It is also great to see Phillip Octave contributing to the discourse, whose unforgettable dance moves (do you still own that Mickey Mouse t-shirt bro’?) I remember as far back as early 1981 at George Power’s Saturday afternoon/Sunday night ‘Jazzifunk’ sessions at Gossips and later Spats. Am glad Sonia has been also mentioned, who as my friend Fitzroy confirmed, ‘burned up’ many a brotha on that fabled Horseshoe dance floor during those unforgettable Friday night sessions in 1981 and early ‘82.

As someone who attended all of the aforementioned club nights, as well as Paul Murphy’s fusion gig at the short-lived ‘Devil’s’ in Earl’s Court, followed by his two year tenure at the Electric Ballroom, I can honestly say I was privy to a great deal of what took place between that wholly inspirational period between 1981-84, possibly some of the best years of my life; the clubbing and dancing part of a larger urban-based, quintessentially Black cultural phenomenon.

In addition to the dancing, the like of which we’ll probably never again behold, with each one of those who I later mention having their own individual styles; it also involved discovering about the records you danced to through the purchasing of music, whether via Saturday pilgrimages to Fusions in Exmouth Market to check out Murphy’s latest shipment of jazz-funk cut-outs, to more exploratory trawling through the West End (both High St and Soho backstreet) shops; and the insatiable quest for info via music journals like Groove Weekly and Black Echoes (still have my copies somewhere); the weekend pirate radio shows (will always remember Murphy’s guest spot on JFM back in late ’81), marking a further side to this. Contrary to myth, those who were part of the fusion and funk underground were not simply ‘dancers’ per se, but expressed their passion also through an acutely conscious dress sense (which complemented the dance) and music interest, with a good few of us being keen record collectors, something I feel has been somewhat overlooked. Added to the above, was a fraternal sense of being part of a wider movement in the capital that brought together much of Black London’s club dancing community (at least those of a jazz and soul persuasion), with its sense of both belonging and pride in the true Black underground club scene.

Like many others I’m sure who were also there, I have some truly great memories of those days, in terms of clubs frequented, the timeless music played, the dancers, whose innovative and entertaining creativity gave deeper meaning to much of the music, and the personalities and (lifelong) friendships that have left a welcome imprint on this die hard soul/jazz-funk soldier of proud African descent. Much I’ve admittedly forgotten with the passage of time (we are, after all, talking nearly three decades ago), though somehow the grey matter seems to come out of its deep slumber whenever I get a call from Mr Nurse and we have one of those highly enjoyable reasoning sessions (usually lasting two hours at the very least). Among the many discussions we’ve had over the past few years, has been who we’ve felt were the most innovative dancers.

In addition to those already mentioned, I would personally give props to the following individuals whose names I feel deserve a special mention here…

Michael Milliner : (formerly Brown) later of funk dance troupe Finesse and The Pasadenas, who in my opinion was the best of all the fusion dancers I’ve ever been priveleged to witness. Will always remember him dancing to the Headhunters ‘Here & Now’ at (if memory serves me) the second night of Murphy’s gig at Devil’s, and tearing that track to pieces with pure inspirational genius. Remember his ‘battles’ at Horseshoe with Jerry, Phillip and the legendary Richard Baker, which were truly awe-inspiring. Mike was not just a great jazz dancer but a great dancer, period! This was proven when he left the jazz scene altogether (we’re talking late ’82 here), preferring to throw his lot in with the equally progressive (and arguably even more underground) ‘boogie’ movement, those disco-funk die hards who’d stayed loyal to the funk (the likes of Trevor Shakes, Kelvin Tambale, and John Riley being just a few names who come to mind here). They would congregate at West End clubs ‘Spats’, and ‘The Maze’ (upstairs at Ronnie Scott’s) on Sundays and Thursdays respectively) where Shakes would dj alongside Dez Parkes; and of course downstairs at Electric Ballroom courtesy of the legendary Paul ‘Trouble’ Anderson. Michael’s younger brother Geof, would later take boogie dancin’ to stratospheric heights at both Electric Ballroom and smaller club nights at the Wag, and Comedy Store.

