[ Cyril Stapleton and the BBC Show Band ], 1950s-'60s
b. Jan. 31, 1914, Mapperley, Nottingham, England. d. Feb. 28, 1974, London, England.(heart attack before waking)
At age seven, Cyril began studying the violin, and, at age 12, made his first broadcast from 5NG, the local radio station in Nottingham. He was often heard on broadcasts from the BBC Studios in Birmingham, but while still very young, he went to Czechoslovakia in order to study under Sevcik, the famous Czech violin teacher.

While still a teenager, he found work playing in cinema 'pit orchestras' accompanying silent films. At age 17, he won a Trinity College of Music (London) scholarship. While still a student, he found work playing in the Henry Hall Dance Band, just formed for BBC broadcasts. He was with the band on their first ever broadcast, and can be heard playing on some of Hall's early Columbia 78s recorded in 1932. At some point, Cyril left Hall and he returned to Nottingham, and again found work in the local cinemas.

He next joined the Jack Payne Orchestra, and was a member when the band toured to South Africa. And, again was heard on some of Payne's 1936 Rex label recordings (78rpm). When that job ended, Cyril formed his own band in London, where he found work at The Casino (Compton Street), and also at Fisher's Restaurant (New Bond Street). In 1939, he made his very first broadcast with his own band. He also played briefly with the Jack Hylton Orchestra, under Billy Ternent.

With the start of WWII, his musical career came to an abrupt halt when he enlisted in the Royal Air Force as an air gunner. He soon was organizing music for Camp shows and concerts at various military stations. During this time, he visited NEw York City. During his final year of RAF service (he served for a total of five years) he became a member of the RAF Symphony Orchestra then playing in Uxbridge Upon his Service discharge, he followed a career in 'Classical' music, and at one time, was a member of three orchestras: the London Symphony, the National Symphony and the Philharmonia Orchestra.

In 1947, for whatever reasons, found him back in London again playing at Fisher's Restaurant with his own band. (One of his vocalists was a young Dick James, who later became music publisher for The Beatles.) Stapleton's band was also heard on late night broadcasts. In 1948, he added a string section, and his work on such radio shows as "Your Hit Parade" and "Golden Slipper" brought him wider fame. j

In 1952, the "BBC Dance Orchestra" became the "BBC Show Band", and Cyril Stapleton became the leader. The Show Band was also seen in some early BBC Telecasts, further increasing Stapleton's fame. The first broadcast was heard on October 2, 1952. Robert Farnon arranged the band's signature tune, which opened to the words: "Just For You... " As the BBC's prestige Pop music orchestra, the band attracted both top British stars, and American entertainers such as Frank Sinatra and Nat 'King' Cole. In late 1955, a second Show Band film "Just For You" (CinemaScope, directed by Michael Carreras, Odeon Cinema circuit) appeared. In 'The Story of a Starry Night' section, Stapleton was the featured violin soloist, and further on also accompanied Joan Regan on piano.

On June 28, 1957, the BBC announced a decision to end the band. Cyril then formed his own group with which he toured and appeared at venues all over the UK, until the mid-'60s when be became Artists and Repertoire Manager for Pye Records. Near the end of his life, he was again touring with his own big band, and even recorded some LPs. Sadly he died at only 59 years of age.

Over the years, many of the unknown youngsters who guested with the band, went on to stardom in their own right, including such names as singer Matt Monro, pianist Bill McGuffie (who later had his own orchestra), Rikki Fulton, Stan Stennett, and Tommy Whittle.

Somers was born in Dublin, to a father who was a Band Sergeant of the 1st Gloucestershire Regiment. As a child, Somers first studied music at England's 'Royal Military Asylum, -Chelsea.'. Then, at age 14, Somers left the School and returned to Dublin where he continued his musical studies under a Signor Michele Esposito of 'The Royal Irish Academy of Music'. (Throughout his life, Somers always considered himself an Irishman.) Sometime between 1906 and 1911, he relocated to London where, in 1911, he enlisted in the 2nd Batt., Royal Irish Rifles. It is known that on Nov. 16, 1911, he joined the Royal Military School of Music (RMSM) Kneller Hall and studied the oboe under Professor W. Hayward.

In 1919. Somers left the Army and went to London where he soon became Director of Light Music for the Aeolian Company (player-pianos, and organs). Aeolian was then just starting to make recordings, and Somers conducted 'The Venetian Dance Orchestra' and the 'The Vocalion Dance Orchestra' (his name ocassionally appearing on the Vocalion Dance Orchestra labels). These sessions were important because they allowed him to develop his skills as a musical arranger.

