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Image above copyright Paul Norman "Caterpillar Cocoon" taken 23rd April 2018

 

Book of the Month: Michael Benson: Space Odyssey

 

My book of the month for May is the superb Space Odyssey, which traces the history behind the making of the ground-breaking blockbuster, 2001: A Space Odyssey, released in 1968 and therefore fifty years old this year. Michael Benson's magnificent book is reviewed on the nonfiction page in this issue.

 

I have to apologise yet again to publishers and publicists who have sent me review copies which will have to wait until the June issue because I simply ran out of time and couldn't fit any more titles in this issue. Rest assured that whatever you have sent will be included in the next issue - I always work on a first received first in the magazine, and there are some fantastic titles already piling up for the June issue, including at least six new Star Wars books - but that was always the plan anyway! See you soon, and I hope you enjoy this issue!

 

I have discovered another old Acker Bilk LP, this time in the Sue Ryder charity shop in Cromer, and it was priced at 2 so I bought it. The entire collection so far is now at the foot of this page, and you can reach it by clicking here. I still have the Stranger on the Shore LP to do, and you can expect to read about that one in the coming months, time permitting. In my opinion they are amongst the most important LP sleeve notes ever written, and it is my mission to hunt them all down and transcribe them onto this page. I hope you enjoy reading them as much as me, and as much as Peter Leslie must have enjoyed writing them!

 

 

 

 

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four more super crime crackers... another brilliant month for crime fiction!

Welcome to the May 2018 issue of Books Monthly! This month it's once again crammed with sensational new crime books and a whole host of spectacular books.

 

My final post about Masterchef this year uses statistics to prove a point. Having worked as a data analyst for the last 23 years of my working life before retirement in 2009, I learned to manipulate figures to bolster sales charts in a very simple way. If you wanted to look, for example, at the sales of Golden Drummers and show them in the best possible light, you would invent a sub-section of the fresh coated poultry market and call it "shaped products". If you wanted to go one better, you would create a further sub-section and call it "drumstick shaped fresh coated poultry", and lo and behold, Golden Drummers would have 100% of that section, making it clearly a best-seller. "No one else's product comes close to Golden Drummers", I was able to tell the MD, Bernard Matthews himself, and his beaming smile would widen. When it comes to analysing how much Masterchef dominated television, particularly during its finals week, I have chosen to focus on BBC1. If you take peak viewing on BBC1 to be between 7pm and 10pm, you have three hours per night. As Masterchef was only ever on Sunday night once during its current run, and never on Saturday night, you end up with 15 hours of peak viewing time during finals week, of which Masterchef occupied four hours. More than a quarter of all peak viewing time during finals week was given over to Masterchef, and this, I think, reinforces my point that the programme occupies far too much TV. You would naturally argue that if, like me, you only watch BBC1, BBC2 and ITV, that amounts to 45 hours of peak viewing time, meaning that Masterchef occupied almost one tenth of that time. You can discount ITV. Unless there is a decent detective series, (which there wasn't), the only thing worth watching amongst mainly dross (much like reading the Sun or the Star - which one simply wouldn't) was Emmerdale. So you're left with BBC1 and BBC2, of which BBC2 is mainly very niche, mostly. So I say again, Masterchef occupied around a quarter of all mainstream peak viewing time during finals week, which was far too much. Finally, you may observe that other programmes were available, and you would be right. But one of the reasons I have been happily married for 51 years (52 this year) is that I love my wife dearly, and if she wants to watch Masterchef, which I don't particularly like because of the strange food they cook, then I will happily watch it with her, but I reserve the right to analyse its absurd dominance of peak viewing hours, the results of which I present to you above. Finito. Until they dig up another hundred or so Z-list "celebrities" of whom I have never heard, for this year's Celebrity Masterchef...

 

 

(If you want to know why there's a poster for the new Han Solo film, just carry on reading - all will be revealed!) Now for something completely different: a falling out with one of my favourite publishers in a way that isn't at all my fault. I spend a lot of time trawling Amazon and publishers' websites tracking down books I would like to feature in Books Monthly. Occasionally a publicist with whom I have a singular rapport, changes jobs, moves to another publisher. When that happens, what you have to do is to open up a dialogue with their successor(s) and persuade them that Books Monthly is worthwhile and that they should continue to supply stunning books for review. In the case of Ryland Peters and Small, who publish some of the very best design and home style books in the world, have new publicists, replacing one who was happy to send me whatever I asked for. Getting in touch with the new publicists was tricky to start with, and they are really not interested in continuing to send me review copies for reasons known only to themselves. A long and fruitful association with a friendly publicist has come to an end. The new publicists are really unapproachable and doing their company a disservice, sending me electronic catalogues and inviting me to ask for books, then ignoring my email requests for review copies leaving me feeling a little bit silly. Such a shame, their books were second to none in that field...

