I completed (or more accurately devoured) the book about 2 weeks ago and did start the review but just got round to finishing it so here goes……

This is a subject I’m very interested in (as you’ll know from my posts) so here is a review its not in depth (so as to avoid spoilers) and I’m sure other reviews will pick up on other aspects of the book

Here are some starters for 10…

What connects the late night cinema scene of late 70s early 80s with Jazz dance?

Which former England footballer made one of the Legendary Jazz DJs think again!?

Where did the fusion style of Jazz dancing originate?

Who (single handed) took on one of the main areas dancers and beat them!?

What led to the demise of the all-dayer scene (no it wasn’t longer club hours at night!)

The answer to this and many more questions lie in Snowboys book

Starting with the Club history the book takes the reader on a UK wide journey and documents how the jazz dance was born out of the jazz funk scenes and culminates with Interviews of the main (and lesser known but none the less just as important ) movers and shakers i.e. DJs, dancers, promoters, punters and record dealers.

There are some interesting counter arguments about the (various) jazz scenes from the DJs and the dance styles of the dancers

The book does achieve its goal in setting out the history breaking it down into finer points for example documenting the fact that the Wag, the Ballroom and the Old boys network and clubs like them were more or less separate scenes (albeit with some cross over of punters\Djs) and its clarification on points like this that make the book so important. Off topic slightly I saw Don Weller play last year and asked his opinion of the jazz dance scene and he didn’t know what it was! I understand how that could be now.

There is also the breakdown of the urban and sub-urban Southern scenes and while some of it is common knowledge, a lot (at least to me) wasn’t common knowledge such as venues, events,Djs etc

Of course there is some controversy in the book (read between the lines) especially regarding the Acid jazz scene and l was under the impression that a lot of stuff was left out (since confirmed by Snowboy on here) and rightly so as there is no need re-open old wounds or re-ignite old rivalries

Another interesting revelation is the amount of jazz dance on film. I have seen a fair amount over the years but the book documents a lot that I wasn’t aware of!

Finally there are also some charts with the music that was (and of course still is) played – While its obviously all good I have to say at this point some of the tracks in the chart from Colin Parnell and Boo (hitherto unsung heroes) is sick!!

This important book is also a very good read with some seriously good laugh out loud moments- There is something in here for everyone from the seasoned veterans to the initiates on the scene or just those interested in aspects of club culture. From little known facts such as the fusion associated dancing to house from its inception in the UK (which has been posted about on this forum before) to some great stories from the Djs and (from a personal point of view) the Dancers, I just wish there was more!

The only things I found disappointing were:

That a few people (no point me saying who they are is there!) are not interviewed now this is NOT a criticism as Snowboy made it clear that some people either couldn’t be tracked down or would NOT be interviewed and I’m pretty sure these people are omitted due to those reasons rather than the fact that they were overlooked and they are at least mentioned throughout the book..

That wasn’t more detail about the actual dance styles but that’s just personal and to be fair that subject could probably be another book in itself…

All in all it’s a monumental feat to collate 10 years of research into a book like this and all I can say is buy it and read it

At last there is a printed record of the immense UK creation called the Jazz Dance scene.


End of review
=====================================================

In response to Paul’s question about where the scene can go in the future…

What follows- is a personal insight and just an opinion (as Paul asked for) where you are from your club experience of jazz dance whether directly through jazz funk to jazz or indirectly through house or both or other and what is currently happening in your area will no doubt shape your opinion

I don’t think there is too much point dwelling on the whys are wherefores of where the scene is right now because of course you could go into subject matter like Hip Hop, Rave, DnB, and Jungle etc and whilst it is relevant in that potential dancers moved into these scenes it’s not going to change the past!

The art form really suffered through a lack of new dancers coming through – Where there are a lot of dancers in Birmingham, Leeds, London, Manchester, the effect is not as harsh as there are enough existing dancers to sustain some sort of scene (no matter how small) the effect is more visible in smaller places (where there are usually less dancers) like Northampton where I’m from.