Just around this time, "William Somers" decided to use the name "DeBroy Somers". It is not now known just how this came about. However, WW1 brought the introduction of the "Black" community to England and introduced the British public to the new musical genre of Afro-American "Jazz". At the time (ca. 1919), there were several Black entertainers that became fairly well known in England, all of whom had the given name of 'DeBroy'. Some commentators feel that Somers adopted the "DeBroy" name both to distinguish himself from other leaders, and to associate himself with the then meteoric rise of dance bands, and the "new" music.

In 1923, DeBroy formed and led the Savoy Hotel Orpheans a group that (with DeBroy's wonderful orchestrations) absolutely delighted the "Flapper" generation. In 1926, he turned the leadership of the Orpheans over to Cyril Newton (then one of the Orphean bandsmen), who, in 1927, turned over the leadership to co-leaders Carroll Gibbon and Teddy Sinclair, both also bandsmen. A 1926 issue of the Melody Maker magazine noted Debroy's departure from the Orpheans, and stated that he was then writing arrangements for the Lawrence Wright Music Co.

In a 1927 interview with journalist Percival Graves, Somers is quoted in an article entitled "Recording Angels -No. 1" (Somers was the first band leader interviewed) as having said that he was the first person in the country to "... make special dance-arrangements for recording purposes." Earlier, he had undertaken the same commission for the old "Savoy Havana Band", which was the predecessor of "Bert Ralton's Savoy Havana Band". He found the work, in his own words, "extraordinarily interesting."

In the 1930s, DeBroy was often heard on various radio broadcasts, especially rom Radio Luxembourg & Normandy, where his one-hour "Horlicks'" show was heard daily for many years. ("Horlick's" and "Ovaltine" were competing products.)

Three decades later, Somers was still active in the 1940s. One of the venues where he performed was in a Latin Quarter revue at the London Casino. Part of his revue at the time was Jose Norman and his Rumbaleros. Jose was often credited with being the man 'who introduced the Rumba to England'.

In May 1952, at age 62, Debroy Somers died from a Cerebral hemorrhage, at St. George's Hospital Knightsbridge. The world had lost a brilliant musical talent, - a giant in the Jazz, Swing, and Big Bands eras.

During the 1950s, this band, with one trumpet, three saxes and rhythm, is known to have played London's 400 Club. Dave Lindup, who played tenor sax, also did the arrangements. The band was resident for 14 years at the club. Another of the band members at that time was alto-saxophonist Harry Varley who later told an interviewer (famed trumpeter Ron Simmonds) :

       "For fourteeen years prior to my present occupation, I was with the Maurice Smart Band at the
       400 Club. We had one trumpet, three saxes and rhythm, and it was a very comfortable job.
       Too comfortable, -I couldn't tear myself away."

In private correspondence, 'Maurice Smart's grandson, Mr. Martin Frohlick, has recalled that
"Maurice Smart played piano accordion with 'Al Collins And His Band' on recordings between 1944-'45.   ( Al Collins dir: probably Norman Payne-t/ Mickey Lewis - Jock Scott-as/ George Pallat-ts /Abe Walters-p/ Maurice Smart-pac/ Alfie Crask-sb/ Ginger Conn-d" )

Maurice Smart died in St.James' Hospital, Balham, and was resident at 102 Balham Park Road in Wandsworth at the time of his death, at just age 56.
The BigBands Database Plus thanks Mr. Martin Frohlick for his contributions to this entry on his famous grandfather.

      [ Kathy Stobart Band ]
b.April 1, 1936, South Shields, Co. Durham (Tynside), England, UK.
Certainly one of the most respected figures in the history of British Jazz. At age 12, Kathy Stobart, began playing saxophone, and at the impressively young age of 14, joined Don Rico's Ladies' Swing Band. Her fluid saxophone technique and outgoing personality brought invitations to join the front-line sections of such bands as those of Eric Robinson, Vic Lewis, Geraldo, Lou Preager and Ted Heath.

An intuitive soloist, she also worked with such 'all-girl' bands as those led by Gracie Cole, and Blanche Coleman. An inspirational leader, she also formed her own smaller groups.

For 19 years, Kathy Stobart has been a popular teacher (at the City Literary Institute), and a shining example to a whole new generation of young players. In 1959, Stobart began a happy association with Humphrey Lyttelton's band, which continues to this day, and this first lady of jazz can still be found playing gigs and recording with Lyttelton.