 

See you all in June, which will be a Star Wars special to mark the occasion of the release of the new Han Solo film! Happy reading...

 

You are here: Books Monthly The Sleeve Notes of gramophone records by Mr Acker Bilk and His Paramount Jazz Band 

The genius of Peter Leslie... new this month: Acker...

Yesterday, 4th April 2018, I found a copy of this album, simply entitled "Acker" in the Sue Ryder shop in Cromer, Norfolk, priced 2 - I had all of the albums in the 1960s, of course, and this one dates from 1960. Here goes:

 

 

Side One

White Cliffs of Dover (Kent)(Vocal; Mr Bilk)

Snake Rag (Oliver)

2.19 Blues

Fancy Pants (Bilk, Berkwood)(Solo clarionet: Mr Bilk)

Lazy River (Carmichael)(Vocal: Mr Bilk)

There's A Rainbow 'Round My Shoulder (Rose)

 

Side Two

Original Dixieland Onestep (La Rocca)

Good Night, Sweet Prince

Good Woman Blues (Vocal: Mr McKay)

Bottom of the Bottle (Bilk)(Featuring Clarionet and Trumpet)

Milenberg Joys (Rappolo)

Recorded on the 5th, 7th and 13th days of April 1960

 

Personnel

Mr Acker Bilk (clarionet and titular head); Mr Jonathan Mortimer (trombone); Mr Ken Sims (trumpet); Mr Ronald McKay (traps); Mr  Ernest Price (double bass); Mr Roy James (tenor banjo)

 

And here are the sleeve notes:

 

Inscribed by Mr Peter Leslie

Like, what gives with this gear on the words from times past?

Should, Sir, this curiously phrased Query, with its ill-judged Syntax and coarse idiom, refer to the circumlocutory Nature of much of Mr Bilk's textual Stuff, then we must offer - albeit reluctantly - some Vestige of Explanatory Matter. In a word, he would be Oafish who could deny a certain Use of the Devices of Ellipsis and Hyperbole in the Rhetorical Structure of the Master's Blurbs.

 

Dig. So what IS with this spiel?

It has been felt (no less by Mr B and his Myrmidons than by those Others qualified to pronounce an Opinion) that it might not be inapposite for expository Paragraphs pertinent to Mr B's Art, together with those Eulogistic Phrases which alone suffice to describe it, to be couched in Language bearing some Relevance to the period initially producing the Music itself.

 

You feel, Daddyo, that all this jazz like goes with the mad trad music?

That, indeed, is a vulgar sequence of Terms approximating to our meaning.

 

You drag up some corn like she's spoken by some mug he had his chips two, three, four score ago - and that puts Daddy Ack in there for percent?

Perish the Thought. Before Mr Bilk's gigantic Talent could properly be digested and appreciated by a Lay Public unconditioned to such Pyrotechnics, it was naturally necessary that this display of unmatchable Virtuosity should actually be drawn to their Attention. This, the Rhodomontade of the Leader's written Material - plus, of course, a certain Relevance in the Question of his Attire - sufficed to do. And, despite a preternatural Tendency to scoff at the Flippant, those Enthusiasts for New Orleans Music most attracted to Mr Bilk's Variety of it have made no Complaint. Thus it has been decided to Retain the Idiom. It would be unwise in the Extreme, nevertheless, to assume that Mr Bilk's Popularity devolves in any Way whatsoever either upon his choice of Haberdashery or Millinery, or upon an aptitude for the rotund Phrase.

 

You saying this is no gimmick outfit, then? It's not the corn that sells the group?

Assuredly. It is the pluterperfect Assonance of empathetic Artistes creating in an Atmosphere of refined and balanced Relaxation which alone can produce Success as astounding as that of the Paramount Jazz Band. Those matters to which you allude, as has already been stated, merely focused attention upon this.

 

Yes? So? If the noise speaks for itself, what's with the bookies' lids?

