Floor Violence
Set in a South London studio 28.10.08, this was a special day of dance, talk, jokes, old beefs and fun as the legends of the London Jazz Dance scene come together again after nearly 20 years.
Shottsman films presents…
Photos by Nicola Dracoulis
Vintage footage taken from Dick Jewell’s Jazz Room film.
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Easy bruv!….just stumbled on this , must say had a real laugh that day but we should get together one last time and come wid a proper hoof session! nuff respect bro glad to see ‘beacons of light’ are still shining, keep up the good work.
Peace Lee
yes Levi bless up welcome to holyroller no doubt we need to do chapter 2
been having meetings with Gary about it.
I wanted to reach France but i had rehearsals an ting.keep in touch,and run
some ideas past me of what you have in mind for next Link up
ez bruv
This looks really interesting……….i see you are planning a chapter 2 with Gary Nurse…..You have to include “outer towners”…….guys who came to London to sample the “Fusion Delights” and the many battles the “Cockneys” had with the “outer towners…….some of the guys here (Birmingham) would love to chat the breeze about the great days of this era……..give us a holla………….Stretch
Thanks for pointing this out to me Stretch!
This is really good stuff - so happy to witness this dance moving up onto another level, and away from the “Cotton Club” link.
Once again, this dance is shown here to be truely unique to the UK - and something its originators and followers should be proud of.
Dave - I truely rate you in my all time top 5 :o)
Yes stretch…chapter 2 is in the works!
will c what can be done
will be posting floor violence next week.
watch this space and tell your bredrins!!
SWEET… Love Jazz Dance.
This is truly inspiring. Also amazing to see London had nights where people actually danced, I must have just missed them.
There is talent everywhere, it’s just hidden in the cracks. Thanks to Robert Strauss who led me to this video, and much respect to all of you guys.
FUTURE RUNNINS!!!!!
OMG……..the completed doco…….awsome, words fail me!!!
Just to see the vintage footage…..was worth the it alone.
You guys deserve more than applause…breathless
I have to ring the lads in Birmingham, like mad telling them about your website.
Lizard, Brezhnev, Godfrey, Zarcoff are all in the loop, just waiting their responses……
The thing that always gets me….nobody, wheather from London, Birmingham Manchester or Bristol, when you first catch this ’style’ from Horshoe days coming up….
has been trained by professionals…..you learn from the street and adapt it to suit you
well worth the wait
Question: when can i get a copy of the DVD about the filming at Electric Ballroom?
with warm regards
Stretch
Got a lot of respect for you guys for keeping the scene live, this brings back 25 yrs of wicked memories of the funk & jazz scene and im sure ’stretch’ would agree!
thanks for all the comments please feel at home here ,holyroller is us…
Sorry for the spelling mistakes peeps…….excited
And yes Robert I do agree with you!!!
….plus my apologise to you Robert and other Birmingham Jazz & Funk dancers I have forgotten to mention, like Bulldog, Smethwick Spades, Winston Hansle who came after the for runners of the ’scene’ like Godfather Errol T, The twins Rick & Tyrone and Bobby Lewis, who told me so many stories about London dancing and how it was/is the pinnacle of Jazz Fusion/Jazz funk street dancing
That footage was amazing, it brings back so much memories of us getting on the coach and going to horsehoe, spats, electric ballroom, and finally dingwalls, keep it alive and keep up the good work. Orvel
Hi guys,
Just seen this footage, wow! amazing stuff and stirred up so many memories for me. Let me just say none of you will know me. I was a skinny white kid from the Regents Park Estate, that was the only kid who’d be walkin’ thru the flats on an early sunday evening getting abuse from the punks, cause i had a pair of spats on, on my way to crackers.
I was never in your league as a dancer but watched with admiration and never daring to enter the center..lol!.
Because it was close to my home The Green Man with Murphy was the pinnacle for me at that time…I could go on and on, but won’t.
I wrote a blog post few years ago about my experience at crackers…maybe interesting for ya!
http://my-tea-at-om.blogspot.com/2008/08/was-it-all-it-was-cracked-up-to-be_04.html
Respect to I.G and all you guys for keepin’ it alive!
keiron.
Firstly i would like to thanks for some old memories.
as i also feel like (last of the Mohicans)
I do remember other video takes ,in electric (paz for jazz)
its great to see any footage of old school jazz fusion dance
Well done to all involved in this.
i would also like to mention Errol (Godfarther ) T and Winston Ansell
My dance inspirasions oh and that ,?@@:,@:,,. Stretch
IG, it is so good to read the feedback this film is receiving from people (particularly the Birmingham Jazz Dancers, who have always supported, and been closely connected to the original London Jazz Rooms, much respect to them).
I had so much fun that day filming the “Floor Violence”, and appreciate that we were given the opportunity to express our own perspective on our Jazz Club History, and the spirit of the underground ‘Fusion Dance Movement’.
Keep up the good work, and I look forward to future collaborations with you.
Seymour
Fitzroy Facey AKA Da Buzzboy
Got to add that often rehearsed moves were unique and subliminal to rhythms and changes we could not have anticipated were coming. Yet spontaneously we’d come up with movements like we were ninja’s having a martial arts battle.That is were the differences were settled if you had any beef not with knives and guns like today.We were though we didn’t know it responding like our African warriors ancestors celebrating life through dance and connection with the vibrations of the message in the music.
Fitzroy Facey Aka Da Buzzboy
I am so proud to see my old school chum IG Culture and fellow west Londoners Jerry Barry,Gary & Seymour Nurse and Levi & Dave representing the positive struggle of our then young hopeful black generation, to come together like Kool & The Gang and relive retell and revive, the memories of what we were destined to do back then.I too used to dance in 1 foot square of space at a packed Electric Ballroom dancing uncontrollably to the ballrooms varied jazz fusion blitz of music. Gwarn me bredrins!!
anon
Must mention females Sonia from Southall and Jane Dance from South London truly inspiring and put many men to shame!!Jerry & Gary have contributed like the the teachers we learned from Trevor Shakes Dez Parkes,Travis,Mohammed,Kalvin & Paul Trouble Anderson.We had the Freedom we had the Jazz and we definitely had the Dance.These are just some of the Soul Survivors that walk and talk amongst us all everyday.Props to the Dj’s who contributed along the way too many to mention .Educate not emulate
Gerry…
Loved that!
Big G
wooooow, taking u back to how it was baaaybeeee. Fantastic doc, shame it was so short - a full 2 hours still wouldn’t be enough!!!!! Big up the IGC………..
BRUCE Q.
PROBABLY ONE OF THE MOST IMPORTANT DOCS ON NOT ONLY DANCE , BUT BRITISH BLACK MUSIC HISTORY. ESSENTIAL.
joee
brilliant, wish there was more flim footage from 1970s to1985s the golden age of the first generation black dance scene in uk
Wonderfully put Fitzroy Da Buzzboy, and much appreciation to you too, for you are contributing to our Club History in a very positive, and inspiring way. So good to hear you mention Sonia, as I knew her as a kid (being a fellow West Londoner) when I was first getting into the Jazz-Fusion, and she was an exceptional dancer.
Best,
Seymour
The praises keep flooding in…..and i have already put my 2 pence in. …..but
as much as we are bigging up the black youth of that era (massive) spare a thought on how we!! as a loving race…..other races joined our vibe
There were a fair few white guys/gals, who could bust a move……and trust me, there was nothing worse than being ‘burnt’ by them……..with your own moves lol
but it wasn’t a colour thing (the powers that be!! wanted that)
You were there for 3 things…….’the music’ (Jazz/Fusion/Funk & Boogie)
‘the moves’ (style changes every week)
‘the vibe’ (priceless)
Lets keep this conversation flowing…….maybe we can inspire another generation to appreciate ‘ The last of the Mohicans’
Question……..
SEYMOUR NURSE…………WHEN ARE YOU GOING TO PLAY IN BIRMINGHAM and BRING THE TROOP WITH YOU……….
LONG OVERDUE………..SUMMER TIME?????? we up here need a WONDERLAND SPECIAL…….
Seymour thanks for you kind words sir,like I said we were compelled to do what we did and didn’t fully know it’s importance until now. So many different people male and female from various cultures ethnic backgrounds & areas in the UK and beyond were influenced from our majestic era. The amount of fling foot stomping tapping and pounding period… was enough to wake up the ancestors in Africa and beyond. We all however big or small have contributed to what the youth of today are unable to comprehend what was done for them to have what they have now. But we can leave this education and remind those who don’t know, that us parents some of us grand ones, could cut up many a rug then and still now. Unless you loved facing total humiliation you could not challenge the bad boy dancers till ya done your apprenticeship on the side,before hitting the main dance floor and respect it’s domain with no drinks allowed on it !! Only then can you appreciate and connect totally individually and collectively, with the vibe and the music. And then after 6 hours of dancing still walk and wait an hour for the night bus on a school night :O) Those were the days when dancing freestyle was a religion and not an illusion. Not just in the Jazz world but the umbrella of the Soul world, and the everyone spread and travelled to the North East West and South (NEWS) to get their musical fix ,like a junkie and that’s what we got high on!! We need more of this testimonies and culturally this deserves airing on Aunty Beeb and other larger media mediums so our young bloods can see something historical from their own backyard here the UK. When they release the Oscar winning film…whose gonna play Jerry and whose gonna play Gary?? Food for thought :O) Peace FDB (Soul Survivors)
Greetings
Seems like a lot of the props on this blog is for the vintage footage in IG’s film
Sadly, I have to say that this footage from the Electric Ballroom has been used without permission nor has credit been given to the actual film maker.
As many of you know this footage is taken from The Jazz Room - a classic documentary film by artist/photographer/ award winning film maker Dick Jewell. It is a film that has been shown in the UK twice - The Tate - Liverpool and Beyond The Ballroom @ Cargo. It is scheduled to be shown at the Bass Festival in Birmingham in June.
Not surprisingly, Dick is unhappy about the scenario. The Jazz Room was constructed over a long period of time and involved a lot a filming and editing. It is a film that celebrates and elevates the skills of the dancers at the Ballroom. It is a totally unique document of an era and I’d say his film as important as Mura Dehn’s footage of the Savoy and the Palladium in NYC. Dick has obviously kept the film out of the public domain so that it remains as a film and doesn’t degenerate into yet another series of You Tube clips.
I’m all for what IG is doing - working with key innovators, exploring the roots of UK jazz dance, re-generating interest in the art by aligning it to his own excellent sessions and groundbreaking music. But it has to said that I’m really disappointed that everyone was credited except Dick Jewell.
So, a nod of respect is due. True?
Signing off. Paul Brad… Chaser & tings.
Amen to that Fitzroy Da Buzzboy!
If the Americans did make a film of our Club History, I think that Laurence Fishburne could play Gary, and Morgan Freeman should take on the role of Jerry, as two old men reminiscing about the good old Club days…
Stretch, I know that Garth and I would love to bring the “troops” down to Birmingham for a session, as it would be a real pleasure. It would be great to see you throw down some Jazz moves, as I know that you have still got a few tricks up your sleeve…. Summer sounds good to me, we have to arrange something.
Yes, it’s all about Unity…
The original Jazz Rooms were predominantly Black, and the history regarding the underground ‘Movement’ has never truly been acknowledged, but one of my ‘all time’ dancers was Michael Knott (a white guy), who had so much style, and some dynamic Jazz moves.
What I loved about the Covent Garden ‘Hip-Hop’ era (that existed next to the Jazz Movement) in 1983/87, was that you had so many different cultures (Black, White, Asian, Jewish, Chinese, etc…) that congregated from all over London during the week (mainly weekend) to exchange dance moves, music, and inspiration, as this was a magical time period.
I always say that there is only ‘One’ of us here experiencing Itself subjectively, so Unity is the right perspective.
It is great how this website is connecting people in this way. Blessings to you all.
Seymour
First of all, Shottsman and Holyroller productions thanks Mr Bradshaw for his informative comment .
All at Holyroller productions are truly elated that this non profit project is reaching all the right eyes and ears.
Secondly Holyroller productions apologises if we have offended Paul Bradshaw or Dick Jewell,It was not a deliberate omission of Mr Jewell from a credit or mention, this was not our intention.Holyroller productions underestimated how far reaching this film would be, which is an error on our part. Our intention was to shed light on what we now call ‘the lost dance‘ a huge piece of black british history wiped out and unrecognized.
A lot of the dancers in Dick Jewells film remain as legendary allbeit somewhat forgotten ,uncredited figures in club folklore. Milton, Gary, Seymore, Jerry, Afro, I.D.J , these are names we collectively take our hat’s off to, we celebrate the achievements of these true innovators of movement. Floor Violence celebrates them and those inspired by them.
We approached this project not as an academic study,but a documentation of the feelings and view points of those that were in the thick of the action,the brothers and sisters who left their unique marks on those priceless stolen moments in history… that have sadly been lost, destroyed, watered down and forgotten.