One thing the book did really did bring home to me was the importance of the older established dancers bringing through the younger’s who in turn carried the torch

Music wise as well as pure (or mainly) jazz events like Shiftless Shuffle or Out to Lunch I believe it will take nights playing broken, underground house and Jazz (I went to an event playing exactly that mix where Altered Natives, Quentin Harris & Barry Miles all got played! in Birmingham last bank Holiday and it was full of dancers (including the ubiquitous Bulldog) in fact some of the dancers there were young)

These nights can assist with brining in younger dancers as that way they can be introduced to a variety of sounds & tempos- also these nights seem to get a wider audience. Once foundations are there specialist nights may get more attendance (which is relevant to the promoter and venue of course) and hence more dancers

The importance of dance footage should not be overlooked either (how many have seen IDJ at Wembley in 1988- (its on youtube if you haven’t seen it!) I think that footage was of massive influence and is mentioned in the book of course

I’d hope that some of the most important film will be made available on DVD for example:

Dick Fontianes Art Blakey Doc – not loads of dancing on it but its important footage all the same Jerry IDJs conversation with Art Blakey is the stuff of legend

Dick Jewell’s Jazz Room (possibly the definitive ballroom jazz dance footage) here’s a clip Clip of the jazz room

Julien Temples Venceremos video (long version).

There are loads more but you get the idea

Finally (and perhaps controversially) circles should be kept to a minimum- again referring to the Birmingham event everyone and I mean everyone had a chance to cut loose to the music (same as happened at the house dance event I reviewed a couple of years ago) and it does make for a better vibe

It can be a fine line but circles can (and do) alienate the normal punter or dancer who wants to dance but will not go into a circle. if they pay their money and watch for the best part of the night some of them will not come back. Yes it is part of the scene and when there are majority heavy dancers in a club the effect is not so acute but to rebuild a scene not so sure it’s the best thing

So with the book, more club nights of varying formats where dancers can go, footage (that needs to made available) various articles in magazines on dancing there is every chance that new dancers will come through and dancing itself will be viewed as a norm rather than an oddity in clubs again

You sir - are a GENT....!!

Whoever you are...


MRez

Dear FDA,
What a kind review, thank you. I won't make a point of responding to everyone's future reviews - good or bad, but as yours is the first, I'd like to say that I get the impression that, generally, you were fulfilled - so that's a good starting point.

From a dance point of view: other than showing a slowed down photo sequence of, say, Fusion dancing with it's basic 'Cockroach Crushing' step there's not a lot I can do but explain it and give an impression. It has to be sen. I like to think that at least I explained the difference in styles.

Colin Parnell & Boo: Two Turkish lads (Parnell doesn't sound Turkish to me!). I searched high-and-low and even advertised in 'The Voice' to find their whereabouts, but no luck. there's was a fantastic chart - collated from many different ones in 'Groove Weekly'.

I would've love to have interviewed Tarun Sen Gupta - Londons first uber-Jazz collector - but he died two years ago.

I'd like to get a private mail from you or call to find out, out of interest, who you thought were missing in there (if you know the 'Ammer personally, he'll give you my details). I could list who I wish I could have had but I'm not prepared to. I'm satisfied that the main story is told even if a few individuals ones haven't. Obviously there were hundreds of amazing Jazz Funk DJ's I could've interviewed but they were playing a bit of jazz because it was already established
because of others. I said in the introduction that the book isn't about the jazz Funk scene but part of the journey I have to go through to get to the next bit. I tried so hard to get a contact for John 'TNT' Grant, but he retred from deejaying in '81 to be Harbour master in brighton. I contacted the harbour masters association and there was no record of him, so I'm guessing that John Grant wasn't his real name.

There were no general surprises for you about the home counties/London. Well that's great for you (and I mean that genuinly) - it shows you lived it! Don't forget, as I said before, 95% of the readers will be from out of our scene altogether so it'll be new to them (and almost all of the midlands and northern readers).

Film footage - I have virtually everything. Most will never be made available on DVD for copyright reasons (and outrageous royalty demands). Dick Jewells film will be shown (all 50 minutes) at 'Beyond The Ballroom' with Gilles and I, and wherever I do promotion in the six months. what is interesting though is that I have video footage of 24 of my 'Snowboy's Jazzateria' TV broadcasts from Southport. It's basically me deejaying in a small room to loads of jazz dancers and it being broadcast to the chalets. Altogether that's a day and a half of jazz dancer footage!

I really do thank you again for taking the time to do such an enormous review and I look forward to getting a private message from you.

