – 1955), Tuesday 18 August 1936, page 8
Fremantle Dance.
A DANCE arranged by the ladies of St. John’s Church, Fremantle, was held recently in the Victoria Hall. Ron Jenkins’s orchestra was in attendance, and supper was served on tables decorated with bowls of Iceland poppies. Mr. G. Hettick supervised the floor arrangements, and the ladies’ committee included Mesdames Baker (president), Parker, Cole, Crockett, G. Hettick, E. J. Clarke, Witherow, Greenslade, Sullivan, Solomon, Styling and Clarke. Those present included Canon Collick, the Rev. A.M. Jenkins, Mr. and Mrs. Bancroft, Mrs. Herbert; Misses C. Kerk, G. Edmonds, Phyllis Allen, Dorothy and Eunice Parkes, Loris Hettick, Bernice Everyn, Marie Turner, M. Baker, Bancroft, Joan Rolefort, Mabel Williams, Nora Jarmens, Gwen Jones. Messrs. E. Parkes, Bolton, Morrisey, Baker, Clarke, L. Hettick, 1. Matthews, I. Hades, J. Letchford. S. Smith. and G. Baker.
West Australian (Perth, WA : 1879 – 1954), Wednesday 7 October 1936, page 4
1937
Claremont Football Club – DANCE ON MONDAY
Supporters are reminded of the club dance in the Myola Hall, Claremont, on Monday, July 19. Ron Jenkins orchestra will provide the dance music.
Mirror (Perth, WA : 1921 – 1956), Saturday 17 July 1937, page 7
1939
THE staff of Cox Bros. held a social evening on Thursday at the Stir-ling Social Rooms. Music for dancing was supplied by Ron Jenkins’s band.
West Australian (Perth, WA : 1879 – 1954), Monday 3 July 1939, page 3
1946
SPORTS ORGANISATIONS. The Claremont Football Club will hold its fortnightly dance in the Parish Hall. Claremont, tonight. Ron Jenkins’s orchestra; Popular prices. Supporters and friends welcomed.
West Australian (Perth, WA : 1879 – 1954), Tuesday 21 May 1946, page 3
1948
On July 1st 1948 “Battle of the Bands” was held at the Capitol Theatre. It was attended by His Excellency the Lieutenant-Governor, Sir James Mitchell G.C.M.G. and raised funds for Wooroloo hospital with Margot Elfverson, who was also the receptionist at the Murray St Chest Clinic, as the Public Health Candidate.
1948 Battle of the Bands program
BATTLE OF THE BANDS CONTEST – HOSPITAL AID – Dance Band Contest Winners – Strains of boogie-woogie, jazz, jive and swing music formed the principal part of last night’s entertainment at the Capitol Theatre in connection with the Wooroloo Hospital Queen Contest. The programme was arranged by the Legion of Liberty. which is one of several bodies who together are seeking to raise £100,000 required for the establishment of a village for the after-care of discharged tuberculosis patients. The chief feature of the evening was the “battle of the bands.” with five dance bands competing for a prize comprising silver and a cheque for £25. Honours went to Jack Harrison‘s Swing Trio, one of the smaller ensembles in the competition, consisting of Jack and his twin sister, aged 16 years, and an 18-year-old brother. Ron Jenkins and his orchestra were placed second, and the Ashton Quartette third. The prizes were presented on behalf of the legion by “Miss Liberty” (Miss Elma Palmer). Judgment was based on the strength of the applause. Nearly all accommodation in the theatre was taken. Geoff Manion compered. The West Australian Friday 2 July 1948 page 10
CAPITOL THEATRE SHOW – BATTLE OF THE BANDS CONTEST – VENTURE PROVES HUGE SUCCESS – WOOROLOO HOSPITAL QUEEN CONTEST With a theatre almost packed to capacity hundreds of enthusiasts enjoyed an evening of boogie-woogie, jive, jazz and swing music which formed the principal part of the Capitol Theatre entertainment on 1st July last. During the evening Sammy Sharp’s fifteen piece Orchestra rendered latest numbers from overseas. The Battle of the Bands proved most interesting, the honours going to the smallest ensembles in the contest. Sixteen year old Jack Harrison, with his twin sister and eighteen year old brother took home the colours in the form of a silver cup and a cheque for £25. Judgement of the winning band was based on applause by the audience and results were very close. Ron Jenkins and his band ran Jack Harrison a very close second, with Mrs Ashton’s Quartette third on the list. Prizes were presented by “Miss Liberty” (Elma Palmer) who afterwards thanked many people and organisations for very valuable assistance rendered to the cause. A good profit was the result of the evening. The Harrisons generously donated five pounds of the prize money to “Miss Liberty’s” Appeal. Shows of this nature prove conclusively that the Legion is fully capable of running large functions, and we feel sure that this addition to the cause will be much appreciated. To members of the Hospital Queen Committee and to all members of the Legion who rendered assistance we express our sincere thanks. We also extend our sincere thanks and appreciation to the many firms whose assistance in various matters added tremendously to the success of the evening. To the contesting bands we owe a particular vote of thanks. Without the band there would not have been a contest. We feel that this Contest stimulated interest in the jazz-band world and we hope that in the future it will be possible to organise other functions of a similar nature. The Legion (Legion of Liberty) August1948
AROUND PERTH in 1948 WITH HARRY BLUCK
PERTH RADIO STATIONS USING MORE BANDS AND LIVE ARTIST SESSIONS
Quick survey of local musicians currently airing programmes in Perth shows what a keen interest is being shown by local radio stations, both national and commercial, in presenting “flesh and blood” shows, especially by members of the dance band fraternity. Here are where a few of our leading “outfits” can be heard over the local ether. Sammy Sharp’s Band (featuring a 15 piece combination) and vocalist Peter Boyd are prominent each Thursday evening over station 6PR with a Band Presentation and “Talent Quest” show. Over the same network from Perth Town Hall, Chris Gosper and his “Music for Moderns” are relayed from their weekly midday sessions, which have proved a huge success, and shows signs of developing into something really big. From the same network come many other “live” shows including pianist Warrick Lever, Henry Cochrane and Jimmy Beeson. George Hay and his “Hawaiians”, Billy Barnes’ Hill Billys, Accordionist Harry Bluck, saxophonist Jack Pateman.