Our hope was that it would be a rallying cry to those that lived it and lived for it. Holyroller productions intends to celebrate all things real together with the real.Our hope that you would come together on this forum and share the same feelings is beginning to be realised.
Hopefully we are finding common ground for those who feel the ‘last of the Mohicans’ syndrome.
Once again Holyroller productions stresses that this short film is for strictly non profit purposes and an apology is sent to Mr Jewell if he is offended in any way.
After a few conversations and numerous attempts to liase with Dick Jewell regarding the use of some of the footage, it became very apparent from early on that plans for a more elaborate piece was out of the question.
Finally after one last ditch attempt in contacting Mr Jewell,we reverted to plan ‘B’, which was a much shorter web documentary film. The response to the post on the Holyroller productions website, was phenomenal, that resulted in Spine Magazine.com requesting to post Floor Violence on their website tv channel.
This was Holyroller productions and Shottsmans 1st attempt at a film, and lessons have been learned all round.
Remember… everything we do we do 4 u, keep spreading the word people.
Once again thanks to Paul Bradshaw for his Invaluable input, but will add that his
focus on the archival footage alone is selling the idea and philosophy of Floor Violence way to short .
Thanks again for the positive feedback .
Holyroller
I can understand the ‘credit’ acknowlegdement, but yes, the overall theme, and purpose behind “Floor Violence” is a lot deeper than the short clips of the Electric Ballroom that are featured. The Ballroom footage itself is very nostalgic, and valuble, but ironically, it does not portray what really went on the Jazz Room, as the dancers were just ‘playing’ for the camera, and you do not really see the ‘Top Guns’ in their true element.
As Milton said to me, “When the cameras were there, I would just go Incognito, and do a little shuffle, but I would not ‘let off’.” Just like the B-Boying scene in the early 80s, people back then were very protective of their moves, and did not want their best material on camera for other dancers to “bite.”
Again, the entire Ballroom footage is very special, priceless really, and I am grateful that Dick Jewell captured this unique period on film, but you do not really see what occurred in that Jazz Room… the “Floor Violence”, the real battles, and extraordinary moves.
I just wish that Milton’s ‘jumping in and out of his shoes’ floor combination that he used for battling was captured on film, because to this day I do not know how he did it?
I have been speaking about this Ballroom footage for years, and its existence was denied. I was told that I was ‘mistaken’, it was an ‘urban myth’, they did not have cameras back then that did that kind of filming, and basically, no filming ever took place in the Jazz Room… believe me, you remember a big camera, and lights in a dark Jazz Room, even if the music is taking you out of your normal state of consciousness
The ironic thing is that clips of the Jazz Room have been floating around for the past 20 years, and quite a few people have had bits and pieces of the footage on video (I have seen some with a time code on it), but I do not know where it came from?
Yes, the “Jazz Room” film has been shown in London, Liverpool, and the fact that it is going to be shown in Birmingham is great. Many people have already seen it (the viewing at Cargo last year for example), and have had pieces of it, so why all the fuss now?
I believe that the reason it has got such a response in this present moment is simply because it has been shown within the context of a short film featuring dancers that actually went to the Electric Ballroom on a regular basis, and were given the opportunity to express their passion, and perspective of the Jazz Movement and “Electrics” on film through IG.
It is within the context of first hand testimonies from the dancers themselves that the footage shines even more.
Seymour
posted on brownswood
Funkmaster P- 03-05-2010
QUOTE (Paul Brad @ March 05, 2010 05:47 pm)
Greetings to the Brownswood Massive
Nice to see y’all checkin’ IG’s Holy Roller site but I thought I’d better post here what I’ve written on there as there’s equal props on this blog is for the vintage footage that’s in IG’s film… so, here we go:
Sadly, I have to say that this footage from the Electric Ballroom in IG’s film has been used without permission nor has credit been given to the actual film maker.
As many of you know this footage is taken from The Jazz Room - a classic documentary film by artist/photographer/ award winning film maker Dick Jewell. It is a film that has been shown in the UK twice - The Tate - Liverpool and Beyond The Ballroom @ Cargo. It is scheduled to be shown at the Bass Festival in Birmingham in June.
Not surprisingly, Dick is unhappy about the scenario. The Jazz Room was constructed over a long period of time and involved a lot a filming and editing. It is a film that celebrates and elevates the skills of the dancers at the Ballroom. It is a totally unique document of an era and I’d say his film is as important as Mura Dehn’s footage of the Savoy and the Palladium in NYC. Dick has obviously kept the film out of the public domain so that it remains as a film and doesn’t degenerate into yet another series of You Tube clips.
I’m all for what IG is doing - working with key innovators, exploring the roots of UK jazz dance, re-generating interest in the art by aligning it to his own excellent sessions and groundbreaking music. That’s great but it has to said that I’m really disappointed that everyone was credited except Dick Jewell.
So, a nod of respect is due. True?
Signing off. Paul Brad… Chaser & tings.
Props to the flimaker of the clips Mr Jewel, but MASSIVE RESPECT TO IG CULTURE AND THE DANCERS
Phil Octave
So glad I saw this respect to those those dancers each and everyone of them. The Horseshoe footage is awesome please keep that in a vault as that must be precious. I wish I could bring back those days. Yes by the way what happened to Sonia?
Paul Leney
Too young myself to have been there back in the days, but having met Seymour many times and seeing the love and passion of the dancing and music…purely inspirational watching you guys!…Great to see the old footage……timeless!!
Phil Octave, damn, I wish I could have interviewed you for my book young man. You’re in there many times - as Phil Octane! The dancers couldn’t remember if it was Octane or Octave. Just like Tommy Mac too, I couldn’t find a trace of you no matter how hard I tried and as soon as the book’s printed - there you are! Original IDJ dancer Melvin has also come out of the woodwork recently too, and dancing brilliantly.
Jerry and Seymour always sung your praises when we were talking in connection with my book. Hopefully we’ll meet soon. All the boys here - Jerry, Seymour, IG, Stretch, Robert, Fitzroy, Bruce, Lizard… have my number. Perhaps give me a call to say ‘Hi’?
Mr Phil “The Original Jazz Man” Octave, much respect to you.
Sonia, if you’re out there, give us a shout!
Thanks for the acknowledgement Mr Leney.
Seymour
Greetings Holy Roller…
I wrote my initial comment with one thing in mind… that Dick Jewell wasn’t consulted re. the use of footage from his film. Whoever tried to get hold of Dick didn’t try very hard. He’s not difficult to get hold off. If you want his number/email I can supply it. No problem.
Now… in relation to my “selling the idea and philosophy of Floor Violence way to short”:
The fact that I have spent the last 18 month promoting what you describe as “the lost dance” by organising events and generating extensive press, media and academic interest in Snowboy’s ‘From Jazz Funk & Fusion To Acid Jazz: The History Of The UK Jazz Dance Scene’ - a people’s history that documents in detail the evolution of “the lost dance” scene and gives props to all the people who you name above and more - has ensured that I am well attuned to and seriously committed to the ideas and philosophy implicit in Floor Violence.
Like you I believe there is a great deal to be done. Projects like Legends Of The Underground and your own Zen Badizm have illustrated there is massive potential to link the past to futurizm. Snowboy’s book has provided the words, the context and the momentum to get busy. As you say this is a crucial slice of Black British history so we now need the visual documentation, in detail, of the actual dance styles courtesy of those true innovators. In an age of information overload the lesson is to document your own heritage and keep control of it.
OK. Enuff said. A luta continua.
Paul Brad (Chaser & tings)
Wow I’m so glad I mentioned Sonia in comment 20 though my name is not shown,as she is getting the props she deserves. I last saw her around 15 years back in Stratford shopping centre when I was living on the East Side but this forum and the energy it’s provoking will hopefully prompt those in the know to locate her and some of the original jazz steppin’ hoofaz !!
Brilliant. I’ve got older brothers who used to tell me about the Jazz room at Electrics and when I was old enough to go myself I really thought to myself that this what dancing was all about. I know that you have to go through procedure to include things in your film, but a lot of our club history is being sat on, and in some cases, being made obsolete. In any case it is a beautiful piece that is appreciated very much. Thank you for bringing to light a dance form which seen more darkness than light. IDJ were looked up to when I was knee high to a grasshopper and will always be respected from this corner right here. As I started, so shall I finish. Brilliant
The comments are coming thick and fast
DJ Richie Mac
You guys smashed it back then & you are still killin it now…MAXUMUM RESPECT !
Props to IG Culture for this doco……..and a massive shout….the London DJs who I first experienced this vibe………..Boo & Parnell.
Nick Blow
Fantastic piece. Takes me back too. Even though at the time you guys were starting out I was dancing away to Northern. Only caught up with you at Dingwalls!! Says so much that is so true. Explains so much to those that don’t know or don’t get it. Inspiration for future generations. It has to be… Thank you IG Culture.
Marcia Da Vinyl MC
Thanks IG for this short documentary, it’s fabulous! This so takes me back! Big respect to all the bro’s (and the few sisters) who were cuttin’ their teeth on the various dance floors, shockin’ out and experimenting…. “do you love what you feel” I still certainly do
Daz-I-Kue
Electric Ballroom…what great memories. These were the guys aspire to be like. They still got the moves.
Patrick Forge
Yes peeps, that’s the way to dance! Respect to IG for doing this, nuff love for the original crew. And as for the dancers they should all know they’re the true heroes!!Jerry,Gary, Seymour, Levi, David,big up!!
Phlash - restless soul
IG Rocks, IDJ knock the sox of Em all, Now When you gonna come back to II and dance with Us. Peace & LOve
Jneiro Jarel
FLOOR VIOLENCE!!!!!! that’s all I have to say.
Andrews Groove
IG AKA (SHOTTSMAN) thank you for the “floor violence” video of the jazz fusion scene. I lived thru it and can totally get with the vibes. Made my day that has so thanks again.
Phat Phil Cooper
Ig Culture The jazz dancer video is amazing mate… Thanks for preserving that bit of history…
Great little documentary. Love hearing people who were such a major part of that scene relating stories from back in the day….so many memories !
Big Ups IG !!!
intresting comments over @ brownswood
appyammer al
Posted: March 06, 2010 08:54 pm
QUOTE
“It is a film that has been shown in the UK twice - The Tate - Liverpool and Beyond The Ballroom @ Cargo. It is scheduled to be shown at the Bass Festival in Birmingham in June.
Not surprisingly, Dick is unhappy about the scenario. The Jazz Room was constructed over a long period of time and involved a lot a filming and editing. It is a film that celebrates and elevates the skills of the dancers at the Ballroom. It is a totally unique document of an era and I’d say his film is as important as Mura Dehn’s footage of the Savoy and the Palladium in NYC. Dick has obviously kept the film out of the public domain so that it remains as a film…”
… that hardly anybody gets to see in 20 odd years.
I accept the “you tube” comment Paul but the very limited screenings it has had isn’t doing the film justice either. Why not have it screened at a few art house cinemas or something similar? Mark - how bout having it screened at Goodwood?
I tried to make an arrangement a couple of years ago to view it at The British Artists Film and Video Collection at Central St Martins but it aint easy - still haven’t managed to see it.
snowboy
Yes, it’s a difficult situation Alan and not really one I feel I can comment on too much as it’s not my film.
I tracked Dick down after a tip-off from Paul Bradshaw that he thought he may have filmed something at The Electric Ballroom. Until then the film was almost looking like an urban myth. As there’d been a really bad time-coded copy knocking around since the 80’s - which is where IG must have got it from - we knew it must be somewhere. I went to Dick’s place on the embankment and ‘Bingo’, he showed me the film. The filming itself is 20 years old but the ‘film’ still isn’t finished and that’s why he hasn’t been showing it. It’ll get a few plays this year at various Jazz Dance events (where Dick will be paid for the showing) and I’m sure it will get a release on DVD if he’s paid enough.
I’m loath to comment on the IG film situation because he and everyone involved are my friends. It IS a bloody magnificent film and document without doubt. Dick is furious. After all, it is his property.
Sorry for being so non-committal here. This is a sensitive situation which could blow-up.
Milic
What’s the tune that starts around the 12th minute…?
Snowboy
Milic
That track playing at 12 minutes is one of the greatest Fusion tracks ever made - Magic Theater by Barry Miles. The track starting at 12.25 or something must be one of IG’s tracks that we’ll probably never have a chance to own.
Seymour, what is it? I’m sure you’re lucky enough to own it young man.
QUOTE (Snowboy @ March 07, 2010 08:54 am)
Milic
That track playing at 12 minutes is one of the greatest Fusion tracks ever made - Magic Theater by Barry Miles. The track starting at 12.25 or something must be one of IG’s tracks that we’ll probably never have a chance to own.
Seymour, what is it? I’m sure you’re lucky enough to own it young man.
