Pianola Busking
By Roger Waring
Robbie asked me if I busked with my ol' Pianola! Yes I do. But not for money. I guess like most other enthusiasts I get one hell of a 'kick' out of making music out of thin air! (get it?) I do it out of sheer enjoyment, and the chance to meet folks and talk about music in a happy environment.
Now I'm no Max Morath, but folks really appreciate being shown a little bit of musical history, and I do very much enjoy early Twentieth-Century American piano music. You people Stateside can be really proud of composers such as Scott Joplin, James P Johnson and so on. But more than just hearing the music from that era, folks really do enjoy a bit of light-hearted education, and the youngsters are fascinated by my 1922 pump-action Aeolian Farrand. I usually give them Tiger Rag to try out!
I am always at pains to link Ragtime and The Player Piano. The two belong to one another. Hell, if electricity had been discovered a little sooner, followed by the natural emergence of the phonograph, recording, and broadcasting industries before 1900, we would never have seen the player piano developed to the extent that it was! We all know how its demise occurred as a direct result of these influences. I often refer to the instrument as a musical dinosaur. Its time came, and then the conditions necessary for its continued existence simply disappeared.
In the UK, the most recent phenomenon of the 80s and 90s in the musical field has been the spread of the Jazz Festival. I know what a sensitive issue modern music is from current discussions within MMD, and these latest fashions do spawn their own culture which many people find offensive - even bewildering.
I can only say how I feel about Jazz - that is mainly traditional as opposed to Modern. Cajun, Gypsy, Dixieland, New Orleans, Ragtime, Swing are all fine by me. And yet I like Jacques Loussier so I suppose I shouldn't try to put too many labels on things! I have a sneaking suspicion though, that all people who really enjoy the piano have a deep-down appreciation of the masters such as Chopin and Beethoven even if they cannot or do not play classical music themselves.
The summer UK jazz festivals are growing in number each year, and many seaside towns now feature jazz mini-breaks as an out-of-season attraction. Summer in the UK is usually a great time for the music- lover. Outdoor festivals are well-organised, well-attended events covering a wide range of musical styles. Bands attend from many parts of Europe, and we also see U.S. bands such as Classic Jazz Epochs, whose style of informative entertainment I so much admire.
The atmosphere is happy, the beer is wonderful with so many 'real ales' to choose from, and the sun even occasionally shines! The best festivals have learned from early mistakes, and today provide all of the comforts and security that people look for in a large event. If anyone from abroad is planning to visit I would be happy to advise on suitable venues.
Some of the best are: The Oliver Cromwell Jazz Festival, in Upton-on- Severn near Worcester, England, late June; real ale in good pubs, a riverside location, and usually great weather. The Bude Jazz Festival, in Cornwall, England (late August) has a Seaside location, great for youngsters, and hot. Keswick Jazz Festival, in Cumbria, Lake District (September) has wonderful scenery, magnificent walking, and can be damp. Isle of Bute Jazz Festival (May) in Scotland -- what more can one say? Aberystwyth Jazz Festival, Wales -- nice atmosphere, a fairly new event but wonderful seaside amenities.
Yes I busk. I trade off free tickets to all events plus free local accommodation in exchange for free performances. And I make a lot of friends. So I make a bit of a fool of myself? So What?
Roger Waring - Solihull, England.
[ So, I hope to see you when I visit the UK soon! -- Robbie
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(Message sent Sun 9 Feb 1997, 22:53:43 GMT, from time zone GMT-0800.) |
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