If lesser Mortals can be both symbolized and recognized by such items as Umbrella, a Calabash, an Havana Cigar or an Infelicity in the styling of the Coiffure, then towering Genius of the Order of that enjoyed by Our Hero must needs require the employment at least of a gaily caparisoned Vest, sober Headgear, pristine Shirtings and a thinly elegant Cravat; to symbolize respectively the Brilliance, sincerity, Purity and Style of the Music; and in toto, the Period whence it derives.

 

So what are we supposed to do, Man? Stand up and cheer?

It would be more seemly (for you, as for those Critics, Dwarves whose Pleasure is the Denigration of the Art of their own Countrymen, but whose puny Equipment forbids them to experience that which they decry) just to listen to the Music. There are plenty who cheer already.

 

Sleeve Design: Ian Bradbery, MSIA; Recording Engineer: Philip Clarke

Engraving: Mansell Collection

Sleeve Notes: Peter Leslie; Recording Supervision: Denis Preston; Recording first published 1960

 

Net month: Stranger On The Shore LP, which I first owned way back in the 1960s. Next month I will be featuring this ground-breaking album, with its exquisite sleeve design and notes, again by Peter Leslie.

 

 

The second EP (Extended Play) record by Mr Acker Bilk and his Paramount Jazz Band I've managed to get hold of is Acker's Away (Columbia 45 RPM extended play record SEG 7940). Here's the track list:

 

 

Side One

Acker's Away (Bilk and Leslie)

Blues for Jimmy (Ory)

 

Side Two

Lastic (Bechet)

East Coast Trot (Cobb)

Recorded: 10th July 1959

 

Personnel

Mr Acker Bilk (clarionet and titular head); Mr J Mortimer (trombone); Mr K Sims (trumpet); Mr R McKay (traps);

Mr  E Price (double bass); Mr R James (tenor banjo)

 

And here are the sleeve notes:

 

Inscribed by Mr Peter Leslie

The truncated version of that mammoth Tome, The Encyclopaedia of Mr Webster, lists the Clarionet baldly as 'a Reed instrument fashioned of Wood, with Holes and Keys' - a saucy abbreviation of what should have been more properly an Encomium, a Penegyric in praise of the Effulgence of that melodically Anastomose Instrument. Certain it is that this slender Engine of chromatic Concordance, this symphonious ebon Shaft, this suave Insinuator of Melodies to convolve and wreathe their Way to the very Centre of our pleasure-loving Souls, cannot have justice done to its Elegance in the mere Employment of Words. 'To hear', as a celebrated French Divine has truly remarked, 'is to know' - and of no Sound is this more veritable than the sonorous, reedy depths of the Clarionet.

 

Add to this (in point of the Phonograph Recording to which these poor Aphorisms apply) one fact: that the Airs - Ay, and the Graces, too! - in this especial Example devolve around the person and the Craft of no less able an Exponent than Mr Acker Bilk!! This realized, the Initiate will subside against the Cushions of his Chesterfield and await the Ultimate in musical Enlightenment. He will not long remain disappointed. Mr B is a very Toff of the Entertainent World. Hereupon, encouraged in his Endeavours by that most antic Ensemble, the Paramount Jazz Men, the doughty Leader bends to his Will the exigencies of four titillating Trifles. Of these, the First and the Last would seem to be informed with a Nautical Flavour; Mr Bilk proving himself in the former (if the Conceit be allowed) a true Swell. The remaining Duo comprise a Variety of Folksong deriving from the Southern among the United States of America, and a Novelty from the Pen of the late Parisian Master, Monsieur Sidney Bechet.

 

The Numidian Princess Sophonisba (in the Tragedy written in 1762 by Mr James Thomson), despite the fact that

      'Soon the remorseless Soldier comes, more fierce

      'From recent Blood, and 'fore her very Soul,

      'Lays raging his rude sanguinary grasp'

 

was able to console herself for the Fall of Carthage by 'burying her sorrows in the mufick of the fpheres'. Who can doubt that the Musick of the Spheres, along with the Syrynx Pipes of the God Pan, the Melodies of the Immortals even on Olympus itself, all sound in their ineffable, reeded Harmony akin to the Clarionet of Mr Acker Bilk?