Greetings Brownswood.
The track at 12:25 of the “Floor Violence”, is an unreleased tune called, “Nia Ginto” that was conceived by my twin Gary Nurse, for our “Legends of The Underground” 3D/Dance theatre production: http://www.legendsoftheunderground.com
The extremely gifted Akwasi Mensah produced it, and put it together. It also featured the genius himself, Kaidi Tathum, and Richard Spaven on drums (who I feel should have got a knighthood for his amazing contribution). There are no programmed beats, for the drumming is live, with Akwasi on bass/percussion, etc.. and Kaidi playing keys and percussion too.
Only the first section of the “Nia Ginto” is played on the film (there is about 2 and a half more minutes), as the heaviest part comes after with the most dynamic break, where Spaven produces some extraordinary drumming.
The feedback “Nia Ginto” has been receiving is very touching, and it is my biggest tune at “Shiftless Shuffle”, for the response from the dancefloor has been quite phenomenal. I will be doing “Shiftless Shuffle” on March 21st, if you want to hear it in its full glory.
Good manifestations,
Seymour
WeeGee
QUOTE (Snowboy @ March 06, 2010 10:48 pm)
The filming itself is 20 years old but the ‘film’ still isn’t finished and that’s why he hasn’t been showing it.
That’s a long time in the editing suite.
appyammer al
QUOTE (WeeGee @ March 07, 2010 01:13 pm)
QUOTE (Snowboy @ March 06, 2010 10:48 pm)
The filming itself is 20 years old but the ‘film’ still isn’t finished and that’s why he hasn’t been showing it.
That’s a long time in the editing suite.
appyammer al
Exactly!
QUOTE
I’m loath to comment on the IG film situation because he and everyone involved are my friends. It IS a bloody magnificent film and document without doubt. Dick is furious. After all, it is his property.
Sure its his property, I think we all appreciate and respect that to a degree, but he’s being a little over sensitive. If anything IG’s Floor Violence promotes Jewells work and gives it even more cred and mystique… after all he’s only used a couple of minutes of it and its been used sensitively and in context (albeit without permission). So whats with the fury?
I understand that Jewell may be upset but he needs to get over himself IMO and get the film finished so we can all see it and enjoy it!
Or do we all wait another 20 years? (No pressure Dick )
Funkmaster P
Word! Very well said!
Global SoulJah
“Great little film on an amazing period in dance floor history..”
Yes peeps, I want to say thanks to all that have put energy into this scene and I mean “everyone”. The bottom line is we all want the same thing, “peace and love”. But the fact of the matter is we’ve gotten together on a beautiful indian summer’s day and got in a studio to try and relive something we’ll all passionate about and that is “music and dance”. There now seems to be (as usual) controversy over ownership of film footage. All I know is we used to congregate at Electric Ballroom and express what we lived for. There wasn’t any onus on ownership. I don’t ever recall signing release forms or contracts to hand over, or waive rights, but I don’t want to go down some bickering route that will only lead to more bitterness.
The fact of the matter is we all need to collectively come together and pass on this knowledge and info. There has been a gap in the Jazz scene for more than 20 years because infomation, footage, musics and moves (how stupid) have been witheld from the next future generation. Nuff respect to peeps like I.G. for trying to bring these special times into the NOW!! I’d love to sit down with who ever and figure out a way to bring this whole scene “Back to the Future” and create a buzz again so we can all relish once again in a forgotten scene.
Peeeeeeeacce out!!!!
Yes Gary, that was a great day, and we had so much fun and jokes making the “Floor Violence”. It was a unique occasion for the Nurses, as it was the first time that we danced together ‘officially’ for a project of that kind.
You have passionately expressed what has been said, and known for the past 24 years, so I do not have to add to that.
Much love and respect,
your Twin.
Respect due once again for IG, for both the history lesson on London past, and of course the WHITE HOT soundtrack. Never one for disappointing u once again deliver, giving me hope in this current state of musical purgatory. Keep doin’ what u do, and i’ll keep listening!
M…
SHOTTSMAN
a review of Dick Jewells THE JAZZ ROOM
The Jazzroom is an obscure 45 minute documentation by film maker Dick Jewell capturing the Jazzifunk sessions at the Electric Ballroom of 1984. This film was said to not exist and has become a myth among the upper echelons of LOST DANCE fraternity until now.. more than 25 years after the making of the Jazz Room.
As we said earlier the term we use is now ‘Lost dance’..this we believe is an apt term,as jazz dance is far to narrow a bracket to pigeonhole what these young geniuses were doing,
The term was coined by Seymore Nurse, and adopted by dance don Gary Nurse and Milton ‘Milly the kid’ Mcalpine who was and still is the holy grail of the floor in the opinion of many foot soldiers of the days.
Milton firmly believed and has stated many times, that this dance belonged on the club dancefloor and was never meant for the stage.
As a style conscious dancer Mcalpine also believed that the esthetic expression of this UK phenomena was cirtainly not a ‘Cotton Club throwback look’ as it was portayed and promoted as duing the ‘Acid jazz’ years.
We begin to glimpse the raw style, and fashion savvy of young black dance floor in the film The Jazz Room.
Dancers styles included were punkish tee shirts, split frayed skinny leg jeans, dyed hair adidas track suits, Adidas and Nike kicks with fat laces patent leather bow shoes, rolled hats and goggle glasses..as a matter of fact the style of young fashion conscious London is perfect for the LOST DANCE RENAISSANCE some New stylers exactly fit the profile for Lost Dance manouver massive!
In this film a younger generation would witness for the 1st time the roots of their fashion that have silently filtered down over the Past 2 decades. Dancers styles of dress included in this film were punkish tee shirts, split frayed skinny leg jeans,adidas track suits and kicks with fat laces patent leather ,bow shoes and rolled hats.
Airto’s Jazz dance classic Celebration suite was the stock soundtrack Jewell used in crucial parts of the film,greatly taking away from the focus of the timing and virtuosity of the dancers…where else could you witness a black 15 year old’s self taught control of afro cuban,latin jazz and bebop tunes of 160 bpm and any time signature imaginable.
These kids defeated 15 minute jazz opuses,knowing where most of the beats hits, solo lines, fills and vamps fell AND DANCED ON EVERY BEAT…
We first learn of these type of genius prowess in the bebop years of the mid 40’s of the 20th century where the virtuoso’s Dizzy and Miles where so accute and musically in tune that they could tell you what key a door hinge skweaked in.
Today it is common place for trained street dance crews, to move (sometimes rigidly) to every beat of sequenced dance music,the stage has been set for the reintroduction of the steps of the lost dance.
The 45min film captures a selection of documented nights over a period of months in 1984. toward the end of the Paul Murphy era and the beginning of the during the Giles Peterson era of the jazz room.
These rare and lost moments Lost Dance legends like Jerry Barry,Gary Nurse and Milton aka ‘Milly the kid’ IDJ legends Marshall Smith and Afro are featured on the dancefloor. It’s amazing to witness this valuable footage on super 8 of the incredible variety of styles and techiques of the lost dance.
It is my belief that if all of the movements could have somehow been logged, ie names that describe moves as a kind of dance vocab then the steps would gave been preserved and more widely known..in the same way as how the movements of Locking, Bboying House and popping are preserved.
The Filmore, the Stop and Go ,The Baby, Air Flares,Freezes, Uncle Sam Point,Ticking,Glides,Strutting and Tutting are all part of dance vocabulary that the young dancers are well versed in.
Dave graham mentions a move he simply calls ‘The Rook‘ simply because of the side and forward chess piece like movement, we can pinpoint names like Richard Butler and Kevin Haynes as fundamental exponents of movements similar to Dave Grahams Rook.
Although the film does not credit any of the individual dancers it probably remains as one of the only,if not the only known documentation of Jazzroom club activity of it’s kind in exsistance .
The fact that this type of movie has not been made available has contributed to 21st young London’s ignorance of London’s historical contribution to the world of music and dance,and as a result ,the vocabulary of lost dance has been made obselete, apart from maybe 2 sessions country wide.
What is incredible is that the songs and music the young ghetto kids danced on in the 80’s where mainly ‘muso workouts ‘ from artists such as George Duke and Barry Miles..THESE LEGENDS OF FUSION NEVER INTENDED THEIR MUSIC TO BE DANCE MUSIC. As reference check Seymore Nurses.Interview with the legendary George Duke
http://www.thebottomend.co.uk/George_Duke_artists.php
It’s intresting to know that another undercover Dick Jewell film is of the Spats lunch time sessions of the early 80’s, here is another example of a film that even the die hard inner circles of 80’s b boying have no knowledge of, because of its lack of public exposure.
Films like this could have been the WILD STYLE, the BREAKIN and ENTERIN, or the STYLE WARS of the UK, and Dick Jewell could have recieved accolades as the HENRY CHALFONT or the CHARLIE AHEARN of UK street culture.
Historical data such as this (when taken out of the dark!) shed light on the UK’s Freshest kids!! the gifted and talented genius black (and some white..) young men and women of London town and other parts of the UK carving out a creative future for them selves anaware of the stop lights in the road ahead.
Shottsman
Hi Seymour,
What a beautiful film! One can feel all the love and care that went into making it. It’s wonderful that this has been documented for posterity, and I’m very proud that my music plays a part in it.
Barry Miles (”Magic Theater”)
Barry, what can I say?
If there is a tune that has always produced “Floor Violence”, it’s the
“Magic Theater”, for this track is one of the most audacious statements ever made in music, and it has been an absolute joy to dance to over the years.
The “Magic Theater” was part of so many great memories in the “Jazz Room” at Electric Ballroom, and your contribution towards our Fusion Dance Movement (and Fusion music itself) is beyond words, and we thank you for all that you have given us.
I look forward to when you come over to London, so that we can hear the “Magic Theater” live.
Barry Miles, we salute you.
Seymour
Seymour, that was awesome!!!
So good to see you and Gary working it. Takes me back to before I left the UK. You know I’ve never seen Jerry Barry, but my brother Robert spoke about him. Would have been cool to see Robert and Jerry battling it out
Blessings my good friend,
Richard
It’s a real pleasure to have the likes of Barry Miles speak so positively on this blog. It has been real and special dancing to “Magic Theater” over the years. I once took a trip to Barbados and remember playing it on the plane non stop for at least an hour. Trueness to the tune…
Thanks Barry.
Big Tings!!
IG says “What is incredible is that the songs and music the young ghetto kids danced on in the 80’s where mainly ‘muso workouts ‘ from artists such as George Duke and Barry Miles..THESE LEGENDS OF FUSION NEVER INTENDED THEIR MUSIC TO BE DANCE MUSIC. As reference check Seymore Nurses.Interview with the legendary George Duke”
This is confirmed in the Chick Corea interview in my book too; as if clarity is needed!
All I can say is, that I’m so glad camcorders exist because, although so many of the greatest dancers stopped dancing when the Ballroom closed, at least some footage of amazing dancing exists - I have 36 hours worth of all 26 of my Southport Jazzateria’s for instance (some are on Youtube). It’s a shame they weren’t more accessible to capture the youngsters at the peak of the Ballroom.
Surrounding my book IG, Paul Bradshaw and I have been busting a gut all around the world to help push this too over the last 18 months and most of this year (and believe me when I say I’ll never be ((and never expected to be)) rich out of something that’s taken me over a 10 year period to do). We’ve been working on getting a grant to go around the country to film all remaining dancers who WANT to be filmed, to document regional styles - not as a commercial project but purely to have it in the Black History Museums archives for posterity so that at least what is left is archived and for all to see for future generations. My entire library will be going in there as well.
Your film is a fantastic and an a very important document, and I hope to get a copy from you at some point to also put in that museums archive with my carefully collated collection when it comes to it.
With your films, Dick’s film, my book, the buzz on the French battle and the Fusion All-Stars, Gary’s show, Seymours site, Perry’s hard work, Youtube and blogs like this, the dancing, style, music and scene is now guaranteed to be archived forever.
Now let’s try and work out how to take it forward.
Yes, from one perspective, it is true, the musicians did not have dancing in mind when they made this music, but on the other hand…
(Excerpt from my interview with Barry Miles, in reference to the “Magic Theater”):
Seymour Nurse: This track was always so challenging to dance to, as it is a real rollercoaster ride. A dancer was respected if they could “take out” the whole tune. Did you have dancing in mind with the “Magic Theater”?
Barry Miles: All of my music is intended to be danced to. To me, music cannot be expressed in words. It has it’s own unique expressions and emotions. Dance is it’s closest artistic relative and expresses itself through the movement of the body.
The two art forms are obviously made for each other. I always imagined creative, free-form dancing to “Magic Theater”. I would have loved to have experienced the Fusion dancers back in the day, performing to this piece. Perhaps someday, I’ll be able to check out a modern day “encore”!