On the Nationals the weekly show features the “Rhythmettes”, a novelty outfit led by Harry Bluck, while the Jackie Harrison Quintette and Emil also give occasional broadcasts, not forgetting of course, soloist Henry Cochrane. Quick roundup of the other stations tells us of a weekly Sunday Show by the “400 Swingtette” over 6KY, where Chris Gosper and Ralph St. Clair play solo piano sessions, while a prominent Hill Billy movement is also aired by this station.
Theatre May Use More Music
News that Sammy Sharp’s Thursday night broadcasts shift into the Ambassador’s Theatre as part of the programme etc, may mean the thin end of the wedge for some other houses to follow suit and gradually reintroduce more musicians into local theatres. From observation it appears that Perth picture houses are not doing terrific business mid week. Perhaps some really good musical acts and support may be the answer, as indications from the other side of the show business points to outstanding houses for all flesh-and-blood performances.
The Jazz Jamboree
Already the bands concerned in this year’s “Jazz Jamboree” are working on their numbers for this colossal programme which shows every promise of superseding last year’s magnificent turn out. The bands listed to appear so far are – Merv Rowston’s, Jack Harrison’s, Ron Jenkins, A Jazz Group, Bill Kirkham’s, Chris Gosper’s and Sammy Sharp’s bands. This year a box plan will be opened and so it is hoped to avoid the terrific crush and queuing that took place last year – the queue was four deep, entirely encircling a complete city block – and was there for a couple of hours in pouring rain. Also – at last – proceeds from this year’s Jamboree go to the Musician’s own Benevolent Fund.
Music Maker October 1948
JAZZ JAMBOREE OF 1948
Capitol Theatre, Sunday Night October 31
eight leading bands led by
Merv Rowston, Sammy Sharp, Chris Gosper, Harry Bluck, Ron Jenkins, Bill Kirkham, Jack Harrison, Ken Murdoch
Box plan at Nicholsons. Adm 2/6 Proceeds to Charity.
Harry Bluck, who heads the A.B.C. Rhythmettes, is the brains behind the business and all proceeds go to the Musicians’ Benevolent Fund.
The Mirror Saturday October 23 1948 Vol 25. No. 1379
Be In the Swing on the
SWING SHIP
T.S.S. Emerald
Tonight Thursday December 16th at 8 o’clock
Price 3/6
Popular bands Ron Jenkins, Jack Harrison
Swing Master: Geoff Manion
The West Australian Perth Thursday December 16 1948. Also Daily News
1949
JAZZ JAMBOREE OF 1949
EIGHT OF PERTH’S BEST BANDS – Alvan St. Jazz Group, Harry Black’s Swingtette, Jack Harrison’s Quintette, Ron Jenkins Lido Quartette, Ken Murdoch‘s Band, Bill Kirkham’s Jive Band, Merv. Rowston’s Band, Sammy Sharpe’s Band.
CAPITOL THEATRE, SUNDAY, OCTOBER 30th
ADMISSION: 3/6 (reserved). Box Plan at Nicholsons.
The West Australian Wednesday 19 October 1949 page 30
JIVE FANS
BIG moment in local jive lives will arrive Sunday week when another Jazz Jamboree will be held at the Capitol with 60 of Perth’s best musicians featured in 8 bands. Alvan-street Jazz Group, Harry Bluck Swingtet, Jackie Harrison’s Quintet, Ron Jenkins Lido Quartet, Bill Kirkham’s Swing 7, Ken Murdock’s Band, Merv Rowston’s Society 5 and Sammy Sharp’s Band. Fans will also appreciate a re-appearance of sensational blind singer Phyllis Frost.
Mirror Saturday 22 October 1949 page 14
BIG JAZZ SHOW
Over 60 musicians will appear in the “Jazz Jamboree of 1949” in the Capitol Theatre on Sunday October 30. Eight bands will feature every style from Dixieland to bop. The concerts have been held since 1947 and have attracted very big audiences. The proceeds for the show are donated to the musicians’ benevolent fund. The bands taking part will be: Alvan-street Jazz Group, Harry Bluck Swingtet, Jackie Harrison’s Quintet, Ron Jenkins Lido Quartet, Bill Kirkham’s Swing 7, Ken Murdock’s Band, Merv Rowston’s Society 5 and Sammy Sharp’s Band.