THIS IS FOR ALL READERS - I noticed earlier that Alan the 'Ammer has made his articles from Faith available. These are an incredible read and very informative. I tried my best to trace one of londons best original dancers - Tommy Mac - and he's interviewed there. It turns out that tommy is one of Alans best friends!

take care all

Snowboy

Do you mean just the footage of jazz dancers - or all jazz "scene" related footage?

Have you seen the film taken at the WAG by Whistle Test? They interviewed Paul Murphy, Slim Gaillard, Sheldon W. (who you interview in your book) and Colin Curtis gets mentioned via the lead singer from Kalima (have forgotten her name ).

One piece of footage I'd like to see (if it exists) is "selim" played by Johnny Lytle at the 1989 Brighton Jazz Bop - with you on conga

What a moment that was.

Very good review FDA.

Further to my appraisal earlier in the thread, a few pointers on the book -

Very Good

1. A comprehensive write up of the history of the jazz dance scene. Every detail however minute seems to be here, every fact checked and double checked. Respect given to the unsung and a wealth of knowledge shared.

2. The book is written with real enthusiasm, it is very apparent Snowboy lives and breathes the scene.

3. The interviews are incredible, with informative questioning and in one or two cases a few probing questions being asked.

4. As FDA mentions, Snowboy tactfully refrains from turning the interviews into a slanging match. Reading inbetween the lines is enough to see who has a problem with what and who.


So so

1. We have discussed the typos and formatting. Can make the book difficult to read.

2. Snowboy states in the intro he is not a writer, and there are times where it shows. Maybe an idea to have got Paul Bradshaw or someone in for editorial control.

3. I would have changed the structure of the book from a potted history and then interviews separated by region to more of a narrative à la Can't Stop, Won't Stop (the best music book ever written) but can understand the time and resource issues in doing so.

All in all, a Sanjiv rating of 8/10.

Indeed.

Wont mention it again.

Tune for this thread:

it was a very good yeahr - gabor szabo

Tarun Sen Gupta - Londons first uber-Jazz collector - Indeed !
I reckon Tarun would have placed Janet Lawson as his # 1 ... !
Her name always came up when we chatted about music ...

Well Tarun was playing a lot of that Scandinavian Fusion (discovering Ollie Ahvenlati - however his name is spelled) pre-Murphy. He must have had a contact there I imagine. He was rated enough to have been an influence on Murphy, (early 80's) Bangs, Peterson etc. So, what's wrong with Janet Lawson by the way? Especially if we're talking 'So High'.

How weird... I brought just one record from Tarun, way back in the early 80's...
Janet Lawson - Dindi 7" for £20. Still got it to this day!

Tune!

Wee Gee

Sorry, I forgot to reply to your question - Yes, I have the Old Grey Whistle footage. It's a good 'un. I've got a nice piece (ooer missus) from a regional ITV news program presented by (of all people) Hugh Laurie. That's similar in content to the OGW one. Kalima's lead singer is Anne Quigley by the way.

I don't think I'm missing much or anything from that period as far as I know - Jazz Dance scene related (at least from down south). I only have a few bits of 'Foot Patrol', 'Fusion Beat' and 'Bamboozle' from Hit Man And Her though. One member of Bamboozle archived all their footage and it got ruined in a flood. The same happened to the lot of Foot Patrols too.

I'm glad you enjoyed the version of 'Selim' with Johnny Lytle at the Brighton Jazz Bop. He was a lovely guy. We brought Jackson Sloan on half way to segue Selim with 'Devil May Care'. When I produced his album around then I used the vamp of Selim as the intro to 'Devil'.

All the best

Snowboy

Anybody need a copy of this? Get at me - I have one here...MRez

Shazam!

WOW - history...........I was there meself with a whole host of Scottish ne'er do wells from the period: San Fraser, Nick, Speedy, Clive Greenhalgh, Cory - cool Scottish hipsters who knew more about Jazz back then than I do NOW - Gad knows where my ticket is - remember there used to be record dealers at the back? Lemme think wh was at that one? Tony 'Virgo Vibes' Poole / Jakey 'Hot Biscuit' (local lad, he was!) Martin 'Soul Explosion' Davis as I recall? And wasn't Jazzman Gerald there at that one too? Hazy....somebody help me...

Happy daze........