This is the full interview: http://www.thebottomend.co.uk/Barry_Miles_artists.php
Seymour
I appreciate that people have been “busting a gut” to get this history out there, and I know that a lot of time and energy has gone into this, and for that I commend all parties involved.
As Gary said, “we all need to collectively come together and pass on this knowledge and info.” People such as myself, Gary, Jerry etc were in those Jazz Rooms at the time, and can convey this history from the heart, that will give people a real sense of what occurred back then, as felt and seen in the “Floor Violence”.
We have the history from ‘first hand’ experience of these original Jazz Rooms, and are more than capable of expressing this in a passionate, and articulate way. If there are talks, exhibitions etc, then I feel that it would be a good thing for us to present the information too, for this will give it more authenticity.
Seymour
Yes people Seymour Gary IG it’s getting “Hot in here” like Nelly with the “Controversy” like Prince but I bring good tidings for those who remember Sonia.Ironically I decided to play Fania All Stars Vente Conmigo on U Tube after finding it in my record rack whilst working and whose name do I see talking about dancing to this tune at Electric,Jaffa’s & Devils a lady called Sonia. She also said the Best Dancers at the time came from West London so my mention seems providential and not co incidental.I said the energy on here would help bring her out.I left a message for her to look on here at the footage so hopefully she’ll get told or find it and we can have her very integral imput.I’ll keep ya posted so “Keep on Truckin’ ” like Eddie Kendricks and I’ll catch y al8r g8rz or in a while crocodile!!
WOW!!!! as Fitzroy has said “its getting hot in here” (respect)
Need to pose a Question to the “London posse”……….
Did any of you guys see the “Challenge/ Battle” between Milton ‘Milly the Kid’ Macalpine (London) & Colin ‘Lizard’ Higgins (Birmingham)…..it happened @Electric,
Paul Murphy was playing. we brought a mini-bus down from Brum (9 -12 of us came)
can’t remember the date, but it was a friday night session…..it wasn’t planned, its was another trip to Electric…..
at least 5 other people in Brum (apart from myself) talk about this “challenge”………
I have heard that Gary Nurse & Milton have battled (never seen that one)……..imagine dancing to at least 6 records, one after another, hammer & tong, foot to foot & cut 4 cut…..and you still couldn’t tell who had the edge……..no closed circle….everyone gave them the room to do their “ting”….awsome!!!!
I can honestly say when my time comes to meet my maker………i can take THAT vision/memory to my grave……
Oh Yes, if you think Jerry Barry, Gary Nurse & Milton were the dons, ask Jerry about a cat named John Reily….and he never reached Electric, first seen @Horseshoe……Bad!!
And Gary……if you dance to “Magic Theatre” (all the way through) and survive!!!……you are either “rarse bad”, on crack!! or have recently got yourself a new heart, lung transplant.with the added bonus of having hip & knee replacement…lmao
I’m rushing reading this stuff!!!! I wasn’t anywhere near old enough for the ballroom (my older brother and a fair few from Northampton use to go from 82) but I have been in and around the scene for a while now
Is there any chance a proper moderated forum can be set up on here so we can continue to discuss Tune, moves, battles, Kung Fu movies, footage etc in relevant topic threads?
The film is Excellent - well put together- If you guys can somehow collab with Dick to produce a longer version it would be ridiculous!
Most importantly the film provides some foundation. Not only inter linking the old & new footage but also the musical connection- yes we dance to classic fusion from the likes of Barry Miles (does it get much better than magic theatre- the first time I heard that I couldn’t speak trying to ask what it was!!) but we also dance to music from Da One Away and its ilk (Nia Ginto
IS a future classic ) with equal enthusiasm because its all related!
The history must be preserved, promoted and told and the innovators quite rightly MUST be given the props due to them.
Of course there is Snowboys book which details so many of the classic clubs and sessions and the idea of filming around the country to preserve this is inspired
Lets not forget that there are still various sessions running where you can go and dance with like minded individuals….
Props to those that continue to keep it alive ignoring fad and fashion to deliver the tunes. For those that perhaps don’t know you can hear dancefloor bangers here (and yes I have been to them ALL)
Jazzifunk Birmingham
Deep Birmingham
Room4 Movement London
Shiftless Shuffle London
Bustin Loose Luton
Out to Lunch Nottingham
FDA aka Al from Northampton!
Yes Stretch, had to laugh at those comments. Well truth is, I said, “I liked dancing to it”. Not I danced all the way through it. That would make me a liar now (lol).. But for the record, Milton and I did go at it one time, but it wasn’t in Electric Ballroom. It was more like my bedroom at “me mom’s” house. I’m certain the old historian, A.K.A. Seymour (my twin) can well recall it because he was the only witness. And no, there wasn’t really anything in it, just two passionate warriors vying for top spot.
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.
Yes, I was the only witness to “The Clash of The Titans”, and still feel very honoured to have seen such a legendary duel.
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
There have been times when I have felt as though I have had a workout just listening to the “Magic Theater”… I can say that I have taken the track out, but I have to thank years of “Chi Qong” for assisting me in going the distance.
John Reily was an amazing talent, and there were times when he did go to “Electrics” and produce his magic on the dancefloor.
Seymour
The Seymour Brothers know how to inspire…….great words & vibe from you both.
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
Much appreciation Stretch.
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
Yes to all once again. To come on a blog and reminisce about past times is pure good vibes, especially in these turbulent times of recession and cold winters. It´s obvious we all share the same passions here, collectively. I had no respect for anyone on the dance floor at the tender age of forteen, but loved everyone off it. My goal at the time was like everyone elses, to tear anyone who entered my sphere. That’s what made that period and scene so special. We all wanted to be ”Top Gun”. No quarters “were” given (to quote Stretch).
Marshall, (who in my opinion was one of the greatest ever) entered Ballroom with a girl on each arm, cigar in his mouth and newly bought garments. He was flexing and strutting his stuff like Tony Monero (John Travolta, Saturday Night Fever). He was obviously buzzing and feeling good with a seemingly “Don Like” attitude. He started to shuffle a little, I can vividly remember the whole event. All of a sudden at the corner of my eye, I saw him look over to my direction. I thought, no… he can’t be looking at me? He gave me a wry smile whilst the cigar hung stylishly from one corner of his mouth. He looked like a movie star from a film noir period, but that was it, “Prepare for War”, I thought. We were dancing in I.D.J. at the time, but that meant nothing to me as the whole of the Ballroom instantaneously locked into the soon to become battle like situation. “He can’t be serious”, I told a friend of mine who was standing next to me with a baffled expression of disbelief. In that period I.D.J. was a well renowned collective and it was common knowledge to all and an unwritten rule, team members never went at it!! “We” went at it though, hammer and bleeding tongs to the death. “The Bottom End” was the theme song and the rest is history. But the fact of the matter is, frendship didn’t enter battles, not even if you were in the same group. But, God bless Marshall Smith. What an absolute LEGEND!!!!
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.
Arrrrr… the famous “Get off The Ground (The Bottom End)” battle between Gary and Marshall at the Electric Ballroom… now that was like a scene out of a film… I dubbed it as the Jazz version of the Ali versus Foreman “Rumble In The Jungle”, that ironically took place on our mother’s birthday on October 30th 1974, in Kinshasa, Zaire.
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
A big respect to Seymour Nurse (who called me up last night, and brought this website to my attention, urging me to make a contribution; how could I resist, eh!?) and brother Gary, and also my old friend Mr Barry, genuine foundation London jazz dance pioneers; and also to Dave and Levi; all of whom will hopefully get their due props through this timely documentary short. Props also of course to IG Culture for spreading that ‘Zen Badism’ through the camera lens; bless up bro’! I am sincerely grateful the inner London jazz fusion movement is getting some long overdue recognition in the realm of both London clubland folklore, and more important, as a genuine progressive feature of Black post-War cultural expression as developed here in the UK.
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
Great film, great footage, much respect, IG, Seymour, Gary, everyone ….. I ve heard so much over the years about the electric ballroom and the dancers, I never cease to be amazed at how people connect with these incredible tunes …to take them out start to finish…there ’s a deep respect and as in African culture and music there’s no barrier between music and dance, it’s all connected and experienced together as a whole….its emotional and passionate and that’s pretty rare these days.
Great to see everyone connecting again after all these years, you are inspiring the next generation
much love
Nia
Akin my fellow west London Bro gwarn SoulJah and bad boy Jazz Warrior I see you remain humble in not mentioning yaself, as you too had and still have Finesse like Glenn Jones on the dance floor sir.Your testament on here is of such a huge proportion you could definitely write a dancers oracle. I think you mentioned practically everyone and the important venues but I must add Leon Warner from the Grove Kensal Rise side as he to was an innovator like Kevin Haynes. And Basil Issac from South London now bussin’ the skin out of Bongo’s more so than the jazz forums. Is it not ironic providential and not co incidental that so many articulate jazzfusionfoothoofin’ boyz & gals from the hoodz, have eloquently spoken on here outside the confinements of the normal due process with words of magnificent wisdom?? In my blessed interview with singer songwriter and bad boy falsetto voiced Lenny Williams, he shared his accolade received from Quincy Jones upon meeting him when Lenny sang & wrote a song of consciousness in the early 70’s.It was called It’s A Mystery When Your Making History and that is what is happening on here, there is His Story and Her Story. The later being the one with more essence as the feminine entity is usually considered an underdog and always have to prove a point more so that they are at least equal. When you get the five fingers on one hand individually they have their own function, but coming together as a clenched fist you make more impact.Love Unlimited sang a very uplifting song in 1981 Lift Every Voice And Sing so sing Children of the Jazz Ghetto sing and your voice shall be heard and your Soul will Survive . Peace Love & Nuff Unity to all who truly love the music and the people involved in every aspect unconditionally like you love your family FDB( Soul Survivors)
Most appreciated Fitz my brother; know we both got a whole bundle good ol’ memories from our respective experiences in the NW and West sides of town. I did actually mention Leon, along with (Alistair Thomas, Kennedy, and Little Lloyd Aaron re: Kensal Rise/Harlesden crew), though admittedly forgot his surname. Leon’s one of those who never fails to put a smile on my face when dancin’; brotha ain’t lost none of his skills; believe! Yes, remember Basil Isaac as well, mainly from Gossips days where he was a regular at said club. You’ve helped jog my memory bro’ of a pretty awesome New Year’s funk party I attended off Railton Road, Brixton in 1984 where Basil was spinnin’, which must have gone on ’til about 10am; one of Fela Kuti’s tracks being the toon of the night! Quite a few of the Soulth London boogie heads were there, and remember taking the tube home the next morning.
Dear Dick Jewell, and Paul Bradshaw,
this film will never be. Firstly, this is the reason why it has been hidden for 20 years and played in small backstreet places. You may own the reel tape, but there are such things as performers rights. There have been no contracts given or payments made to any dancers, so therefore it is unfair and unjust to make a film out of a product that has been gone about in the wrong way from the start.
The screenplay belongs to the dancers, the footage belongs to Mr Jewell but believe me you wouldn’t want 500 guys knocking on the door of Straight No Chaser. As a dancer knowing that your dancing was recorded, but 26 years later you still cannot see the footage, this is the reason why this film will never be and what IG Culture has done with Jerry, Gary, Seymour and Co has actually done what you should have done with the footage on a bigger scale a long time ago.
But it’s control, controlling something that doesn’t belong to you, that you can’t do anything with but play in small backstreet places.
Let me tell you something now, I have all the moves, and I am “The Lost Dance.”
Yes, “The Prodigal Son” returns…
Seymour
Akin,
Thank you for taking the time to write such an in depth piece, for it has been long overdue, but well worth the wait. Your passion for the music, dance, and club history has been an inspiration to me, and has been the theme of many long conversations that we had sitting in the car after a club session, until the early hours of the morning.
Much respect, and appreciation,
Seymour
Bless, bless, bless. I’m here in my bed ‘aving such a laugh. Much respect Akin for the imput, bwoy peeps is getting deep and historical, gotta love dat!! Bwoy, the way peeps is writting on this blog, looks like we’ll be able to edit another book at this rate..
Peeeeaas out….
Gary.
Yes Yes Gary…..100% agree about Marshall!!!, he had footwork to kill (as we would say up in Brum) he was deadly when he was wearing his patents, but do not fuck with him when he had his boots on, unbuckled…….leave him alone!!! lol
story’s will be endless about the various dancers from London (thats for another blog)
But I have to give maximum props to certain guys in Birmingham who if i hadn’t hooked up with them……i would not have reached ‘Horseshoe’ net alone London…..
