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First published in October 2008
Bob can be contacted at bobar@xtra.co.nz
Photos & Memorabilia - Wellington College Dance Band, Community Arts Service Jazz Tour, Don Richardson Band, Majestic Cabaret, Melody Makers, Skyline Band, 2YA Radio Band, Bob Barcham Sextet, Bob's Wellington Musicians List
The following is the transcript of a questionnaire that Bob completed in 2005 for the legendary Bernie Allen, as part of Bernie's ongoing project to document the NZ jazz scene prior the 1980's.
Had parallel careers in the music profession:
Professional musician 1947 to present time (2005).
Full time Music Teacher 1951 to 1985. Piano, Organ, Accordion, Brass, Theory.
Brass & Military Bands 1944 to 1965. Played most brass instruments except slide trombone. In 1960s was MD of 7RNZIR Band (Territorial Army, Wgtn.)
In late 1960s became Secretary of the Wellington Branch of the NZ Musicians' Union.
Although very active in the Wellington Jazz Scene in the 1950s, particularly the annual festivals in the Wellington Town Hall and was most of that time regular pianist with the 2YA Radio Band, I have never really considered myself a jazz musician. Because of the wide range of music that I have played, I would prefer to be called a 'session' musician. Others may have a different opinion. My childhood was during the great depression and this was a character building experience but it probably did narrow my exposure to music - I think we had our first radio about 1937 or 1938.
Caveat: At my age, memory can be 'wobbly' I can only offer my best recollections.
Where were you born? At Wellington in a private hospital in Ghuznee Street.
When? 23 Feb. 1929 The year of the great 'crash!
Did you live in other towns/cities prior to your present situation? If so where? No. Current abode by the sea North of Wellington at Titahi Bay. Have been in this residence for fifty years. TRIVIA: While a music teacher, I had in turn, three city studios - Each within two city blocks from the street I was born in. Make of that what you will.
What music did you hear in your household as a child? We had an old gramophone with just a few middle of the road and operatic records plus a bit of humour - certainly no jazz.
What music did you hear at school? At primary school very little. Just a bit of assembly piano and class singing.
Were your parents or relations musical? In what way? My paternal grandmother was a music teacher but for geographical reasons did not teach me. She was a very academic lady, being the sister of Walter de la Mare, English poet & writer. Later, was to become a bit of a mentor to me. My father (a printer) loved music but did not play anything. My mother played what would be called pop piano. Earlier she had played for suburban dances where she lived. Looking back, I guess she really played very well and was a good sight-reader. My brother (Warren) became a fine player in the brass band scene and I had one cousin who was a classical singer.
When and what instrument did you first hear live? Did this have any effect on you? Piano - and I can't remember any real effect on me except curiosity perhaps.
When did you start to learn an instrument? What instrument(s)? At age 6 I started piano lessons. How my parents managed to purchase a brand-new "Gourlay" player piano, I will never know. It must have been one hell of a struggle.
Who was your teacher(s)? What do you remember of this teacher and his/her effect on you? My first teacher was a young lady who came to the house. I can't remember her name. After a year of lessons, tragically, she died of tuberculosis - quite common at that time. I had found the lessons rather boring and after her demise, did not resume piano lessons but would muck around on the instrument after listening to the piano rolls which did fascinate me. Plus of course, hearing my Mother playing hits of the day.
What formal studies did you undertake over the years? (This would include both private and institutional study and indeed self motivated study through books, recordings etc.) During this period I had been playing a melodeon (German button accordion.) A friend suggested that I advance to a Piano Accordion which I did. A very modest one. I took some lessons from Allan Shand but was mainly self-taught. Looking back I was playing quite well and remember playing on the radio (2ZB) when about 10 or 11. I eventually up-dated the accordions and ended up playing most of the standard accordion showpieces. Very much later, I become an acceptable jazz accordionist. At secondary school (Wellington College) music was not on the curriculum. But, there was an active musical scene, including the orchestra, all done in free time and the extra-curricular tutor was the organist from nearby St. Mark's church, Earnest Jamieson - a very dedicated 'olde-worlde' gentleman. I began taking organ lessons from him and he suggested that I join the orchestra. They did not have a double bass player. So, he gave me a few lessons and so I joined the orchestra and played double bass until I left. Meanwhile, my brother had joined a junior brass band and was playing Eb bass. I used to sneak a bit of practice on it when he was out. In 1944, some of the players in the orchestra had joined the Wellington Regiment Band as "Learner Bandsmen." (Too young to be attested as soldiers) and they suggested that I give it a go. I auditioned on Eb bass and was accepted. Between then and 1951 waded through most of the brass instruments. Also at this time, it was decided to form a college dance band. This they did and I was recruited on double bass. The band got off to a shaky start (too many players) and the pianist was really not up to it. The lads had heard me mucking around on the piano and after a lot of persuasion, I ended up in the piano chair and looking back on it, really started my career. The band finally ended up as a five piece combo and we did a lot of gigs calling ourselves "The Solid Five." Very heady stuff at the time. Two players went on to be professionals - John Williams and myself. I did not take any more formal lessons until well into my professional career. I studied with Loretto Cunninghame (NZSO.) She introduced me to many aspects of music that had eluded me.