Kevin Haynes : today a highly accomplished jazz musician through his session work and current project Grupo Elegua; Kevin (from Kensal Rise, NW London) was the stuff of legend who I’d heard about even before I’d reached Horseshoe. An individual in the truest sense of the word, with a very dapper dress sense that more than complemented his unique ‘Penguin’ dance style; I remember him sporting a sombrero and poncho on one occasion at Horseshoe, and tuxedo coat tails during another with blond died short cut ‘fro. I’ll never forget his trademark ‘running move’ to Urzula Dudziak’s classic version of ‘Night In Tunisia’, which was mimicked by a good few dancers; though never executed quite as well as its originator.

Richard Baker : the ‘brotha with the million moves’ who had the most energy I’ve ever seen in a dancer; virtually non-stop improvisational steps (often in his trademark beige khaki trenchcoat with rolled up woollen hat never seemed to fall off) that would become more fiercely complex as the music reached it’s ‘crescendo’ phase. Hailing from East London, I have fond memories of his dance troupe ‘The Untouchable Force’ (the first ever jazz fusion dance group) performing to ‘Aquerela do Brazil’ by Toki & Samba Friends at the Horseshoe. Where are you Mr Baker?

Steve ‘Afro’ Edwards : another East Ender (from Walthamstow), Steve, a friend for many years, had been one of my favourite dancers at Gossips in early 1981 when his dance style was more disco-funk in flavour as befitted the music played during that time; the pure fusion scene pioneered by Murphy at Jaffas and Devil’s still some months away. Some of you may be unaware, but Steve was also a very sharp dresser, in the ‘sticks man’ sweet bwoy fashion mould. Sporting a clean-cut mini fro with side parting, medallion, sharp black shirts, slacks and crocks, ‘Afro’ was far more reggae than soul in sartorial style; though this individual fashion quirk worked to a T, complemented with his dancing which was up there with the best of ‘em (acrobatics and all, such as jumping through the hands, forward and backwards, as indeed he showed me one unforgettable time at Electric). Steve was my personal fave dancer at Electric Ballroom (who like fellow IDJ member Jerry Barry), was there from the very beginning of the London jazz fusion dance movement.

Nicolson : hailing from Luton, and a regular at both the Horsehoe and Spats on Saturdays afternoons, Nicolson (his first name, I believe) was one of the broader sized brothas on the jazz dance scene (6ft plus and stocky in physique) who had a very elegant, light footed style, that I would say had a strong disco-funk sensibility, among the more aesthetically pleasing of the other jazz dancers at said venue. I would see quite a few of his trademark moves copied later on at Electric Ballroom, most notable the move of jumping in the air and kicking your left and right legs below the knee in opposite directions before you landed. A cool, laid-back individual who I believe didn’t realise how good he really was; Nicolson, in my opinion, remains one of the unacknowledged dance legends of the London fusion underground who you guys need to find. Wherever you happen to be bro’, you represented back then! His mate Maurice, also from Luton, was another quality dancer who is equally deserving of a name check.

Yemi Adebowale : My old bredren from North Wembley who I moved with during the days of Horseshoe up until the early period of Electric Ballroom. Tall and slender in physique, Yemi was another cool dresser, often sporting a dapper suede tassled waistcoat with the regulation tight jeans and Anello and Davide patent bow shoes, who had an infectiously eye catching, almost languid, dance style that you couldn’t imitate even if you tried. My most lasting memory of Yemi’s jazz dancing is one time while at Electric Ballroom when he singlehandedly ‘pulled a crowd’ throwin’ down to Freddie Hubbard’s 1982 rendition of ‘Gibraltar’; brotha just tore it up that night!