Colin ‘Lizard’ Higgins, Paul ‘Brezhnev’ Irving, Pablo ‘Drulic’ Davis and not least Donald ‘Bulldog’ Anderson…..the first Birmingham jazz fusion dance group (Before Fusion Few) ….’Wild Youth’……if it wasn’t for them……..Stretch wouldn’t exist
regards
Late night Kungfu films hand in hand with Jazz fusion moves……
We need a forum on here- that way we can have threads and topics and people can edit their posts and so forth
There are many music forums but none (that I know of) discussing jazz dancing and related matters to this level
Regarding Marshall
Years ago PJ (Nottingham dancer) once said to me - Marshall yeah we use to call him lightening- 2 legs? you thought you he had more he was that fast!
Wowzer !
HolyRoller Welcome’s to this important convo
‘The Prodigal son’ Milton ‘Milly the Kid’ McAlpine!!
Yes, I would like to ‘officially’ acknowledge, and welcome
Milton “The Ballroom King” McAlpine to this site.
The utmost love and respect to you dear friend,
Seymour
To quote Jack Nicholson in a “A Few Good Men” ….
“You fucked with the wrong Marine!”
Wow, some great stories on here!…
Having a bit of feedback after I posted up the video on a few forums…this quote was quite interesting from a young lady….see the below…
‘Quote’
cheers for that Paul……..really enjoyed watching this. I’ve never been into the Jazz scene but equally knew very little about it. Dance fascinates me anyway so this was a real pleasure. Must admit the music took on another dimension when it was accompanied by these amazing dancers. Made me listen to it in a whole different way…..
Think I’ll be watching this again later….thanks again!!
Thanks for sharing that Paul.
Seymour
Nothing to say here really, I just wanted to have the 100th quote on this historic blog… (hee hee)
Seymour
Yes Seymour this forum is drawing out some people like the sun does out of a wet cloth i hope Sonia gets in touch if you saw my comment re her i think it’s her on You Tube under Fania All Star Vente Conmigo link…catch ya ltare on here I suspect sir!!
sorry that phrase was meant to say like the sun draws heat out of a wet cloth trying to type to fast like footwork on the jazz dance floor…i wish i could keep up like i did in 1981-82 :o)
The creator always has a masterplan i’ve just had a message from Sonia yes the legendary Sonia from west London,hopefully she’ll make an appearance on here like ice cube said today …is a good day!!
In Response to Akin blog no 84…….
I remember that guy ‘Nicolas’ but we called him ‘Renegade’……..(he wore the t-shirt)
and one of my dance heroes…..because of his size & height i took to him.
and his dance style was wicked, more of an exibitionist, never saw him in a challenges but he could boogie……And least we forget big props to the guys from Luton.
Perry Louis use to dance with this white guy named ‘Tony’ OMG, Bad…….What ever happened to him?
Is that right…….The Prodigal Son on this Blog is……….Milton Macalpine?????
if so wow
Just thought i’d add another quote….
Hey Paul!!
I remember throwing some shapes with these boys at Electric Ballroom, My shape was more like STARSHAPE, Just couldn’t keep up with them after 4 tracks, They were AWESOME then and still are now.
FANTASTIC STUFF mate, Great find fella
thanks paul for your input. much appreciated..
Wow (Prodigal Son) is it really you ?
and Akin super blog.
I would like to say, it was great being involved on a jazz fusion dance scene.
From the beginning(for me) Sneaking down to london, aged about 16
going to horse shoe and spats.
it was in spats where battles first started for me . i remember entering the club when a non dancer from brum said on the way in these are the baddest dancers from birmingham. In the blink of an eye the hole club was after me to come forth onto the floor .
Me george(gully)plummer, paul(brezhnev)irvin, pablo davis, and moose took on a ferocious murdering looking and dancing spats crowd.
John riley paul(trouble)anderson were but a few amongst this crowd.
And when it was all over,i said i would do it all again.
That was it , i was hooked a jazz fusion gladiator.
After that i remember skanking the bham to london train every fri.
Had to get to electric. Everything about this era was fantastic.
maybe in my next blog i”ll mention the good times i had and good friends made
It’s all good Fitzroy Da Buzzboy, it’s all good!
Fantastic to hear that you connected with Sonia, and what other track but The Fania All-Stars, “Vento Conmigo” could have made that connection… Sonia was a legend to me, and it was so cool to have a female dancer to look up to, as she ‘burnt’ many boys on the dancefloor.
Stretch, yes, ‘The Prodigal Son’ is the one, and only Milton McAlpine.
Today, I am connecting with another legend in my book, DJ Ian Shaw, who used to do “Jesters” in Kingston. Gary and I were going to “Jesters” in ‘81, when we were 14 years old. I remember one day after school when Gary and I we were at the bus stop in Hounslow, and saw Ian Shaw driving towards us, so we stuck our arms out to get a lift home.
He recognised us, and stopped to give us a lift, but was so shocked to see us in our school uniform, as he did not realise how young we were. Ian deserves a lot more recognition for spinning those Jazz tunes in ‘81. Ian also played upstairs at “Ronnie Scotts”, “Gossips”, “Cheeky Pete’s”, and the All-Dayers at “The Strand”, and “Lyceum”.
For you Hip-Hop enthusiasts, Tim Westwood was originally one of his part time roadies, and Ian taught Westwood how to use the microphone properly… whether that was a good thing or not is debatable.
Seymour
Firstly i’d like to commend all these fusion; scribes, pioneers,musicians and modern day hoofers that have (and have not) contributed to this blog.We never envisaged such an out pouring of heart felt testimonies, it is truly touching.
Having just hours earlier jammed with Gary Nurse (congo intro -ShahibShihab…madness) and having had a phone conversation with man like Seymour Nurse i felt compelled to tell my story.
My best mates older sister and boyfriend used to tell us tales of crazy dancers at a club called Electric Ballroom, finally i wrangled myself from the clutches of my ” fire and brimstone” parents (bless em) and travelled from the ‘’sticks” to the other promise land. Although it was the tail end of the Ballroom era there were still remnants of the Passion,machismo and barefaced showmanship. The next day i promptly aquired a pair of spats …the mother we call Fusion had spawned a new son! i remember going to the second revival of the Sat afternoon session at Spats, going to Rockcity -Nottingham all dayers the Powerhouse-Birmingham even Hacienda- Manchester (remember footpatrol)?.When i went to the Wag i first saw Irven, Wayne and Trevor nuff said. Seeing Gary,Marshall, and that white dude Michael knott made me feel warm n fuzzy (u know that feeling)
Then there was Dingwalls, myself and brother Dave would be the first in to catch Patrick Forges early Sunday sesh we would then grab a KFC and a tango reach to a session called the Shack and then head to Maximus in Leicester Square…and ketch the night bus to Peckham
The demise and general discontent of the ‘downtown’ scene led me to the VOX in Brixton (wow) pure boogie, jazz and soul .I could go on and on but all i would like to say is this time period formed part of who and what i am today and for that i am eternally greatfull. Long live FUSION!!!!!!!!!!!!!!!!!!!!!!!!
Kind regards to all,
Levi
Hello!
I would just like to thank you for this wonderful footage of a TRUE artform of self expression of spirit through dance!!
This stuff could never be taught authentically as it is at a far higher level of chanelling the light energy!
As someone who is familiar with your scene but did not ever experience it first hand as I have never lived in London.
Can you tell me out of interest?? Was this an all male thing or were there any real deal dancers that were female on the scene?
Again many thanks for the inspiration!
As a healer myself I can understand the energy thing!!
Another example off…………we are not humans having spiritual experiences ……we are spirits having human experiences!!
Keep dancing and keep inspiring others as when we are inspired we are ‘in spirit’!
Cheers
Replying to blog No 110 Levi Graham…….
all i can say is pure ‘word’ & ‘Lyrics’
Has anyone seen or heard from Djs
BOO & PARNELL
Just to acknowledge and answer Anon’s No 111 & most welcomed honest and unbiased contribution,there is in my mine Akin’s & Seymours comments an ode be it small unfortunately, to some female dancers on that circuit. Myself and Akin have vivid memories of Sonia Moore form West London who was an unassuming looking and non threatening looking individual. But that was her hook cause if you underestimated her she’d bring the pain like Method Man trust me I made that mistake in Camber Sands 1982. There were others but because of the intensity and fast slick footwork and energy it seems that fewer females could sustain that amongst the macho men. However I’d consider them to the Brazilians in the football world with a similarity to the brilliance that black footballers brought to the British and later to an established an already exciting world game in the early 70’s .I believe from mine and other male & females from my generations perspective who are a little older that the “Last of the Mohicians”, (whom I know or saw coming through), some admit they caught the tail end of The Electric Ballroom Jazz Room(83-84),the Jazz Fusion hoofers precessing that had been doing it in it’s earlier peak(78-82) and embraced the boogie funk and rarer grooves and incorporated their jazz moves within their next phase. I’ve heard and seen of some phenomenal female dancers in London & area’s north of the south, and like their male com-padres they danced balletic and with a revered panache different to the London style. Female dancers period I loved to watch in their zones like my son’s mum Lisa Frost and Nicky Lilley who both danced and hung with The IDJ’s boys in Amsterdam yeah I’ve seen the photo’s guys LOL.An exceptional talent is singer songwriter & bad gyal dancer Rose Windross who like I said earlier was one who can boogie hard with a jazz stepping intricate timing and pizzazzness.She was doing that 20 years back and still can mash up many man today so there are some ladies who can mess, with what is considered the best, cause they a long time ago already…. past the test.I’m sure if you speak to the original godfathers of the late 60′-early 70’s club dance era Dez Parkes Trevor Shakes,Leon Herbert and Travis they could put a whole heap of ladies in the frame. Until next time peace and nuff continued unity to all who truly love music…FDB!!
Respect to you Levi, for that was from the heart.
Good to hear you mention “The Shack” too, as I remember playing there once. Jayme Marques’ “Veracruz” was my opening track…
Kind regards to my old buddy Richard Davis, and the lovely Tanya “Nia” Saw (who gave me the most wonderful daughter, Thiyana).
Regarding the first Electric Ballroom Jazz Djs Colin Parnell and Boo… if they’re this side of The Galactic Centre, then I shall find them… “To me my Board!”
Seymour
Sorry I must add something that Akin & I agreed on in last nights converstion by phone.Because of how the music evolved from the early 70’s to the early 80’s,the jazz experience was not always the fast fusion there was the disco funk and boogie & midtempo side to jazz which is where be it male or female a dancer, could embrace and express yourself like Charles Wright to all tempo’s of music to establish their dance styles. I think thats where a lot of the females domained in some of those Global Village,Royalty,Lacy Goldmine,Crackers & Horeshoe days. One I remember captivating me at Bogarts and Electric Ballroom early 1983 was Northolt’s lil Nina Dixey who loves her fast jazz boogie and fusion still to this day and was not too shabby on the dancefloor either then or still.Dancing was appreciated not just as battling but also and more so as admiration because every one in a packed club would be going at it hammer and tongs.If you stood out as an individual in your own space people clocked that moment you had with time and locked onto that like a rockwiller to a piece of meat. Ladies where are ya your imput is needed on her,I’ve started so please continue :O)
I agree, it was not always a battle thing, as some of my most magical memories consisted of watching Gary ‘dancing’ to “The Samba Express” - Eric Kloss, Milton dancing to Dave Pike’s “Samba De Rhoda/Dave”, or Robert dancing to “Evidence” by Jerry Gonzalez, for they took these tunes out from the beginning to end, for it was not always about 30 second solos.
There were times when the Jazz Room at “Electrics” was packed with individual dancers ‘going off’. I specifically remember one such occassion when Opa’s “Montevideo” was playing, and the atmosphere was ‘electric’.
I learnt my first Jazz ‘drop move’, (the one where you put your leg behind your kneecap), and land on the ball of your foot) when I was dancing to Disco, from Albert Davis to the Saturday Night Band’s, “Come On Dance Dance” (full 12 inch version) when I was 11 years old.
The Fusion dance came through the disco, boogie, and funk, and this is what made it so unique. A few of the Jazz moves that I do evolved from when I was dancing boogie as a kid, and some of them are exactly the same, just speeded up.
Seymour
Glad to see more peeps getting involved. Let’s get some of you others to partake and keep it coming…
Gary.
Hey as Jerry put it Jazz Dance Fusion could be spotted everywhere and yes I was there back then to witness it remember it originated here but resonated in Europe Japan and such like. Big influence from UK.
In response to Anon,
Your question re: female dancers; to elaborate further to Fitzroy’s aforementioned comments; Sonia Moore and Sandra Cowan were in my opinion the two stand out jazz fusion dancer’s covering the Horseshoe and Devil’s era which pre-dated Electric Ballroom. There were other girl’s who attended the jazzroom at Horseshoe as well, some I do recall dancing; a blonde girl I knew called Cathy (who dated a friend of mine; I forget her second name) for instance, who use to work at a travel agent’s in Kenton NW London, who was pretty a nifty dancer, though no way in the same league as undisputed dancefloor queens Moore and Cowan. There were a few girls I did see hangin’ out in the jazz room (both black and a few white); though not that many, some being the girlfriends and (dare I say) ‘groupie type’ hangers on of the profile ‘dancers’ and ‘faces’ on the circuit.