Kathy Stobart celebrated her 78 birthday on 1st April, 2006

      [ Wally Stott Band ]
b. March 10, 1924, Leeds, Yorkshire, England, UK
né: Walter Stott.
aka: Angela Morley. (after a 1972 sex change operation)
In the 1940s,with the advent of World War II, British bands started to lose musicians to the armed forces Draft, and now, 15 year old Walter, a good sightreader, found himself in demand. By the time he reached 17 years of age, he had played and/or arranged for Billy Smith (at Croydon Palais), Billy Merrin & his Commanders (at the Plaza Ballroom in Derby), Mrs. Wilf Hamer's Band (at the Grafton Rooms in Liverpool), Nat Bookbinder & his Chapters, Reub Sunshine's Band (in Nottingham), and Bram Martin's Band (on the North Pier in Blackpool )

He toured and recorded, playing lead altosax with Oscar Rabin's Band, woth whom he made his very first recordings (for Rex Records (Decca) in London on Sept. 25, 1941). During WWII, he began to study harmony, counterpoint and composition in London with Hungarian composer Matyas Seiber and learned to arrange music, - something he had done solely by ear before. .It was during his two years with Rabin, that he started writing arrangements for pay. (Up to that time, he had been self-taught, and had been contributing his arrangements freely.) In 1944, at age 20, he joined Geraldo's orchestra, Geraldo's repertoire included many arrangements written by both Robert Farnon, ( with Angela on the right side -- photo courtesy Robert Farnon website) and Tommy Dorsey arranger Bill Finegan (William James Finegan, b. 3 April 1917, Newark, NJ, USA. ) and Angela fell under their spell (she still says that she remains greatly indebted to them).

Starting in 1950, he relocated to Hollywood and worked in the film and TV studios (still as Walter Stott), and contributing to well over 40 films and TV shows. In addition to scoring for TV, he (still 'he') worked on many feature films for some composers such as John Williams, Richard Rodney Bennett, John Mandel, Miklos Rosza, David Raksin, Alex North, Bill Conti, William Kraft, André Previn, Sol Kaplan, Pat Williams, David Shire, Lyn Murray, John Morris and Ernest Gold.. 1953 saw him become musical director of the UK branch of Philips Records, where he arranged and conducted for contract artists and occasionally for guests like Rosemary Clooney and Mel Tormé

In the 1970s, "he" was the conductor of the BBC Radio Orchestra. Then, in 1972, Walter Stott underwent sex-change surgery and emerged as "Angela Morley", a name she has since used exclusively. In 1974, she was nominated for Music Scoring Awards (Best Scoring: Original Song Score and/or Adaptation) for 'The Little Prince (w. Alan Jay Lerner, Frederick Loewe & Douglas Gamley). In 1977, she was again nominated for Music Scoring Awards (Best Original Song Score and Its Adaptation or Best Adaptation Score) for: The Slipper And The Rose (w. Richard M. Sherman & Robert B. Sherman)

In 1998, when her work in Hollywood ended, Angela (Photo courtesy Angela Morley website), retired to Scottsdale, Arizona, and has lived there ever since. (currently 2007). In 1998, she founded, in Scottsdale, the Chorale of the Alliance Française of Greater Phoenix.

      [ Saints Jazz Band ]
In private ( July 2007 ) correspondence, Mr. Joe Silmon-Monerri has commented on Manchester's flourishing Jazz scene:

      " .....my reply regarding your query about the personnel and venues involved in
      Manchester's "Saints Jazz Band", "Pete Haslams Collegians"/"Crescent Jazz Band "
      and "Eric Batty's Jazz Aces. The first Band of the three to set up was "The Saints Jazz Band"
      next, "The Jazz Aces" - in various versions - and finally, "Pete Haslam's Collegians/Crescent
      Jazz Band".

       "..........(The Saints Jazz Band) started out in Ashton-under-Lyne as the Storyville Jazz Band,
       in ca. 1948. Founder members of The Saints Jazz Band, included Alan Radcliffe (clt., b. 1929),
      John "Ed" Fish (pno., b. 1927) and Mike McNama (tpt., b. 1929, d. 1996, who left the Storyville
       Jazz Band to form The Saints. This excellent band was established by 1949 in Ashton-under-
       Lyne. By 1950, it was resident for a while at that famous Jazz venue, "The Thatched House", in
      Cross Street, -later that year moving to more lavish and successful premises at the
      Grosvenor Hotel, Lower Deansgate (near Exchange Station, according to Rod Hopton, who
      later played in this band).. Such was the popularity of the band, that the queues frequently
      stretched around the corner of the entrance and along Deansgate"

The following is the founding lineup of 1949:
      Alan Radcliffe (clt)
      John "Ed" Fish (pno) and
      Mike McNama (tpt)
      Ron "Slim" Simpson (tbn)
      Tom Gregory (bass)
      John Mills (drums)
      Jim Lolley (banjo/guitar)