Sandra Cowan : Tall and slender, and pretty hot overall back then in the eye candy department; after Sonia, she was the most memorable among the relatively few female dancers I saw at Horseshoe. Girl had it goin’ on with a lot of the conventional foot moves; executed with plenty of feminine grace and panache. Where you at, ladae!?

I would also like to give props to some of the other ‘faces’ and ‘crews’ who were also around the same time as yours truly, whose dancing, personalities, friendship and music passion and knowledge back in those days were all vital contributions to the London fusion underground.

There was Andre, Sean and Errol from South East London, devoted regulars both at Devils and Fusions record store, as were Chris, Gary and Michael from Hackney; brothers Clive and Anthony Clarke, Richard and Carlos from Alperton (Horseshoe regulars); Little Lloyd Aaron, Kennedy, Alistair, Leon and Steve Daley from the Kensal Rise/Harlesden NW10 vicinity; Neville Stimpson from Harrow; 100 Club veterans Tony and Joel from Islington; Delroi Dyer and Leroy from Battersea; South Londoners Kensley Bernard, Dean Moore, Kevin (the slickest of the blue eyed dancers I recall seeing) and Trevor (all from Bermondsey side), and Ian Frater; and my old NW London spars Maxwell Henderson, Richard Irons and Rajan.

I should also mention my good friend Ray Frederick from Hackney (who was employed by Murphy at Fusions), a key ‘face’ on the scene going back to Crackers and Cheeky Pete’s, and someone else who I’m sure would have much to contribute on this forum; and also Ian Shaw, resident dj at Cheeky Pete’s and National Soul Festival All Dayers , who played with Murphy at Devil’s. In addition, were many others whose faces and names I’ve either forgotten or did not know, so hoping others can contribute to the rollcall. One well-known gent who did happen to go to Horseshoe who you many not be aware of was footballer John Barnes, during his early Watford career.

The above are just some of my personal recollections that brother Seymour has long been urging me to get out there (in this case, mainly of names that have been largely overlooked); so here ya go amigo! There’s a lot more I’d like to add at some point, in particular with regards to some of the issues others have raised, though think that’s enough for now. Thanks for taking time out to read, and I sincerely hope that I’ve gone some way in shedding further light on events and developments during those unforgettable, and much treasured bygone days of my teenage clubbing years.

Peace and blessings to all those who’ve been part of the jazz dance scene here in both London and the UK (esp. the Birmingham and Nottingham heads), and to those willing to embrace the true essence of jazz music and expression through dance.

Akin

Yes, it did not matter if you were in the same crew at the Ballroom… for that was a Jazz Room!!! As Gary said, “We were dancing in I.D.J. at the time, but that meant nothing to me,” which is not to be taken out of context in the literal sense (relative to the quote in Snowboy’s book, “From Jazz Funk & Fusion To Acid Jazz: The History of The UK Jazz Dance Scene”) that IDJ meant nothing to Gary, for he loved dancing in the group, and had the most incredible experiences with IDJ as a kid, dancing with Art Blakey, and performing at Wembley Stadium for Nelson Mandela’s 70th Birthday Celebration, on June 11th 1988, etc…

I once wrote a short story about the famous Gary and Marshall “Bottom End Battle”. I will have to dig it up…

Marshall, wherever you are, we send our love and blessings to you.

Seymour

All I know is when pride is at stake, sometimes pride is all you’ve got. Bless to all the Brummies, you certainly kept us on our toes.”Let’s try and link soon and get some of this “Hard Talk” on film where we can all express ourselves and shoot the breeze like the old baskets we are….

Nuff r’spect,

Gary Nurse.

P.S. If you want to know more about the “Gary and Marshall battle”, ask the old historian, A.K.A. Seymour.

The bottom (end) line is this, there were no other dancers outside of London that we had more love and respect for than the Birmingham Jazz Dancers. You guys are family to us, as you were coming down to London from the early days.

There were other people from outside of town that first came to the “Electric Ballroom” after Paul Murphy’s reign in 1984, and kind of ‘missed the boat’, relative to the whole conception of the “Fusion” style, and what was occurring at the time.