Most girls who came to Horseshoe tended to opt for the Funk room where Paul Anderson & George Power were spinning a lot of the then new import releases (Whatnauts ‘Help Is On The Way’, D - Train ‘You’re The One For Me’, Gayle Adams ‘Love Fever’ to name a few), which to be fair, was a lot more accessible than it’s more testosterone fuelled, ‘cult’ driven jazz fusion counterpart next door. Truth is, every so often, when the jazz got a bit too manic for these soulfully sensitive ears, I’d have leave to go next door for my ‘funk fix’, and of course, check out the female talent where the ladies were in far greater abundance (much as I love my music and dancin’, a time comes when a brothas gotta address those ‘other’ needs…if yuh get mi drift!?).
Electric Ballroom tended to be an all-male affair to an even greater extent, with the exception of the odd girl(s) who came up to take a peek from the funk/electro main downstairs. If you’re talking about female dancers on a grander scale, you’d really have to look to the disco-funk (aka ‘boogie’), and (more boddypopping oriented) electric boogie scenes during the Electric Ballroom era where there were girl dancers aplenty. My South London friend Wendy Lucombe aka Little Wendy was one, for starters, a veteran from Crackers who you’d later find at Trevor Shakes & Dez Parkes Thursday gig at The Maze (upstairs at) Ronnie Scott’s; and who’s still got da dance floor ‘juice’ a plenty today! Another was Juliette (forget her second name) a real energetic funk dancer from South London who used to tear it up at Electric Ballroom; and have to also mention my old high school school chum Jennifer Henry, a very elegant soul dancer, and her mate Angela Meakle both 100 Club and later Spats regulars with whom I had some great times at Electric Ballroom, and more underground ‘boogie’ haunts like Jean Pierre’s in Greek St, Soho, Kisses in Peckham, and my old my local haunt Bogarts of South Harrow. Have to also mention (as brother Fitzroy indeed already has) Rose Windross and her pal Anita , both of whom were regulars at Electric Ballroom, and another sista (whose name escapes me), who moved around with two white girls, more on the underground boogie circuit than Electric. This lady had some mad dance floor flava, and used to catch her at The Maze, and at OBJs short-lived ‘Go Go’ music night at the Phoenix (behind John Lewis, Oxford St); we’re talking 1984-85 . All I can recall is she had shortish, semi-quiffed hair and believe (though don’t quote me) she was a hair stylist by profession. Must stress the point, though, those I have mentioned in this paragraph were essentially funk dancers; the boogie scene of the early to mid 1980s tending to be far less overly male dominated than that which co-existed in the jazz fusion dance sphere.
All the girl’s I’ve mentioned Anon were (and many indeed still are) great dancers; every bit as good I would say, and (in some cases) even better than their male peers, having the luxury of a distinctly Black feminine elegance and grace of movement that made watching them back then an often far greater pleasure than their less fleet-footed male counterparts. I really can’t talk about the jazz dance scene in more recent years (you’ll have to speak to my spars Seymour and Gary), but would have to say on my few observations, as I’m sure you’d pretty much concur, that jazz fusion dancing tends to remain (inclusive of the odd few female participants) a largely male preserve.
Hey Fellow bloggers
Anybody remember the Milton and Bulldog battle in Birmingham (Locarno’s Powerhouse) Before I knew his name we used to call him the Eggman. Yes and I saw the stepping out the shoes trick too.
Gripping words from all contributors here, but one inparticular sticks out in my mind.
Milton McAlpine hit the nail on the head, when he referred to Dick Jewels footage.
If Dick Jewel does not get the dancers to sign a “release form”, then he does not have the rights to show this footage without the permission of EVERYONE caught on camera that night.
How frustrating must it have been, to know someone filmed you, but yet you are not allowed a copy - or even to see the footage of yourself.
Somewhere, there is a copy of the 1991 Jazz Dance Crews competition, held in Underword nightclub in Camden. I know it exists, as Ive seen very short clips within a montage video sometime back. This is the competition that Marshall Smith organised, and the Floor Technicians from Bristol won.
Granted, it doesnt show the original Fusion style - but nevertheless, a very important video is being kept from those who danced that night.
I hope this blog goes on for some time, as it’s absolutely brilliant reading
Peace
Respect to you Glen.
I have to say that it is a real joy watching you dance in the Jazz Rooms of the present day, as you have such a special flow on the dancefloor, and the original Fusion style. Also, you are a very humble man with talent, which is a rare, and admirable combination.
Oh yes, the famous/infamous Milton dropping the egg on Bulldog story…
Milton told me how he was practising, and working out that egg combination the night before to drop on any Birmingham dancer that got on the wrong side of him.
People did not know what hit them when this 15 year old boy with a mohican, long mac, patent leather bow shoes, frayed/seamed jeans, and a skeleton bone top, fearlessly walked into those Jazz Rooms and started taking out the older dancers with moves that revolutionised the Fusion dance form.
Seymour
Well I have to say chaps this is all rather interesting.
Amazing how a 17 minute film has provoked some heart felt stories and recollections, from those who were really there !
The film encompasses so much in a short space of time.
Young kids choosing to let off some raw and creative energy on the dance floor to equally raw and creative music.
It’s a perfect combination and an innocence, but can that combination and innocence exist for a young generation now ?
…. and thank you Barry Miles and Janet Lawson for some amazing forward thinking fusion from the past.
Phil
Seymour a you dat rubbing shoulders with jazz scat royalty on here is that Janet (Dindi,Sunday Afternoon,So High Shabazz & Harolds House Of Jazz )Lawson??
Janetdearfriend.
Thank you for your kind, and inspiring words.
We had so much fun that day, which was the central theme of the shoot… fun! We had no idea that things were going to blow up in this way, which is very moving.
You gave us what has been regarded by some as, “The Greatest vocal track ever played in a Jazz Room”… the “So High”. I first heard about “So High”, (as well as many other tunes) in the school playground of Isleworth & Syon at 13.
I remember my friend Roderick Powell in a very excited state saying to me, “You should hear this tune they’re playing in the Jazz Room, where this woman is singing about how she once had a little bird.”
Thank you so much for your contribution to our Jazz Rooms (So High, Dindi, Dreams Can Be, Nothing Like You, Shazam (Captain Marvel), Harold’s House of Jazz, Hot House, and others…), and our dear friendship.
Seymour
Phil Levene…
I do not think that I can cover in a quote where we have gone musically… one of my most memorable sessions ever was when we had the whole Jazz Cafe to ourselves. You were behind the decks, and I was literally alone on the dancefloor sweating buckets in my socks, as the music was so good, but my shoes were not comfortable to dance in.
Yes Fitzroy, that is Janet, the “Queen of Scat!”
Seymour
I though so squire I Dj’d before and after I watched her show in the mid 90’s when I was resident Friday nights at the Jazz Cafe Camden and it was a tick list moment when she sang So High.It’s quite amazing and inspiring to know that some of the artists who made that fantabulous music have no or little idea the impact their music had on the youth of yesteryear here all over the UK and we talking 3 decades back. You know what I’m gonna do a review in our Soul Survivor magazine sir…it can only take the awareness to another audience Far Beyond like the Locksmith or Sunburst tune :O)
Hey Phil Levene,
Thanks for your message. In response to your comment: It most definitely can exist for a younger generation. We as DJ’s, dancers, music makers, writers and passionate music fans are obligated to stimulate their interest. Holy Roller Productions is dedicated to providing a source of inspirational information for a new generation of creative genius
Am i really reading these posts from so many luminaries of the scene!!?
Barry Miles- I Hope you are able to come over to the UK this year so you can witness first hand what effect your music continues to have!
Janet Lawson- I was at the Saturday Jazz Cafe show when you came over the mid 90s and hope you are over again soon.
Seymour - much props to you for your website where these (and many other) artists are interviewed in depth and made aware of the impact their music had on the scene. it is a invaluable resource and part of the process of preserving the history. I’m looking forward to reading about the two ultimate dancers…
Phil - Good question regarding the current and future generations- Where we have to got to and how is indeed a debate in itself but as the roller has stated the interest must continue to be stimulated and certainly videos like this which can be SEEN by the youths can only help..
Keep the posts coming
FDA aka Al Northampton
Holyroller / FDA
I agree it is up to all of us to stimulate and inspire young people in what ever way we can.
And I am glad that Holyroller productions is active in this area.
I was thinking how different it must be being a 15-16 year now than it was in was in the early 80s.
I just think some of the innocence has been lost and it is harder for that ’spark’ to happen like it did for some of the contributors on this blog.
Having taught and worked with young people, it has become increasingly apparent that the mainstream media greatley influences the day to day expectations and dreams of a lot of young people, who now seek fame and recognition.
The current wave of interest in dance, as represented by various TV programs may increases the participation in dance and funding of projects for young people,
But dance classes can only go so far, as it is often made clear, the great dancer that feature in ‘Floor Violence’ and those spoke about never took classes, they came up through the club scene.
So where / how does a younger generation establish heart felt experiences, such as connection with the music and other like minded individuals. where does that special moment when ‘magic’ happens on the floor as expressed in the the film come from.
Please don’t take this post as a negative one. I am just generally curious to know what the equivalent environment is today to what we had.
Is it the same or more sanitised ?
Seymour, yes some great musical journeys after the general public had dispersed.
And equally interesting conversational journeys - but lets not go there !
Phil
Thank you for your comments, and website feedback FDA for they are much appreciated, and I am sure that Barry and Janet will appreciate them too.
I understand your point of perspective Phil, and I do not see it as negative, for you are just addressing issues that are relative to what we can do to work with the younger generation.
Regarding some of our somewhat obscure conversations… yes, let’s not go there.
As for the lengths we went to trying to solve the mystery of “The Bottom End”, let’s definitely not go there!
Seymour
Phil
I don’t think what you stated was negative at all- I agree, when I first saw jazz moves as a youngster it was mind blowing and although we had a very small scene the clubs in general still had dancers and dancing was part of the fabric of clubbing
What is without question is that there is currently NOT a youth movement where a whole load of 15/16 year olds are getting into the music- for many reasons the lineage of jazz dance music and dancing has NOT been passed down while other forms of music, some that are NOT even danceable in any form along with associated imagery and attitudes have been promoted and dominated for too long (yes that’s another whole debate)
That said, people are dancing to house ( I’ve been to some funky house events and Jo Jos of course and the energy at both was raw!) , whether that be ’skanks’ or ‘house dance’ (OK its not fusion..) many of them are also discovering the varied grooves of ‘broken’ so at least the idea of moving to up tempo music is not seen as an oddity anymore and some of those dancers may start to check out the jazz but they need to see it. Perhaps a second small jazz room at one of these funky house events would be a way of introducing an already dancing crowd to a different dance style?
Good shout on the various tv programs and so forth that may in part inspire some youngsters to start dancing
I was at Cargo for Snowboys book launch and spoke with the film crew (it wasn’t an interview) about the scene and they were in complete surprise that the jazz dance scene even existed - there is clearly a lot of ignorance about this scene yet it seems everyone knows what break dancing is..
There is a fair amount of footage aside from the jazz room, what about the Art Blakey doc, the footage taken at the wag, various TV spots with jazz dancers (UK wide) on the likes of dance energy- it all needs to be made available so that people can see it.
replying to blog 119 & 121
I should be ‘dry slapped’ for not mentioning this guy Glen……we nicked named him ‘Busby’ (originally from Wolverhampton), who still to this day dances the ‘Horseshoe’/ Electric ballroom way’.
The most underated dancer in the Midlands (in my view)……this guy would always give us trouble on the dance floor……a battler & a very good soloist dancer.
Those were the days when you could dance through a track and use it as ‘warm up’
then it would be ‘on it’ all night…. now its all about 20sec burst…….(the mind tells you “I can still do that”, But the body says….”huh were u ago”
Glen!! how do you do it?, (must be the water you are drinking down south lol)
Are you sure you don’t eat Durucell Batteries…..lol
I raise my hat to you and appreciate another midland legend
cheers geezer
“The Lost Dance.”
I just wanted to clarify something here in relation to the term “The Lost Dance”, as I came up with this term which I believe is being misinterpreted, as it has been stated on this blog that people have “spent the last 18 month promoting what you describe as “the lost dance”.
Obviously people have been dancing Fusion in clubs up until the present day, and there are still some exponents of the Fusion dance form from the original Jazz sessions, and others that have a more ‘watered down’ interpretation of it. However, this is not what I am referring to regarding “The Lost Dance.”
When Milton revolutionised the Fusion Dance, he took it to another level that was more advanced than what was seen previously. Of course one can debate whether they preferred certain styles, or dancers, but the Fusion style did evolve, as the footwork, and floor moves became more dynamic. Again, I am not debating preferences here, but it did evolve.