Booking Opens at Nicholsons. Friday 19th October 1951.
1951 Jazz Jamboree – programme
1952
On 12th August 1952 at Jack and Jill Harrison’s 21st birthday, which they celebrated at a party held at the Nedlands Tennis Club, Jack’s engagement to ABC typist Marcia Chayter was announced.
WHAT a wow of a party those young attractive, twins Jill and Jackie Harrison had on Tuesday night to celebrate getting the key of the door! Added thrill for Jackie, for he has obtained a promise from a lovely person, Marcia Chayter, who looked a dream in pale blue tulle studded with rhinestones. Jill showed off her brunette attractiveness with emerald green taffeta. Lots of attractive lasses and their partners danced to Ron Jenkins‘ orchestra. Pam Sampson looked sweet in pale blue organdie and Berwyn Allen in pale pink faille. Others there were Ann Poynton, Deirdre Schorer, Tom Twentyman, Bob Pope, Jess and John Woodland.
Sunday Times Sunday 17 August 1952 page 9
Sunday October 26th 1952 – Jazz Jamboree
Jazz Jamboree 1952
DANCE BAND FANS! BOOK EARLY And Avoid Disappointment for the
Ron Jenkins, who led his Lido Quartette at last Sunday night’s concert, has specialised in novelty jazz music. His combination is sometimes known as the local Spike Jones group and he has patterned his music along comedy lines. Ron, like a number of other local boys, started his career as a drummer. He later switched to the saxophone and has stuck to it ever since. His favourite bands are those which give their music novelty treatment. His ambition— to play on television if — sorry, when—it arrives in Australia.. By profession, Ron Jenkins is a tailor, who can cut a suit as well as he can ‘cut a rug’.
The West Australian Saturday 13 September 1952 page 15
1953 – wedding of Jack and Marcia Harrison – Ron Jenkins was hired as the band.
Nutty Cook and Ron Jenkins at the wedding of Jack Harrison and Marcia Chayter
1954
JAZZ AT THE CAPITOL – TEN TOP BANDS TO BEAT OUT JAZZ – SUNDAY 27 JUNE 1954
That Jazzbo Collins’ quip ‘Be you round, be you square, it’s guaranteed to curl your hair,’ could well be applied to tomorrow’s ‘Jazz at the Capitol.’ Perth fans have always rushed these shows and judging by the crowd round the box office during the week this one will be no exception. Ten of Perth’s top bands will get together to boost the Wendy Nash Appeal. And in the midst of all this jazz Wendy herself will take the spotlight and play a couple of classical numbers— Clare de Lune (Debussy) end Khatchachurian (Toccato). Organiser Harry Bluck says that though these compositions are definitely in the classical sphere he is sure they will go across well with the jazz lovers.
Listed for the program are the Harry Bluck Sextette, Ray Le Cornu’s Band, Cliff Adams’ Sextette, The Jazstars, Jack Harrison’s Quartette, Norm Wrightson’s Band, the Jimmy Beeson Group and Merv Rowsten’s Band. Popular trumpeter Sammy Sharp will be sitting in with Merv. All these outfits, with the exception of Merv Rowston, will play 3 numbers. He will present his own arrangement, ‘Merv’s Music in the Modern Manner.’ Ray Le Cornu’s Band will give out with ‘Tuxedo Junction,’ made famous by the mighty Glen Miller Orchestra. It will be interesting to see how he puts this number across. Also on Ray’s list is the ‘Woodchoppers’ Ball,’ old favorite of which Woody Herman made such a great recording. King’s Park dance-goers know what a terrific job Jackie Harrison makes of the ‘Golden Wedding.’ The hall comes to a standstill when Jackie gets up on the stool to extract those last few high notes from the liquorice stick.
Ron Jenkins has built a great reputation with his top class music and comic acts. Ron and his quartette will serve up ‘Crazy Man Crazy’— guaranteed to make everyone ‘go mad.’ Norm Wrightson has a certain touch of class about his presentations. He gets a beautiful tone out of his clarinet — which should be well to the fore. His selections are all numbers played by Benny Goodman groups —’I Got Rhythm.’ ‘South of the Border’ and ‘Undecided.’
Those who were at the Jazz Jamboree last, November will no doubt remember the great reception Martin Gieschus got when he sang ‘That Old Black Magic.’ He had to sing it again. Tomorrow night he is singing current pops-top ‘Answer Me My Love’ with the Jimmy Beeson Group. Jimmy’s other 2 items are ‘Sometimes I’m Happy’ and ‘Cheek to Cheek.’ Jazstars are billed for 2 oldies in ‘Tiger Rag’ and ‘That’s a-Plenty.’ Liza Ray provides the vocal of their third number, ‘Somebody Loves Me.’ Harry Bluck sextette will feature ‘Lullaby of Birdland,’ a number popularised by the inimitable George Shearing. Kath Bass exercises the vocal chords singing ‘The One I Love Belongs to Someone Else’ with the Bluck group. Cliff Adams’ outfit will play ‘The Continental,’ ‘Cumana’ and ‘Long John Stomp.’ It’s no wonder all seats have been taken except 200 to be sold at the door.