Many of the pioneers and innovators such as Kevin “Penguin” Haynes, Michael (Brown) Milliner, Richard Baker, etc, stopped dancing Jazz in ‘82, and a lot of the Jazz dancers got into B-Boying from ‘83-84. Milton, as a Jazz dancer, was at his peak as a 15 year old in ‘83, and he also got into B-Boying in late ‘83.

The reason our time lines are the same is because you guys were visiting London when the “Fusion” dance form was taking off.

Much respect to all the “Brummies”.

Seymour

I have to say I totally agree with you when it comes to Milton, a great fusion dancer, but what made him stand out even more was that, he was ruthless!!! and gave no quarter in battles, I have witness his merciless burial of a few Brummie opposition on many occasions, when you guys did venture North of Watford gap……I remember you guys brought up a ‘Murder squad’ and that was because someone shot their mouth off saying that Birmingham could tear up the cockneys……..you guys were not happy bunnies…..and you let rip on anything that scratched the dance floor……in Birmingham lol

Milton & Lizard became friends after that challenge @Electric……Milton didn’t make friends lightly….

Most of the time we didn’t know your names, so we gave you nicknames…..Gary was Spindly & Seymour (Ben up), Afro - sticks man……i think what’s scary, is that your dance history….almost runs at the same time as ours……we appreciated that more you could know

John Reily was an amazing talent, and there were times when he did go to “Electrics” and produce his magic on the dancefloor.

Seymour

This occurred in 1986. I was at home on a Monday night, and Milton came round with Gary, as they were hanging out before going clubbing. I can remember Milton wearing his black Adidas jacket with the large Adidas logo on the back.

I was playing a Fusion set in my bedroom, and Gary and Milton found a space in the room, and started dancing on their own spots. I can remember playing, “Los Viajeros (The Travellers) - Barry Miles, “La Fayette” - Semuta, “(Used To Be A) Cha-Cha” - Jaco Pastorious, and “Salvador” by Paul Horn.

Gary started getting into a ‘zone’, which inspired Milton to go up a gear. I sensed the tension between them, so I put on “Antonia” by Alphonse Mouzon. At this point they faced each other, and I can remember a big smile on Milton’s face as he started to let off. Gary accepted the challenge, and then it kicked off as Alphonse Mouzon started to fly on his drum solo.

At this point I sat on my bed, and thought to myself, “I cannot believe it! Milton and Gary are battling, and I’m the only one witnessing this!”

What struck me more than anything else was seeing these two dynamic styles against each other. It actually reminded me of the Martial Arts film, “Snake In The Monkey’s Shadow”, where you see the Snake fist next to the Monkey style.

I still get rushes just thinking about what I witnessed 24 years ago, and it is very difficult to put into words the excitement I felt when they truly let off to the climax of “Antonia”. Again, just seeing those two unique styles facing off each other… I remember the 3 of us breaking into uncontrollable laughter when they finished.

If anything, it was more of a jam (a very intense one at that), as Milton did enjoy jamming with other friends/dancers for “6 records” or more, without it being a serious battle (yes, ‘friendly’ battles existed too).

For me, “The Two Ultimate Jazz-Fusion Dancers”.

Seymour

We held it behind closed doors to save the potential loser any sort of public embaressment, I mean, we “were” best of friends, although in dance floor terms that means SWAT!! I suppose it was kinda like Apollo Creed and Rocky Balboa in “Rocky 3″. You all remember? Rocky owed Apollo a favour for getting him his title back after that “YEAH RIGHT” rematch against James ‘Clubber’ Lang. Milton inspired me in many ways and taught me a lot, so this was a favour I felt he owed me. Just imagine it for a moment, two opponents at the very top of their game, battling it out in the trenches of one’s bedroom. Another truly legendary duel beween mere mortals, but immortalized through myth.

Let’s hope we’ll all see it in our next life.

Peace….

Gary Nurse.