Malcolm McClaren’s, “Buffalo Gals” video will always be so special to me, because that was the first time that I saw a proper B-Boy video (featuring The Rock Steady Crew), and it blew me away, but when “Beat Street” came out later, the dance form had evolved, and was more dynamic, and this cannot be denied.
I was at Paul Murphy’s last night at the Electric Ballroom in ‘84. Milton and I spent the day at Covent Garden, and then went to “Electrics”. We looked more like twins than Gary and I that day, because we were both wearing blue Adidas “New York” tracksuits (the same tracksuit worn by ‘Little Jazz Gary’ in the opening Ballroom clip of “The Jazz Room” on the ‘Floor Violence’).
As soon as we walked into the Jazz Room people stopped dancing, some out of fear, others out of respect for Milton. Murphy popped his head out, saw Milton, and then put on Milton’s tune, “Samba De Rhoda/Dave” by Dave Pike aka “The Train”. Milton then gave the most memorable exhibition of Jazz dancing, and at one point he took off somebody’s hat from the crowd, and started doing all these tricks with it. There was nobody else dancing in the whole room, as it was magical to watch.
After the tune finished, Paul Murphy went on the microphone to announce that it was his last session at the Ballroom. It was as though he took the perfect opportunity to exit. There were mixed reactions. Some applauded, and others booed and jeered at Murphy, because a few thought that the Jazz Room was finished, and somebecause for other reasons.
That was a farewell exhibition too for Milton that night in the Jazz Room, as I cannot really recall him dancing much in “Electrics” Jazz Room after that night. “The Lost Dance” was a term I came up with that was in relation to Milton.
Many people were influenced by Milton, and incorporated a lot of his moves in their own Fusion dance, but there was a certain flavour, style, and moves that was revolutionary at the time, and totally unique to Milton which I have not seen in their true club environment since ‘84… until a couple of months ago in my living room… for he has STILL “got all the moves”, and is “The Lost Dance.”
Seymour
Hey everyone
Just reading the blogs and I am touched bless Seymour and Stretch for your kind words. I hope i have been a contributer like so many….Wow I really feel part and have felt part of a great movement. Big up those who are blogging and those whose names and the memories of those well remembered and yet to be mentioned here (Dj’s dancers and all who love the music alike)
After watching excerpts from the “holy grail” of all Jazz dance footage and reading through everything that’s been written so far I had to dig out my copy of Dave Pikes “Salomao”! “Samba de Rhoda/Dave” its still sounding fierce, I’ve got to give it up to everybody who went to the Electric Ballroom for being truly progressive, PROPS!
I’m right, in thinking that most of you were in your teens? Considering how popular Break dancing or B boyin as it is now known, was at the time I find it truly remarkable that you were so committed to the Jazz scene. Jazz back then must have been considered “old man’s” music? I understand that Jazz had been played in Soul & Jazz / Funk clubs from the seventies but you guys took it to the next level. How did your peers perceive you during this period as you set about creating the Jazz dance sub-culture?
I’ve got a million more questions to ask but for now I’ll just watch the true story unfold…..
Positive Energy Activates Constant Elevation.
Tony
Damm…the living ancestral lay lines of original Jazz fusion movers/ment goes cyber !!! may you all move in an eternal grace of fury with flurries of hand garnered peace!!!….I regretfully was nowhere looking old enuff to gain club entry untill around 84/5 (not old school,not new school…more mid school)!?! …when i would go spatz on a saturday afternoon and then later onto “Ballroom”…(up and down !!!I
I was b-boying side my jazzing!!) …later,killing time in Camden to go Dingwalls,Sunday!!(Big up the Toussaint Brothers,Spooner and Flex!!!) Being one of the few white brothers there bearing witness,(admittedly some of the better ones were actually dancing!!-big up the other Sean (scarface!) from Hounslow!),i intently observed ,(tentatively grooving!!?) holdin back for fear of a challenged display of rhythmic cultural betrayal!?!(I’m white,British) Born in Leeds (Big up Gallery, Naps and Pennycooke),Raised in Acton,West London (next door to the infamous Priory Community Centre!!!(Cosmic Rockers,Jiving Lindy Hoppers,IDJ–RIP Phillip Bent!) Anyways.. through the love, skill , passion,dedication of certain individuals who “grew up round the ways” ( friends and teachers — fellow West Londonites ” Seymour “See-for-ever-in-a-day” Nurse (original dj inspiration) and his slightly querky split gene Gary-”Rah Men Ho Tep” Nurse” , plus of course Jerry “jolly” Barry!! … I gained continued inspiration and confidence through improved rythymic and social STANDING!!!…soon i was cyphering and battling !!! fusing fusion with the b-boying!! up and down them Ballroom stairs!!) Sure glad to have glimpsed a fraction of the action of old day—-even tho by the time i reached mos was wearing suits!!…(in those old vids there were some very questionable leisure fashions no!?!!)… cos from that side shadow position of observed intent …I gained momentum, worked and went um… “professional” like, (tho i never officially trained!) and have survived a good part of 20 yrs dancing!!! ( tho fortunate enuff to land working in the show STOMP for 13 yrs — partly to do with my “eccentric” jazz fusion influence!?!.)—- Big Up all the Originators/Witnesses/ Resident /Resonant /Architects of the UK Jazz dance Fusion scene.(even the celebrated sonic architects of Jazz dance soundtracks who have ” flown ” by this page and shown “miles” of appreciation!!) Thanks for birthing,instilling and preserving memories of an important chapter in dance and UK culture!! …. Major respect to the Graham Brothers (inc. Sean!)…Spin those Wheels!!! ..(Holland stand up!!) Radiant standings to ALL man (and woman!) carrying the weight of their dance still ….furthur!!! Whether you dance weekly or just at weddings/funerals!?! never forget the dance … let alone lose it!!!(–the lost dance!?!) (shout out…Robert Moore,Big Tony from Harlesden,Perry, Robert etc)…… the tail out spin…..Spot,Belvedere and the future Shiftless Shuffle) oh and in regaurds to
( later ) ladies who could fuse… Lyn and Lucy !?)
Glad to see a community wellspring of Nostalgia and Future potential perspective possibility pop up!?!
keep in the ascendant!!!….
(See More Faith in the Fathomless Bottom End!!!!)
ONE Mo’Sean
Orphy Vibes
Big Respects to you all!Brings back Great Memories! Thanks IG!
Lisa
Brought back so many memories, still have the photos from Amsterdam with Jerry and Gary when we danced over their, I wont ever forget, peace and love xx
Lisa you should get Jamal to watch and read what’s on here this I think I sent him the link so he can see what we his parents mean when we speak about our dancing and hoofin’ era,maybe yo should if you still in touch tell Nicky Lillie also nice to see the varied and integral individual contributions…still need more female energy though :O)
Wow!! This blog is really moving…
Much respect to Tony Hylton, for he has put me onto so many good tunes, and blown me away with his amazing Jazz Dj sets at “Shiftless Shuffle”… have to add that he is also the most mellow, and genuine person to hang with. His twin brother Robert is such a talented dancer, but I still haven’t seen Tony shuffle, and I know that you can, so forget about the pints with Simon Mansell (blessings to you Simon!), and get on the dancefloor!!
Mo’Sean, my Sirian Star Brother… so good to connect with you on 3rd Density. For me, you are without a doubt one of the funkiest, most stylish, and original dancers that I have ever seen (and yes folks, he’s white)!
You are another one of my friends where a single quote on a blog cannot really do our connection any justice. As for Djing… you’ve got some music! I remember you playing at a house party (as in a literal house) around 20 years ago, and the people there were somewhat ‘closed’ musically, as your Funky selection was going way over their heads.
You and I just wanted to have a session, so you thought “screw this!” and put on “Kitty Bey” by Byron Morris, and you could see people running for cover when the horns came in. Much respect to you Sean, and I hope you’re enjoying the transition into 4th D.
Seymour
Mo’sean thanks for your comment.
Just to clarify your comment about Cosmic Rockers , (r.i.p Phillip Bent…) it was actually Micheal Bent (correct me if the name is wrong!?) who passed away and not the older brother Phillip.
The younger brother was part of 80’s West London crew the Cosmic Rockers alongside, a character named” Cronik Crack” also David Chinn, Lewis Palmer, Mark smith, (who went on to become “Rhino” of popular tv show the Gladiators) and Tony Nesbeth aka King Breaker(who went on to bigger things with the London Allstar Breakers alongside Milton ‘Milly Mills’ Macalpine)
The older brother Phillip is the notorious jazz fluteist, introduced to the London club scene in the early 80’s by the late Steve Walsh. Bent would appear alonside Walsh at all dayers, Nottinghill Carnival, Hammersmith Palais, and Gossips Dean street etc…
Sadly Phillip Bent’s full talent was unrealised and did not ‘blow up’ as Steve Walsh predicted. despite releasing as solo album on the GRP jazz label and performed on various guest appearances including Dodge City Productions, Ronny Jordan etc.
Also special thanks to Unsung ‘vibraphone king’ Orphy Robinson for his comment.
Shottsman
Tony Hylton, just answering your question regarding the Jazz/B-Boy/Peers thing… Obviously our peers had a major influence on us, and it was through them that the whole Jazz thing came about in the first place, as they introduced me to the Jazz-Funk/ Fusion sounds at 11. We were not listening to what one might regard as “old mans music”, because most of the Fusion was brand new, as the much older Jazz was played later.
Admittedly, when Murphy went to Electric Ballroom and started playing more authentic Jazz (Fusion/Afro-Brazilian/Cuban), this was not fully embraced by some of the older Fusion dancers. Personally, when I heard this stuff I realised how diluted and to a degree ‘commercial’ the original Fusion I was listening to was in comparison, but that’s my preference, and something that I realise more, and more is that IT IS COMPLETELY POINTLESS DEBATING PREFERENCES, FOR IT’S ALL ABOUT CELEBRATING DIVERSITY, AND INDIVIDUALITY WITHIN THE ONENESS.
Many of the UK B-boys were originally Jazz dancers, and the Fusion dancing had a great influence on the Breaking too. My old mate Billy aka Biznizz/Spider used to be a Jazz dancer. When he started B-Boying, word got round about this kid that was doing the most extraordinary things in the Jazz Room… Milton. Billy and his friends would go and watch Milton (who wasn’t B-boying then), take his Jazz floor moves, then incorporate them in their Breaking.
The B-Boys were always checking out the Jazz. The legendary Dolby-D was checking out Milton too in the Jazz Room at “Electrics”, and took him aside one day, and said, “If you teach me how to do those Jazz moves, then I will teach you how to Break.” They both agreed, and this resulted in Milton later joining the London All-Star Breakers, but Dolby couldn’t really connect to the Jazz, so it wasn’t for him.
Tony Nesbith aka “Breaker King” was also dancing Jazz before B-Boying. Halit, another amazing B-Boy, was taught Jazz moves by my twin Gary for his Breaking, and still uses the moves to this day. Halit walked into Nick Hosier’s legendary Jazz session, “It’s About Time” (The Spot) quite a few years back, dressed in his work suit, and showed Gary the same Jazz move that he taught him in ‘84.
We B-Boys used to dance to Jazz back then. “Vaya Mulatto” by Stone Alliance was a huge B-Boy Jazz tune, because of that awesome break. Obviously Electro was popular, but it was all about the Funky, Jazz influenced breaks that would get us B-Boys on the floor, such as “Yellow Sunshine”- Yellow Sunshine, “Ride Sally Ride”- Dennis Coffy, “Country Rock”- Black Grass, “Assembly Line”- Commodores, “Catch A Groove”- Juice, “Apache”- Incredible Bongo Band, “I Can’t Stop”- John Davis & The Monster Orchestra, etc…
As I stated earlier, many B-Boys had a Jazz background, so it was all about the breaks with live drums that would inspire us to the most to throw down, as the Jazz and B-Boying was always closely connected.
Seymour
Ps, Mr Hylton, so good to hear that you dug out Dave Pike’s “Salomao”, for the “Samba De Rhoda/Dave”… what an incredible tune! It’s 5:14 minutes long, and I once recorded it on a 90 minute tape, so that I would not have to keep rewinding it, which used to drain my batteries on my Sony Walkman.
Seymour
Reply to Blog 134
latest dance style;………Migraine Skank……….the mind boggles
Janet Lawson
Seymourdearfriend.
Just checked out Floor Violence - AMAZING! - had so many rushes of thoughts and feelings - like the Jitterbug days of Big Bands with people on the dancefloor just free and flying - haven’t seen anything like that since.
Break dancing is something else - but this is a new combination and I loved it!!! You were magical Seymour - improvising stars and fireworks ablaze!