The Mirror Saturday 26 June 1954 page 13
RON JENKINS – OLD HATS INSPIRED ‘MAD HATTER ‘ MUSIC VOGUE
A stack of old hats in his father’s men’s wear store started Ron Jenkins on the road to success in dance band-cum-comedy work. Discarded headgear gave Ron the idea of adding a novelty angle to his band. Later, he dug deeper into the pile of old clothes which had collected in the shop since its inception in 1910, and the idea for what so many dance goers now know as typical Jenkins’ style was born. Ron always believed patrons want something more than straight music. Just how right he was is illustrated by the way dancers will stop and gather round the stand while Bon and the boys go through their crazy capers.
The Jenkins’ humor is essentially a team effort. A title is first chosen, then all band members offer their suggestions for slapstick. Best ideas are pooled and a number is ready to split the dancers’ sides. A lot of comedy is impromptu, but for big shows the band gets together at Ron’s place — as some Melville residents know only too well— to rehearse. To back this fooling Ron has a huge store of varied clothes. Included in his ‘wardrobe’ are 50 hats, ranging from elegant bowlers’ to Yankee gob caps, 8 striped blazers of unknown vintage. parson’s coats, swallow-tailed coats, oilskins, and Indian blankets. He also has masks, spectacles, false noses, cheeks and such like by the hundreds, not to mention innumerable wigs both male and female. Compere of ‘Jazz at the Capitol’ Peter Harrison will probably say smoke bombs and crackers should be included in the list of the Jenkins’ equipment. While Harrison was talking before Jenkins’ act last Sunday a smoke bomb exploded behind him. Amid crackers and jumping jacks he was removed from the stage in a none-too-gentle manner. Before the smoke of the battle had cleared away the boys were on their stands beating out ‘Crazy Man ‘Crazy.’ ! It was!! Some think Ron’s car must have elastic sides, judging from the huge bundle of clothes of one sort or another which he; brings to engagements. When he opens the door out comes Ron, crazy clothes and all. The next half hour is usually spent sorting it out.
Comedy is only part of the Jenkins’ group. His musicians are ton class and can turn out: solid music. Group comprises Vinc Cook (drums), Allan Cole (bass) and Austin Ray (piano), not to mention Ron Jenkins on sax and clarinet. When the outfit is increased to a quintet for bigger bookings Ray Reason (you should listen to Reason) adds his trumpet Nutty Cook, apart from his brilliant drumming, can certainly put over a vocal — particularly a semi-comedy type. Ron vouches for the fact that many of the ideas for his shows come from the Cook cranium. Pianist Austin Ray has built up a great local reputation with his keyboard work, and really enters into the spirit of things when the band goes mad. Allan Cole (bass), needs no Introduction. He used also to be with Colin Hicks. Ron Jenkins has based his band to some extent on the Fats Waller style. ‘Fats got terrific lift out of popular numbers for a small combination and we try to get something of the same effect,’ says Ron, summing up. He sticks mainly to popular numbers which please the majority. The drive the quartet gets is amazing. Ron Jenkins’ interest in dance music dates back to when he was 6. His parents used to take him to dance festivals and the like. Soon after, he started to practise on his father’s drum kit and then he switched to the sax. He started playing with his father at small dances and shows. His first big job was with Merv Rowston’s Old Time Band at Government House. Later, he formed his own group. He has had more or less the same personnel in his outfit since the end of the war. The Jenkins’ Group will always be small and compact. Ron says he would never be able to put across his comedy with a big band. Things would get out of hand and it would be a shambles. He has a great admiration for the way Spike Jones can present the music be does with so many in the band, and thinks this would take a lot of practice. He doesn’t take ideas from Spike, however. During the ball season the Ron Jenkins’ Quartet or Quintet has a busy time. Apart from regular Saturday engagement at the Valray, Rockingham, he has also a number of week-night engagements. He has travelled as far north as Big Bell and as far south as Busselton to play at dances. One Australian he has a lot of time for is Bobby Limb. Both Bobby Limb and Ron Jenkins serve up a similar type of fooling. Now Ron intends to revive some of his favorites from a few years back. Among best numbers are ‘Down on the Farm,’ ‘I’m Nuts on Screwy Music’ (which naturally enough his one of his favorites) and ‘Don’t Bring Lulu.’
Current, numbers which have received a going over from the Jenkins’ group Include ‘Ugly Child,’ ‘Dear Ron (John), and ‘I See the Moon.’ Ron was in 2 minds whether to play ‘Dear Ron’ or ‘I See the Moon’ at the Capitol last Sunday. He settled for the latter as it was more topical. Applause almost brought the roof down. Looking to the future. Ron and the boys are very interested in the advent of TV in the West. A group, like theirs should do very in this medium. Band gets Just as much kick out of playing as you get from seeing and having fun.
The Mirror Saturday 3 July 1954 page 14
1955
They’re Crazy, Man, Crazy
Recognise the faces? Well, recognise the out-fits? Ron Jenkins and his musical maniacs, no less, in their garb for “Dear Ron,” one of their most popular numbers. As the leader admits in another item, he’s “Crazy, man, crazy.” But he’s good fun.