       "The meteoric rise of this early revivalist band -- which didn't play in a Revival (N.O.) style -
      was remarkable. By 1951, the band was appearing at the Royal Festival Hall, London, in
      the presence of H.R.H. Princess Elizabeth, our present Queen, playing alongside great
      British Jazz bands of the day. By the following year, it was recording for Parlophone and was
      earning an excellent reputation locally for its efficiency and punchy, but crystal-clear delivery.
      The band was soon inundated with bookings not only locally but also in many of the provinces.
      The daring entrepreneur Paddy McKiernan, famous later for running the highly successful
      venue, the Bodega Restaurant, on Cross Street, facing the Royal Exchange Buildings, as
      well as other Jazz outposts and major theatre concerts, became the band's manager, and
      there was a Rolls-Royce converted hearse for transport, complete with chauffeur and a road-
      manager, according to Rod Hopton and Reg. Kenworthy. The idea of a Rolls-Royce hearse
      as a band-wagon was later taken up by famous local altoist/bandleader, Johnny Roadhouse --
      another self-made local institution of whom we are equally proud. "

       "A regular in-Town venue for the band was the Manchester Sports Guild (MSG), when it was
      based at the Sportsman Restaurant/public house in Market Street, before the move in 1961
      to newer and bigger -- but less homely looking - premises at Long Millgate, where the Saints
      still appeared fairly regularly, or from time to time, in the 60s. The band had been appearing
      at the MSG at the Sportsman since the mid-50s."

       [ Incidental information about the MSG ]
      "Jack Swinnerton, ex-MSG Jazz Organiser (1962-66) produced serialised articles on this club
      in "Just Jazz" Magazine (which will interest 'Big-Bands Database Plus' visitors).. I hasten to
      add that Jack's splendid work only reflects the above date-span; it is not meant as a history of
      the entire life-span of the MSG, (that) Jack told me in a telephone interview. However, it was
      during term of office (which was voluntary and unpaid), that many London and American stars
      were backed by British bands at the MSG. Jack himself, on behalf of "Jenks " the General
      Sectetary, attended to all the bookings and tour-arrangements. Ruby Braff, Henry "Red "
      Allen and several others graced us with their fantastic talents. Also, several big-bands --
      including two or three led by temporary (18 months) Manchester resident, trumpeter Maynard
      Ferguson, formed, rehearsed and led big-bands at the Guild that consisted of all-local Jazz
      musicians. Alan Hare (ex-Blue-Note Jazzmen) led at least two of his locally famous big-bands
      at the MSG.

       "There were many changes in personnel over the years in the Saints Jazz Band, "Slim" Simpson
      being the first member to leave, at the height of the band's earliest success, in 1952, but was
       replaced on trombone by the brilliant and lively Fred Fydler, who in turn was replaced by Rod
      Hopton ten years later. Bassist Tom Gregory left in 1956, being replaced by an ex-dance band
      pianist who bought and taught himself to play the bass just weeks before Tom left the band.
      This was Reg. Kenworthy, mentioned above -- who is still playing exceedingly well today (2007),
      although over 80, but no longer as part of The Saints. Reg. told me all about it at a Tribute
      evening held for Manchester's excellent pianist Joe Palin on 16 July 2007. Mike McNama gave
      up the trumpet in 1959 and was replaced by Bob Connell, who in turn was replaced by Barry
      Dixon in 1961, then Barry, who was moving to London, was replaced in 1962 by Desmond
      "Dizzy" Burton (ex-"Aces"), who had just turned professional. "Dizzy" remained until 1975, when
      he became severely ill; he died in 1996. "

       "Two outstanding trumpeters, Doug Whaley and Denis Gilmore, took turns in fronting the band
      until 1982 -- when the band was finally wound up. Sadly, John Mills, the drummer, had also died
      in 1960. I remember playing at his benefit when I was in Tony Smith's Jazzmen. It was held at the
      Bodega, at which some twelve top local Jazz bands played. John was replaced by Merton Kaufman
      --a brilliant drummer who had played mainly Modern Jazz with leading modernist groups since
      approximately 1952, including groups at Club 43 at the Clarendon Hotel, Oxford Road, All Saints,
      that included the famous Joe Palin, bassist Trond Svennevig, trombonist Ken Wray and many
      others from the London Jazz scene. When Merton emigrated with his wife Barbara to Canada in
      1963, he was replaced by the effervescent Denis Grundy. Banjoist Jimmy Lolley left in 1961, being
      replaced by the equally efficient Jim Ashe 1963(banjo/guitar)."

       "The lineup remained mostly unchanged until approximately August 1975, at which time, Alan
      Radcliffe left the band and was replaced on clarinet and saxophones by my good friend and
      colleague, Randolph Victor Crichton "Randy" Colville, whose shoes I felt unfit to step into later.
      Doug Whaley was now on trumpet and flugel horn. Around 1975-76, Denis Gilmore was sharing
      the trumpet workload with Doug Whaley. Both men are brilliant technicians and great leaders --
      and are still going strong despite having suffered major medical problems. Denis now lives
      permanently in the United States. I replaced Randy Colville about a year later when he moved
      to Kent as a Musical Tutor (and semi-professional jazzman on the London circuits). "