When and where did you first play with other musicians? Who were they? Probably the Allan Shand Junior Accordion Band. I cannot remember being very impressed with the music. Next was the Wellington College Orchestra and The Wellington Regiment Military Band. These experiences convinced me that music was to be shared and that playing as a cohesive group was more satisfying than playing alone. Then the college dance band. That loosened me up a bit and started my real musical development.
What influence did any of these musicians have on your style, attitude, technique or general music direction? Looking back, some of these players were really quite good - that alone inspired me to keep up with them - Peer pressure in action and very successful. Basically, I really was a bit lazy. Having been born with a 'good ear' music did come fairly easily.
What were the first records that you owned? Ashamedly, I must confess that the first records that I owned were Glen Miller items. They were given to me as gifts.
What popular music do you remember from your youth? I was at secondary school during World War II. Music of that period and ensuing years has left a permanent impression.
What classical music do you remember hearing and when did you hear it first? At home when I was very young. Gramophone records of opera by Enrico Caruso et al. Mentally, I can still hear those records in my head.
When did you first hear jazz? Who was it? How did you come to hear it? My college friends suggested that I listen to Arthur Pierce "Turntable" with 'Rhythm On Record' broadcast every Friday evening from 2YA. Which I did. Also, during the war, many American service bands (including Artie Shaw) played in Wellington. I was lucky to have heard most of them.
What effect did this jazz have on you? Immensely. It further encouraged me to expand my playing ability and started me on the road to improvisation.
What directed you towards the various instruments or writing that you became involved in? In 1949, Geoff. Mechaelis formed a big band "The Swing Men", mainly for rehearsal purposes and I suppose, a bit of fun. Surprisingly, I was offered the piano chair. At the time I was working at Chas. Begg & Co. as a musical instrument salesman. Through this job, I had met most of the Wellington music fraternity and I guess my piano playing was being noticed - I was gigging quite a bit. Geoff's band was featuring swing arrangements of the day including Stan Kenton. I was on a very sharp learning curve. However, this is when I developed an interest in arranging which has stayed with me to the present day. Although I became, I think, a competent arranger, my work was always a bit derivative. Because of having a 'good ear' I was in demand as a 'take off' arranger.
What books on jazz or music do you consider were important to you? Transcriptions of works by jazz artists were a big help and later I found the arranging books of Russ Garcia and Henry Mancini helpful in the way that they showed me that I really was on the right track - in my do-it-yourself way. I guess that was par for the course at the time.
What are the significant recordings you have had or still have in your collection? A difficult question. I have a large record collection, including hundreds of 78s complete with a wind-up gramophone for authenticity. There are recordings of Armstrong's Hot Five and Hot Seven etc. and a lot of 'Fats' Waller. There are also records of some of the best English swing bands like Ted Heath and Eric Delaney. I heard the Heath band when they visited NZ post war. Otherwise, just too many to mention. It is a collection of eclectic tastes.
Which recorded musicians do you believe had the greatest effect on your style? I would like to say the 'gods' like Art Tatum etc. but really they were (piano) Count Basie, (accordion) Ernie Felice and (organ) Jimmy Smith. I would modestly suggest that my styles were influenced by those great players. Basie's minimalist piano style suited me down to the ground. Later, I became very George Shearing-ish. In the jazz field, I don't think I had a personal 'style.' Others may think differently.