And Ron Jenkins is only one small part of the fun at Cottesloe Civic Centre on Tues-day night when Harry Bluck gets the Lagacy Jazzaroo under way. He has all the top bands lined up, including his own two groups, Ron Jenkins, Norm Wrightson, Cliff Adams and the Rhythm Spinners. Kath Bass and Dane Gorn are on the program and Peter Harrison will compare. What a way to start the month.
Mirror (Perth, WA : 1921 – 1956), Saturday 26 February 1955, page 3
1955 Jazz Jamboree – program
1955 Jazz Jamboree Program
Ron Jenkins died on 11th April 1989 aged 75, having only retired from performing 6 years prior.
Sir Jack Brymer OBE, the doyen of 20th century British clarinettists, whom The Times dubbed “the leading clarinettist of his generation, perhaps of the century,” had a less than perfect clarinet when he started playing aged five!
Self-taught and a school teacher in Croydon initially, Brymer struggled for 13 years, with a sharp-pitch A clarinet, with a bit sawn off in the school woodwork room! Later as a professional orchestral musician, he’d claim the struggle was worth it. He could solve almost every problem he encountered.
Eventually when he’d saved enough, Brymer bought his first pair of Boosey & Hawkes 1010s for £19 in exchange for his old battered instruments, plus £2 extracted from the gas meter. They were the same instruments he played when he was chosen by Sir Thomas Beecham to join the new Royal Philharmonic Orchestra, which the maestro had founded just after the war.
Throughout his glory years with the RPO, the BBC Symphony Orchestra and London Symphony Orchestra, Brymer always found time to pursue all the musical genres he’d dabbled in as an amateur. He loved jazz and played the saxophone to an equally high level with professional jazz musicians in both the UK and USA.
He played in brass bands, with circus bands and appears on a couple of Beatles tracks. Later he’d declare:“There is not a single one of these [experiences] which has not been of great value to me professionally.”
Brymer also played in a number of important chamber ensembles, founding and directing the Wigmore Ensemble, the Prometheus Ensemble and the London Baroque Ensemble.
In addition to his many commercial recordings, he was recorded and broadcast countless times by the BBC where his fame also spread as a mellifluously voiced radio presenter. His program At Home was particularly popular with his listeners.
The trademark Brymer sound – lyrical and velvety – was in part “inspired by the oboist Leon Goossens.” He was 13 when he heard him play the oboe solo in Ravel’s Habanera on the BBC. “In that special moment I became aware of the sounds of the Spanish night, of warmth and mystery,” he recalled. From then on he sought out every opportunity to hear wind players, and to learn from their sound. For generations of music lovers Brymer personified the clarinet: elegant, mellifluous and effortless.
“They would have been astounded at the things they taught me, without a penny piece changing hands.”
John Alexander Brymer was born 27 January 1915, on the same day as Mozart, whose music he adored.
He was born in the north-east of England, “in South Shields, Tyneside, near the sea. My father was a builder and played the clarinet which he left on the mantelpiece. I was curious, picked it up and began to play. There wasn’t a lot of music at home, though we did play around the piano as everyone did then.”
By the age of 11, Jack was playing solos with the local military band and in amateur orchestras with musicians who were often a lot older than him. His first experience of ensemble playing was “in a tiny darkened room in a tram depot, sitting on a bench with about six other clarinet-blowing members of the DLI First Cadet Battalion Military band.”
Though he had no formal music tuition, Brymer always said no-one was entirely self-taught. “I learnt from everyone I heard play. Frederick Thurston and Reginald Kell unwittingly betrayed their methods to me, but I also decided that I wanted to play in certain ways that they had never done. They would have been astounded at the things they taught me, without a penny piece changing hands.”
“I used to leave the sax under the porch in the garden and climb through the window.”
At school Brymer excelled at rugby. There was little music in the curriculum, but as he put it “we were more interested in scholarships and football in that order. My ambition was to be a musician but at that time in the late 20s, talking films appeared and unemployment amongst musicians was very serious so it would have been silly to be one. So I decided to be a school teacher of physical training as this was also an interest and I could get to a London college to study it, so that’s what I did.”
In London training to be a teacher at Goldsmiths College, London University, Brymer met his future wife, the violist Joan Richardson. They played in various ensembles and married in 1939 when they were both 24 and had one son, Tim.
“Luckily there were people interested in orchestral music at college and that was my first taste of a really large symphony orchestra.”
Brymer wasn’t allowed to play jazz at college, but “I did actually sneak out of my hostel on a few occasions down to a local roadhouse with my illicit saxophone. These were very un-permissive days and we were expected to be indoors by about 10.45 instead of 1.15. I used to leave the sax under the porch in the garden and climb through the window.”
After graduation, Brymer joined the teaching staff of Heath Clark School, Croydon, the same town where his fiancée was living, teaching “physical training, English and music, in that order.”
Brymer impressed the all-girl classes with his sporting gifts and for his ability to make music live on an “appalling school piano,” in the music appreciation classes he led. Brymer was also a very competent pianist.