 

Sleeve Design: Ian Bradbery

Sleeve Photography: Patrick G Gwynn-Jones

Recording Balance: Joe Meek Supervision: Denis Preston

 

 

During my youth I collected anything and everything I could to do with Acker Bilk - it was the era when "trad jazz" ruled the Hit Parade, and Acker Bilk had recently transferred from the Pye Jazz label to EMI Records, and a new photographer, Patrick Gwynn-Jones had been appointed, along with a publicist, Peter Leslie, who came up with the idea of dressing the Paramount Jazz Band in smart, fancy waistcoats and bowler hats. Overnight, the sleeve notes became something quite extraordinary - while most EPs and LPs simply carried the track listing - two tracks on side A, two on side B of an EP, for example, now Acker's EPS and LPs carried long, beautifully written essays. I have searched the web for many years trying to find examples of Peter Leslie's writing, and the only pertinent reference that I can find is my own review of The Book of Bilk, a collection of essays by Leslie featuring various characters from history, like Johann Sebastian Bilk, Pithecus Ackerectus etc., etc. It is a work of genius, the work of a genius, and it is important that these sleeve notes should be available to read on the web, which is why I have started to collect Acker's EPs and LPs, the first of which you see above. I don't have a record player to play them on, but they are things of beauty, and of great joy, as you will discover. Below are the sleeve notes for Acker Volume One, the track listing of which is as follows:

 

Side One

Snake Rag (Oliver)(a)

Fandy (sic) Pants (Bilk and Berkwood)(b) [Should be "fancy" pants]

 

Side Two

Original Dixieland One Step (La Rocca)(b)

Good Night, Sweet Prince (b)

 

Personnel

Mr Acker Bilk (Clarionet and Master Mind). Mr Kenneth Sims (Trumpet). Mr Jonathan Mortimer (Trombone). Mr Ronald McKay (Tambours, Traps and Effects). Mr Ernest Price (Double Bass). Mr Roy James (Tenor Banjo). (a) Recorded 7:4:60; (b) Recorded 13:4:60.

 

Sleeve notes:

MR ACKER BILK, in expressing the fond and pious Hope that the Listener has enjoyed, read, marked, learned, inwardly digested and, indeed, profited from the gentle Ballads performed hereon, begs leave to draw the Attention of the Same to others of his Works obtainable under the same distinguished Trade Mark, viz.:-

Discs designed to revolve at a Speed of Thirty-three and One-Third Revolutions the Minute and of One Dozen Inches Diameter:

The Seven Ages of Acker (33SX 3321 stereo), A Golden Treasury of Bilk (33SX 1304 Mono); SCX 3366 stereo), Clarinet Jamboree (part only)(33SX 1204).

The Same, restricted to a Diameter of but Ten Inches:

The Noble Art of Mr Acker Bilk (33S 1141)

Discs to revolve at no less than 45 Revolutions the Minute, yet possessing a Diameter of no more than Seven Inches:

Acker's Away ! (SEG 7904), The Seven Ages of Acker - Volume One (SEG 8029), The Seven Ages of Acker - Volume Two (SEG 8076).

 

I had all of these Gramophone Records and many more besides. I followed Mr Acker Bilk around the West Country from 1960-1963, when we left Brockworth Gloucester, and went to live for six months in Prittlewell, near Southend-on-Sea, and thence to Stevenage New Town. I had them all, and divested myself of them when new Audio Technology manifested itself in the form of firstly, Cassettes, and secondly, CDs. I now own all the main Acker Bilk CDs that are available, but transference to CD, whilst enhancing the Quality of the Sound Reproduction, has omitted to reproduce the Sleeve Notes. In recent days I have managed to get hold of a copy of the Acker's Away ! EP, and the Stranger On The Shore LP, and the Sleeve Notes for these two will appear in the next two Issues of Books Monthly. I hope you enjoy reading the amazing Words compiled by Peter Leslie - his idea it was to dress Acker and his players in smart, fancy Waistcoats and Bowler Hats. It was an act of Genius, matched only by his Genius with words. I still have my copy of The Book of Bilk, by the way, bought for me as a Christmas present in 1962 by my sister, Jean. It, too, is a work of Genius, and I will never part with it.

 


The small print: Books Monthly, now well into its twentieth year on the web, is published on or slightly before the first day of each month by Paul Norman. You can contact me here. If you wish to submit something for publication in the magazine, let me remind you there is no payment as I don't make any money from this publication. If you want to send me something to review, contact me via email and I'll let you know where to send it.