Which local musicians with whom you have worked or heard have had the greatest effect on you and why? Another very difficult question. Probably Don Richardson. He and I shared the same professional standards and we played together for many, many years. I guess we sort of fed off each other musically and to this day have remained friends. Another person who I greatly admired (an ex musician) was Bob Bothamly who was in charge of NZBS dance music and managed the radio bands. He introduced me to a lot of music and taught me a lot about 'the business.'
Which overseas musicians with whom you have worked or heard have had the greatest effect on you and why? I have heard most of the overseas jazz musicians that have visited NZ. From, Dave Brubeck, Oscar Peterson, Lou Levy, Peter Nero etc. All have had some effect on me, even if it is just to go home and do a bit of practise. Their dedication to their art was probably what affected me most, perhaps more than what they actually played. I find it difficult to be more definitive about it - it all seems a long time ago and memory fades.
Did you have any mentors? How did they influence you? My paternal grandmother (the music teacher) urged me not to waste the natural talent that I was lucky to have and to sharply 'focus' on musical goals. She was probably worried about my 'scatter-gun' approach to music - jumping from one thing to another. I heeded her advice and was grateful for it. Another mentor was an ex muso I worked with at Beggs. He was Laurie Paddi, who had been a very popular band-leader at the Majestic Cabaret during the war. He advised me not to be too 'clever' - don't try to 'educate' the public, indeed, play what the public wants and you will always be in demand. He was 100% correct. Dear old Laurie.
What do you consider the most important
occasions in your musical career? A very difficult
question. There have been many high-lights (there have been a few
low-lights as well) but to sort out the more important? I will try.
First: Attaining the piano chair at the Majestic Cabaret in November
1950. Arguably, the top pro-music job in the country. I was just
21 and the youngest pianist by a long way to that date. Other
musicians in that band were: Vern Clare (trumpet) Geoff. Mechaelis (reeds)
Bill Hoffmeister (guitars) 'Slim' Dorward (bass) and Harry Voice
(drums.)
Second: My quartet opening the Ella Fitzgerald concert at the Wgtn.Town Hall
and my first gig for Harry M. Miller. I met Ella's musicians,
including Lou Levy and Herb Ellis.
Third: My first day of music teaching in 1951. I had taken over the
practice of a retiring teacher (Norm Izett) and was starting with sixty
pupils straight up. I don't know who was more nervous - me or the
pupils. I kept teaching for 34 years.
Fourth: Conducting The Military Band Of The Seventh Batt. Royal NZ Infantry
Reg.(7RNZIR) on the stage at the Sydney Town Hall. We were
representing the NZ Army at the 1964 ANZAC Day Parade and Service and the
Sydney Lord Mayor put on a civic reception for us. I was in my full
officer's rig including sword and jingoism was order of the day.
Everyone was rapt - it doesn't get much better than that! We then did
a very successful tour of the RSL and League clubs. An outcome of
this, resulted in me working in Sydney professionally later. The
military band had a reunion in 1989 which was very well attended - I had a
blow on trumpet with the current band and wasn't too bad - much to the
surprise of the 'old hands.'
What aspect(s) of your musical career have you enjoyed most? In what has been a very full and productive music career I can honestly say that most of it has been enjoyable and was certainly part of New Zealand's 'Golden Age' of music. I have enjoyed playing, conducting, arranging, managing and particularly teaching. Developing students to their full potential is very satisfying. I have enjoyed the camaraderie of musicians and I have been fortunate to have played constantly with the best players - Sadly, most of them now passed on. And, the immense pleasure from entertaining vast numbers of people. In retrospect, Jazz was a minor and perhaps transient part of my career but I am flattered that I am considered to be a minor player in New Zealand's jazz history. However, I have a feeling that had I been a 'purist' and just stuck to Jazz, I would have died a slow agonizing death by starvation.
VERY SPECIAL COMMENT: None of the above would have possible without a supportive and understanding partner, my wife Jean. While I, somewhat self-indulgently, pursued a music career, night and day, she had a very lonely time bringing up the family and running the house. We had no or little social life which is typical of the profession. There were many ups and downs in our voyage through life but am proud to announce that in October 2005, we celebrate our 57th Wedding Anniversary. Probably some sort of record in the music trade. In recent years, Jean has supported me through a life threatening illness. I am sure I would not have survived without her. If this sounds maudlin, so be it. She is part of the story.
Bob Barcham, September 2005
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