“I clambered down from the roof where I’d been spreading a little pitch after the bombing and a voice said: ‘This is Thomas Beecham. I believe you play the clarinet.’”
During the war years, Brymer joined the RAF and was posted to Morecambe on the north-west coast of England as a PE instructor.
His musical life continued there, playing in the Morecambe Central Pier dance band, dressed in his corporal’s uniform. One of the new friends he made there was the horn player Dennis Brain. A friendship that proved very serendipitous.
After the war, Brain suggested to Sir Thomas Beecham, who’d just founded his Royal Philharmonic Orchestra, that he might have just found the right man for the empty clarinet first chair in the orchestra.
Brymer said he got the shock of his life when the phone rang at home one day. “I clambered down from the roof where I’d been spreading a little pitch after the bombing and a voice said: ‘This is Thomas Beecham I believe you play the clarinet.’”
At first he thought it was a practical joke – someone imitating Beecham’s familiar lordly drawl – but it was the maestro and Brymer found himself playing one of Brahms’ clarinet sonatas at the conductor’s London home, while Beecham, suffering from gout in his fingers, attempted to play the piano accompaniment with bandaged hands.
“I joined in 1948 and Beecham died in ‘61, but I stayed on. He was not unpredictable but you had to be pretty wide awake because he was so wide awake. He wouldn’t ever let you know how a work was going to be performed until the actual concert. The rehearsal was to some extent just a familiarisation. He would then almost sculpt the work in front of your eyes in the concert. It was the most remarkable thing.”
His first concert was a broadcast of Berlioz’s epic opera The Trojans. Brymer was the envy of many of his colleagues. He never suffered from nerves and seemed never to have to practise much.
Another memorable occasion was the Strauss Festival, when the great German composer appeared alongside Sir Thomas conducting some of his music with the RPO. No one knew it was the last year of his life. Brymer recalled “an old man in a raincoat leaning over my shoulder advising me of how to play the delicate clarinet solo which comes immediately after Don Quixote has died. It was a wonderful baptism of fire to be in the presence of someone who was already a legend.”
“I played with nearly all of the great post-war conductors; the one I missed was Toscanini.”
Brymer remained with the RPO for 16 years, then in the mid-60s he joined the BBC Symphony Orchestra as co-principal clarinet. He and a number of players in the RPO were unhappy with the new management after Beecham’s death.
He stayed with the BBCSO from 1963 to 1971, but when Pierre Boulez arrived and wanted “a more avant-garde, harsher, more cutting sound,” he moved on to the LSO. “The BBCSO didn’t really suit me. There was so much avant-garde music and rehearsing it was quite painful.”
With the LSO, he particularly enjoyed the summer residencies in Glyndebourne, playing for the opera, taking his family there for the season. During his tenure which endured to 1986 he served under many great conductors like André Previn and Claudio Abbado. “I played with nearly all of the great post-war conductors; the one I missed was Toscanini.”
In his spare time, Brymer was something of an ambassador, touring to every European country, the former Soviet Union and the USA. He also travelled up and down the UK and entertained on cruises, demonstrating his clarinet’s possibilities and his extraordinary versatility. He’d play classics from baroque to 20th century works, and trad jazz.
His last public concert was on 18 July, 1997, at Wigmore Hall in London. He played the Mozart Clarinet Quintet with the Gabrieli Quartet, telling the audience the work and Mozart’s music more generally had held a special importance for him.
Sir Jack Brymer who was appointed OBE in 1960, died on 16 September, 2003. His ashes were interred in the churchyard of St Peter’s Church, Limpsfield in Surrey, close to the grave of Sir Thomas Beecham.
Brymer did it all and always with a great sense of humour. He once described himself as “soloist, chamber music player, broadcaster, quizzer, lecturer, disc jockey, jazz fan, saxophone quartet leader, transport organiser and map reader, agent, accountant and tax-gatherer for HM government!”
Ted Godderidge is an Australian clarinettist, historical clarinet collector and emerging woodwind technician dedicated to preserving and sharing the history of the clarinet.
Ted has assembled Australia’s leading collection of historical clarinets. Spanning more than 200 years, it comprises exceptionally rare and significant instruments, including many unique to Australia.
Ted recently graduated with a Bachelor of Music from the University of Western Australia, where he studied under Allan Meyer. In 2027, Ted will commence Honours in Performance at the Melbourne Conservatorium of Music.
Alongside his studies, Ted is training as a woodwind technician and intends to continue his training in Sydney under master clarinet technician Edison Castilho in 2028. His goal is to establish Australia as an internationally recognised centre for historical clarinet study through an inclusive, publicly accessible collection supporting performance, education, research and conservation. Through performances, workshops, educational programs and ongoing international mentoring, Ted aims to ensure these remarkable instruments are not simply preserved, but experienced by musicians, students, researchers and audiences for generations to come.
As an active musician, Ted has performed with numerous ensembles around Perth, including the WA Youth Orchestra, UWA Orchestra, WA Wind Symphony, WA Philharmonic Orchestra and A2 Orchestra. In addition, Ted has performed as Principal Clarinet with the National Youth HIP Orchestra (Melbourne) and alongside the West Australian Opera and West Australian Symphony Orchestrain side-by-side projects. Ted is currently on the 2026/27 reserve list with the Australian Youth Orchestra.