Hey Seymour
Much respect to you too! Thank you so much for your kind words. It doesn’t surprise me that you had “Samba de Rhoda/Dave” on loop for 90 minutes. I have to admire your dedication to both the music and the culture. Before one of my infrequent DJ gigs I’ll always go to http://www.thebottomend.co.uk/ to find inspiration. It’s amazing that you have managed to interview the likes of GEORGE DUKE, FLORA PURIM, BARRY MILES, and AZAR LAWRENCE… If you haven’t checked out Seymour’s website then check it!
Also thanks for giving me an insight into the B boy / Jazz dance crossover seen. This is of particular interest to me because as a teenager in the early 80’s I only really had access to hip hop clubs. As for me getting on the dance floor, where can I buy a pair of spats?
Peace
Tony
A wicked mini film - really enjoyed it, great music - lovin Jerry’s mini history lesson!
Love the part about Sly (one of my all time fav’s). Seymour your so right about the ‘dance’ culture and how it’s slowly dimished - for me clubbing started the tail end of 80’s groove and was predominantly soul (swing beat) so we all danced ‘hip hop’ which I supposed was really steps used to funk?
I never witnessed Jazz Dancers until ‘97!! I was a DJ first really.Didnt even know it existed - but on a very hot July Tuesday at a night called The Soul Mine in Gas club Cheltenham me and my mate Mark (Armstrong) were calmly ordering a couple of drinks before going downstairs back into the soul room - this room upstairs was playing jazz funk, we both turned around and were totally gob smacked at the ’show’ that was playing out in front of us - those dancers were Oscar and Mark (Floor Technicians). For me the bug started then. It wasnt until about ‘99 that we both started it more seriously - going to Southport then to the Hi Hat - Levi that’s the only time Ive seen you dancing back at Hi Hat in ‘99.
Gary, Jerry you have no idea the influence IDJ had and still has on the UK scene - the first time I saw you guys was on a 5th generation video copy for what to me has almost become the ‘old testament’ part of the Jazz Dance bible - the infamous warehouse video dancing to Peanut Vendor (another all time fav). It was in black & white and cut straight into the dancing - in fact I thought all you guys were from USA! Forgive my ignorance!
Anyway my point is this - you can see your influence across every Jazz Dance troupe since IDJ. In fact I really believe if not for you then dancing to jazz wouldnt be in the direction you took it. One example read Snowboys book and the interview with the Floor Tech’s - they watched the Mandela concert video and it changed their approach, they ’speeded up’ almost as if it was a natural progression.
I never got to see the likes of Fusion Few (Stretch, Lizard etc) and also Milton dance - gutted! But ive been blessed to see some amazing dancing over the last 10 years or so. (and videos that go back much further)
So - films. Has anyone got a full length version of Venceremos by Working Week film? I would love to see that?
So - that bloody competition. I too would like to see the ‘91 group competition. I KNOW that exists. Please share this - it has particluar interest to us ‘out of towners’ :o)
Just like to add that Stretch is a top bloke - glad to have met you, see you at a Deep session at poppy reds soon!
Love and respect
Marc N
p.s. see you Sunday at Shiftless (I’m Djing with Mr Nurse)
This has to the best documentation and promotion of the jazz dance scene since IDJ were on stage at Wembley….Love the they way the dancers in the film articulated the collective emotion felt by participants and spectators in those 80’s underground clubs. Its also a blessing to see the live footage . Pity Dick Jewell’s film never happen but this film by I.G. Culture from South Acton is not some insignificant as it’s from the heart.
Must big up Akin, man you mentioned some names I haven’t heard in years. One blood under a groove for real…….
holyroller 2, you got to sign me up for number 2 film!! i was there,and if you knew how many pepole outside london,who were influenced by those friday night sessions.
mark murphy playing horace sliver,eric kloss,roy haynes,tania maria,and the dancers geting off on it including me on the side watching,then practicing when i got home::!maybe we can get some pictures of us of from back in those days- maybe we can create our own new film!!
ev
BIG UP I.G
Ok guys…….its that magic time…. I would like to know which is YOUR Top 10
Jazz Fusion tracks…..and Top 10 Jazz Funk/funk tracks…….
This should be interesting….
Yes Stretch! I will collate and post mate. See you soon bud
M,
Deep Deep Deep!
Not even old enough to have been allowed out at the time but truly feel the jazz dance and what all of you did and are continuing to do!
But surely Mr Bradshaw, there are better ways to bring to our attention that you’re unhappy with the footage being used-I hardly think that being the man behind the excellent Chaser that this was the only way u could have addressed that.tsk tsk
Thank God for the internet , it has saved us from believing that only a select few who could afford to document footage like this at the time were integral to these dancers lives and not just simply spectators that needed to buy their way into the cool they craved, never realising that they had of just let their inhibitions aside the dance may just have taken them…
Always trying to document passion- they never learn *shakes head*
Peace.x
Hey Seymour,
Enjoyed the dance video.
You guys are into something different!
Don Baaska “Get off The Ground (The Bottom End)”
Kung Fu Fans I’ve been given some info on………
The Ultra rare Massacre Survivor to be screened (along with another Kung Fu movie)
Thursday 25th March from 7pm till 11pm
To be screened at
Bethnal Green Working Mans Club
44 - 46 Pollard Row
London E2 6NB
Check with the venue etc etc I’m just passing the information on…..
Sorry forgot to add its £10 entrance
Now if only there was a forum on here I could have edited my last post…
FDA hear you we are looking into adding a forum
Seymour
I have just had a look again at your web page ‘The Bottom End’
your list of interviews are amazing….i tip my hat off to you…….
The Clare fisher interview (one of my top ten tracks ‘Descarga-Yema Ya) was really interesting
Your knowledge of the artist and their history…….. ‘first class’
RESPECT to Respecting the Respect of the Respected!!!….Euphoric Emmanations to the Dissemanations of True Dance culture!!!….Eternal respect to you Seymour!!!..a True Ambassador of Light {Body} and Sound { Mind } Vibration!!!…See you on The Cosmic Surf!?!@#*:*>^*%Thanks also to the Elder Brethren of the Boogie Brotherhood!?!– All you who have gone before and continue to reach ahead!!! Respect to I.G and the concept of Holyrolling!!!-Get that Forum Rolling!!!— My bad totally on the name confusion!!!…It was Anthony (Tony) Bent (R.I.P!!! to the great power mover and acrobat!!) and NOT Phillip!!!.. who passed !!… as Indeed Phillip is still blowing strong!!!!Also on the Cosmic tip…. don’t forget Wayne Porter and Hilary “Spiderman” (forget his surname?). !!!…..Gonna think on the top 10…will post again!
Seymore Nurse talks to Code Emphasis about the rare jazz track “Get Off The Ground ”
by Basska & Scavelli from the Hi Fi Demonstration LP “The Bottom End”.
(United by Crates PROMO)
http://www.youtube.com/watch?v=nxNCLDh9UEw
Big IG on this one love watching this to bits. This all takes be back on those wild nights upstairs at the Ballroom. Running off the 31 bus so i could get in for a few pound with my discount flyers.
great story!!!the ballroom clips are classic and the way you guys describe how you feel the music and let yourself go is what dance and music is all about. Gary you know me I used to dance mainly downstairs in ballroom with you, yes its Chris! Glad to see you still got it and you as well Seymour. They should do a whole documnetary on Ballroom thats where a lot of dancers came from and went on to pursue careers in dance
God i love reading this blog
Blog 76
Havnt seen you in a while Al, hows tings
much love for your segment
great words for a young ‘geezer’
As i was reading all these wonderful blogs…….something hit me ‘POW’ Phil Octave
The only reason i mention this persons name, is because someone mentioned he wore a Mickey Mouse T-Shirt……please clarify.
I’m wondering’ if this is the same geezer who has a brother that lived in Birmingham?
Is this the same person who had an semi challenge with Jerry Barry & a Guy wearing a straw hat.?…..
these three guys did a ‘mirror’dance (one would drop a ‘cut’ the other two would copy it) the track that was playing at the time was (Murphy played it) either ‘Assimilation’ by Horace Silver or ‘Kudo’ Eddie Henderson…..(Electric)
That was a challenge!!!
Whats up Stretch!? I’m level bro hope you are well, I love reading about this stuff and the roller is looking into setting up a forum so we can discuss dancing and related matters.
Thanks for your shout, hope to be at deep sometime soon, session is fire!
Was out last weekend so props to everyone that reached jazzifunk- Birmingham of (course) Leeds, London, Luton, Northampton and Sheffield were in the house, Great sets from Bruce Q, Perry and Colin Curtis
I also went to room4movement Sunday London- Kaidi was meant to spin but couldn’t make it however he gave the DJs some tunes to play… all I can say is DAMN- some raw fusion business that I hope gets released soon, there was also some old unreleased Kaidi tracks played, the tunes on Sunday were just too much - from the deepest boogie early on to raw fire Broken later.
FDA
Im glad you enjoyed Room 4 Movement on Sunday I was playing the boogie and the Hip Hip Beats. Im part of the Uprock crew, where trying to keep the vibes alive and joint the dots. Big to Adam Rock and Motet for the Broken. Big.
We have Phil Asher as guest dj end of this month.
Spread the word.
PEACE.
Yes Bunny good to see you on here bro- I’ll try and make the next room4 for sure and catch up with you
All Just so you are aware there is a forum at http://ukjazzdance.webs.com
It would be good to get some discussion and debate on there.
As you are all reminiscing, do any of you know what happenned to Kelvin & Mohammed?
WHO IS GARY NURSE
http://vimeo.com/11618000
re: 172
Nicely done Irven.
Gary - articulate as ever, from the heart.
To Deborah,
Must say thank you for enquiring about two London club dancing legends whose reputation is every bit deserved; the latter who was my personal all-time favourite dancer at Crackers.
I haven’t seen Mohammad since the early 90s when he was staying with a mutual friend not far from where I live in NW London; and remember bumping into him at Wembley Park while we were both boarding a Metropolitan Line train into town, and had a brief chat en route. Know he and John Riley were moving together pretty strong in the late 80s and up to the start of the 90s. Mohammad, where art thou bro’?
Last saw Kelvin Tambale in 2008 in Jazz-Funk Soul at it’s former residency near Clerkenwell Rd where we had a brief talk, having been friends with him for a good few years. As far as I know Kelvin’s still resident in South London where he’s been living for a good few years. Have fond memories of dropping him home in the late 90s from a pretty nondescript night at ‘Fresh ‘n Funky’ @ Hanover Grand, and talking for ages about those unforgettable clubbing days which have to say was a whole lot more memorable than said club. Have one friend in particular who I’m pretty sure would know his current whereabouts, and must give him a call soon.
Thanks for remembering me and sharing all your great memories about back in the day, they truly we’re great times, I really wish I could turn the clock back and do it all again. Hey Akin, That Fiorucci mickey mouse t/shirt went everywhere with me then, I’ve still got my crown churches slippers tucked away, just in case I come out of retirement.
Its amazing how back in the 80s the boogie boys would give me stick for the clothes we wore and the way we danced but it was worth all the hassle cause we pushed our dance scene to another level and became true dancers not just posers.
We practiced in our sleep in front of shop windows, in our bedrooms, in fact anywhere where you could swing a cat. About that time I was also a footballer on the books of a first division team and its amazing the amount of moves that I would incorporate into my dribbling on the pitch. I’m so glad I stumbled upon this.
Thanks for sharing.
One more thing which track sums up the whole movement to you. Mine is Sly by Herbie Hancock, The Headhunters.
Its alive, exciting always evolving, never knowing whats coming next, passion, tight, all the things that the scene was about.
Whats yours?
Anyway Snowboy thanks for the compliments I’ll try and contact you to say hello.
Cheers
Philip Octave
I’m going off to play Sly by Herbie Hancock Headhunters
hi. you’ve taken me down memory lane ig, gary etc. a girl first took me to brollies/cheeky pete’s in richmond in 1979-where i first saw paul anderson and trevor shakes dancing in bleaches to george power, then to jaffas, where paul murphy was playing with pete tong-i was hooked on jazz from that day! penguin, richard baker, the junction lot, jerry barry etc. best days of our lives! moved to electrics where i started moving all over the country from south london with milton, morris, afro, marshall, austin, bazz fe jazz to all nighters & all dayers pre-IDJ. NEVER met cooler people than jazzmen, like jazzy gary, gary nurse, zarcoff, breshnev, boo boo, samson, both bulldogs, lizard, jerry, chris&gary from hackney-the clothes,the music, the style. akin i see you! the girls-jane dance, carol, coral, debbie, susan-the jazz/boogie dancers-the sweetest moves. i remember first seeing penguin dancing to ‘the slide’ by chick corea., and everyone robot stepping to ‘glide’ by pleasure-magical. when milton was battling in the powerhouse in birmingham, and melvin brought out two oranges from a bra in the middle of the battle, we nearly all collapsed laughing-i nearly passed out! now that was fun raving! anybody who was privileged to have lived our life - knows it!