Ted is a recipient of the 2026 Ian Potter Emerging Artists Grant.
Howard Ferguson’s Octet for Wind and Strings – Australian Premiere
On 27th July 1968 Graham Wood and Stanislaw Kowarski (violins), John Dean (Viola), Brian Meddemmen (cello), John Mowson (bass), Patrick Brislan (Horn), Jack Harrison (clarinet) and Jill Harrison (bassoon) played the Australian premiere of Octet for Wind and Strings by Howard Ferguson. It was an A.B.C. Studio broadcast from the Basil Kirke Studio in Perth.
27.7.1968
Howard Ferguson Octet Op. 4
for clarinet, bassoon, horn, string quartet and double-bass (1933)
Fewer than 30 people attended yesterday’s free Sunday afternoon recital in the Basil Kirke Memorial Studio to hear what must have been one of the finest given this year by Perth artists. The oboe playing of Peter Randall in Mozart’s Quartet for oboe and strings was so good that an unchartered listener might’ve thought it was a simple piece. Mr. Randall gave such purity and accuracy to the naturally sharp clear tone of the oboe as to make even the accompanying strings in this piece seem cloudy in effect. It was duly wistful in the doleful minor keyed slow movement and cheerful in the finale where the virtuosic double-tongued passages were given within incisiveness, clarity and extreme rapidity.
Violinist Graham Wood led seven other instrumentalists Stanislaw Kowarski (violin) John Dean (Viola) Brian Meddemmen (cello) John Mowson (bass) Patrick Brislan (Horn) Jack Harrison (clarinet) and Jill Harrison (bassoon) in the four movement Octet for Wind and Strings by the modern English composer Howard Ferguson. Mr. Ferguson seems to have a particular affection for clarinet and horn, and the success of the performance to some extent pivoted on Patrick Brislan’s horn playing which allowed no imperfection of tone to mar its richness. The program ended with a reduced version of Richard Strauss’s tone poem “Till Eulenspiegel’s Merry Pranks”. Originally scored for an orchestra of Wagnerian proportions of over 100 players, it was here rendered by five. Though without the percussion and heavy brass that in the full score are so graphic in describing the grotesque adventures of the mediaeval vagabond Till, it was a happy even witty performance. The final concert in the free Sunday afternoon series will be given in a fortnight.
Richard Strauss Duet concertino for clarinet and bassoon – Australian Premiere
The Australian premiere of Richard Strauss’s Duet-Concertino for clarinet and bassoon was broadcast in June 1959 by the Australian Broadcasting Commission.
The Harrisons were always musical. The family used to get together in a one family band. Now the 27 year old twins – Jack and Jill – are the featured stars in a 40 minute broadcast from 6WF on Wednesday 24th June 1959 with the W.A. Symphony Orchestra. The programme: Richard Strauss’s Concerto for Bassoon and clarinet. Jill will be playing the bassoon and Jack the clarinet.
Woodrow Charles Herman, known as Woody Herman, was an American jazz clarinetist, alto and soprano saxophonist, singer, and big band leader. Leading various groups called “The Herd,” Herman was one of the most popular of the 1930s and ’40s bandleaders. His bands basically played jazz and blues, often including rather experimental material for their time.
Herman was born Woodrow Charles Thomas Herman in Milwaukee, Wisconsin on May 16, 1913.
His parents were Otto and Myrtle Herrman. His father had a deep love for show business and this influenced Woody Herman at an early age. As a child he worked as a singer in vaudeville, then became a professional saxophone player at age 15. In 1931, he met Charlotte Neste, an aspiring actress. They later married, September 27, 1936. Woody Herman joined the Tom Gerun band and his first recorded vocals were “Lonesome Me” and “My Heart’s At Ease”.
Herman also performed with the Harry Sosnick orchestra and Gus Arnheim and Isham Jones. Isham Jones wrote many popular songs, including “It Had To Be You” and at some point was tiring of the demands of leading a band. Jones wanted to live off the residuals of his songs. Woody Herman saw the chance to lead Isham Jones’ former band. Woody Herman eventually acquired the remains of Jones’ orchestra after Isham Jones decided to retire.
Debussy Rhapsody for Clarinet and Saxophone – same performance
The Third Youth Subscription concert of the West Australian Symphony Orchestra on August 9 1956 at the Capitol Theatre will be conducted by John Farnsworth Hall with Jack Harrison, soloist, playing a Rhapsody for Clarinet and Orchestra by in the first half of the concert, and a Rhapsody for Saxophone and orchestra by the same composer in the second half.
Youth and Music issued by the A.B.C. Concerts’ Committee No. 3 August 1956
MUSIC AND THEATRE BY “FIDELIO”
DEBUSSY RHAPSODIES
For the A.B.C.’s next Youth Concert on Thursday August 9, Mr John Farnsworth Hall will be in charge, and Jack Harrison will set up what is maybe a record for these concerts (or indeed any in the annals of the W.A. Symphony Orchestra) by appearing as soloist not merely on two occasions in the programme but playing each time a different instrument. With the clarinet he will be heard in a Rhapsody by Debussy, and with the saxophone in – again – a Rhapsody by Debussy.
There is no “funny business” about this: Debussy really did write a rhapsody for the clarinet and also a rhapsody for the saxophone. The latter was commissioned by an American lady, left unfinished by Debussy and completed by Roger-Ducasse.
WN is broadcasting the ABC Youth Concert from the Capitol Theatre on Thursday and Friday evenings.
Jack Harrison, a brilliant young Perth musician in both classical and modern spheres, will be the soloist with the W.A. Symphony Orchestra. J. Farnsworth Hall is the conductor. The opening half of the concert is broadcast on Thursday starting at 8pm. Jack Harrison joins the orchestra in Debussy’s Rhapsody for Clarinet and Orchestra. On Friday at 9.15pm, when the second half of the concert is broadcast, Harrison is featured on saxophone.
SAXOPHONE SHINES IN A HOTCH-POTCH
By “Fidelio”
“The saxophone is classified as a woodwind instrument” the Professor of Music at Harvard University tells us in a treatise published this year “despite the fact that it is entire made of brass.” There, of course, is one proof more that musicians are an irrational folk. (For an alternative explanation read the next few sentences of Professor Piston’s book.). Professor Piston also tells us that while in serious music the saxophone gives voice with “a pure, steady tone,” in popular dance music nowadays it is “Tremulous, oversweet, sentimental and it is almost invariably played out of tune.”
We are certain that Mr Jack Harrison did not play it “almost invariably played out of tune” last night; but then, Mr Harrison was not in a dance hall but at the Capitol and devoting his skill not to jive but to Debussy’s Rhapsody for Saxophone and Orchestra. He also played for us, and very effectively, another Debussy “Rhapsody” for clarinet, which gave him greater opportunities than the saxophone piece. Neither is particularly good Debussy.
For this A.B.C. Youth Concert Mr Farnsworth Hall compiled a programme which achieved great variety at the cost of being rather a hotch-potch. Among the purely orchestral works three commanded special attention – “An Outback Overture” by the Australian composer John Anthill; the wonderful pages from Berlioz’s “The Trojans” unusually labelled “Royal Hunt and Storm”; and Schumann’s rarely heard overture to “Manfred”, a welcome tribute in this centenary year, for all its sombreness. We had some beautiful playing in the Berlioz, though the horns were not quite up to the mark.
The West Australian August 1956
Symphony in Swing – 1950 – “Clarinet a la King” as played by Benny Goodman
On October 5th 1950, Jack Harrison gave the first West Australian performance of Eddie Sauter’s “Clarinet a la King” (made famous by Benny Goodman) at the Capitol Theatre with Harry Bluck’s Dance Band and a Concert Orchestra.
Thursday, Oct. 5th – Capitol Theatre at 8pm – 1950’s GREATEST MUSICAL SHOW
Bruce Carroll presents – Symphony In Swing
With Harry Bluck’s Concert Orchestra and Dance Band, Over 50 Leading Musicians and Radio Artists, Wendy Nash — 12-year-old Virtuoso Pianiste, Jack Harrison — Clarinet Star of the West, Ossie Sanderson — 16-year old ‘London Fantasia’ Soloist, Phyllis Frost — International Broadcasting Vocaliste, Ronald Pollastrini — W.A.’s Outstanding Lyric Tenor, Tritoff’s Trio — First appearance of Radio Vocal Trio, Kath Bass — Star Rhythm Vocaliste, Alan Golding — Leading Exponent of Hammond Electric Organ, Peter Clinch trio — Wizards of Swing, Dave Howard — and His Golden Voiced Saxophone (By Courtesy A. B.C.), Keith Connolly — Sophisticated Humorist, Laurie Croissette — Tho ‘Different’ Western Entertainer ,Symphony and Swing Club’s Entertainment Unit with West Coast Dixielanders — State’s smartest Jazz Ensemble, John Todd — 14-year-old Star Piano Accordionist, Rhythm Spinners — State’s leading Male Modern Vocal Group, Robyn Harwood — Boogie Woogie Specialiste, Beverly Beckwith — Co-Compere of S. and S. Club Group. Compere: Geoff Manion. Stage Production: Dave Howard By Courtesy A. B.C. PRICES : 3/- 4/- 5/- (plus tax). Box Plan at Nicholsons Limited.
The Daily News Monday 25 September 1950 page 12
Goodman Clarinet a la King
1950 Symphony in Swing program
October 5 1950 Symphony In Swing
On October 5, a concert entitled “Symphony in Swing” will be presented in the Capitol Theatre. Produced by Harry Bluck, whose concert orchestra and dance band will give a number of items, the programme will include varied numbers by local artists, many of whom are under 20 years of age. The 12-year-old pianist, Wendy Nash, will give a classical group, Jack Harrison, the young clarinettist will give the first West Australian performance of a number entitled “Clarinet a la King” and the 16-year-old pianist Ossie Sanderson, will present “London Fantasia.” Other artists will be Ronald Pollastrini, tenor, and a new vocal group, the Tritoffs, who will be making their first public appearance. They will be associated with Phyllis Frost, the blind vocalist. There will be many other singers and instrumentalists. Western Mail Thursday 28 September 1950 page 23
MUSIC AND THEATRE BY “FIDELIO” 
