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Keith Nichols
Keith Nichols
Keith Nichols
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Key Information

Keith Nichols (13 February 1945 – 21 January 2021)[1] was an English jazz multi-instrumentalist and arranger, a player of the piano, trombone, reeds, and accordion.

Biography

[edit]

Born in Ilford, Essex, England,[2] Nichols was a child actor and an award-winning accordionist in his youth. He began by playing ragtime tunes, gaining notice in the 1970s in London when forming the band New Sedalia.[2] Nichols also formed the Ragtime Orchestra in the mid-1970s,[2] along with Mo Morris, Richard Warner and Paul Nossiter. Nichols recorded and gigged with Bing Crosby, and Dick Sudhalter[3] during this period. Over time, he moved on to Dixieland jazz, Swing, and orchestral Jazz, including the oeuvres of Paul Whiteman and Duke Ellington.[2]

Nichols was also a frequent sideman for the EMI record label and an arranger for the New York Jazz Repertory Company, Dick Hyman and the Pasadena Roof Orchestra.[2] In 1978, he helped lead the Midnite Follies Orchestra[3] with Alan Cohen. Other artists Nichols worked with include Digby Fairweather, Harry Gold, Richard Pite and Claus Jacobi. He died on 21 January 2021, after contracting COVID-19 during the COVID-19 pandemic in the United Kingdom while being treated for another condition, at The Royal London Hospital.[4]

Discography

[edit]

Paramount Theatre Orchestra (1984) (LP, Stomp Off)

  • Lolly Pops

Dreamland Syncopators

  • Territory Jazz (1987) (LP, Stomp Off)

Julian Vincent and Keith Nichols

  • Morton to Mozart (1989) (CD, Poppy HXP012)

Keith Nichols' Cotton Club Gang and Janice Day with Guy Barker

  • I Like To Do Things For You (1991) (CD, Stomp Off)[3]

Keith Nichols and the Cotton Club Orchestra

  • Syncopated Jamboree (1991) (CD, Stomp Off CD 1242)
  • Henderson Stomp (1993) (CD, Stomp Off CD 1234)[3]
  • Harlem's Arabian Nights (1997) (CD, Stomp Off CD 130)[3]

Keith Nichols' Little Devils

  • The Charmful Little Armful (2003) (PEK)[3]

Keith Nichols and the Blue Devils

  • Kansas City Breakdown (2004) (CD, Stomp Off CD 1387)[3]

Keith Nichols' Earthbound Spirits

  • Harlem Madness (2004) (CD, PKCD-237)[3]

Keith Nichols' Collegians

  • Collegiate Rhythm (2006) (CD, PEK PKCD-299)[3]

Mike Lovell and Keith Nichols

  • Dixieland at the Thornton Little Theatre (2006) (CD, PEK)[3]

Keith Nichols' Jazz Artists and Northern Sinfonia

Thomas "Spats" Langham / Keith Nichols / Richard Pite

  • London Omnibus (2010) (Jazz Repertory Company)

The Nichols-Duffee International Jazz Orchestra

  • One More Time (2013) (CD, Lake)[3]

References

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Keith Nichols

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Keith Nichols was a British jazz multi-instrumentalist, arranger, bandleader, and educator renowned for his deep expertise in vintage jazz, ragtime, stride piano, and early swing styles from the 1920s and 1930s. Born on 13 February 1945 in Ilford, England, he displayed prodigious musical talent from childhood, winning junior accordion championships and teaching himself piano by ear before discovering jazz in his teens. A versatile performer, he excelled on piano (particularly in Fats Waller-inspired stride and ragtime), trombone, accordion, and numerous other instruments, often playing multiple roles within ensembles and earning acclaim for his ability to master instruments as well as or better than dedicated specialists. Nichols began his professional career in the 1960s, joining Mike Daniels' combo and later performing with groups such as the Levity Lancers and the New Paul Whiteman Orchestra, with which he appeared at Carnegie Hall. He co-founded the Midnite Follies Orchestra in 1977, focusing on 1920s and 1930s repertoire, and later led the Blue Devils Orchestra, a highlight at festivals including Swanage for nearly two decades. His work as an arranger extended to recreations of historical performances, including Paul Whiteman's 1924 "Experiment in Modern Music" and Jelly Roll Morton's repertoire, while he also recorded with figures such as Bing Crosby and contributed charts for organizations like the New York Jazz Repertory Company. For over 25 years, Nichols taught at the Royal Academy of Music, where he directed jazz ensembles, mentored young musicians, and specialized in bringing pre-1940s jazz styles to life through historically informed projects and broadcasts. Widely regarded as a leading authority on classic jazz who combined scholarly depth with humor and infectious enthusiasm, he sustained interest in early jazz traditions through performances, recordings, and education until his death on 20 January 2021 in London. His legacy endures as a mentor and performer who kept the spirit of vintage jazz alive across generations.

Early life

Childhood and early talents

Keith Nichols was born on 13 February 1945 in Ilford, Essex, England. His early years in Ilford were marked by parental encouragement to explore performance, leading him to begin a career as a child actor. Nichols demonstrated considerable musical talent from a young age, particularly on the accordion, where he specialized in ragtime tunes during his early performances. In 1958, he achieved a significant milestone by winning the Under 13 Accordion Champion of Great Britain title. His childhood focus on accordion playing and performance laid the foundation for his later musical development, though a preference for piano and trombone emerged over time.

Musical education and early professional steps

Keith Nichols pursued his formal musical education at the Guildhall School of Music in London, where he graduated in 1967. He had already entered professional performance earlier; in 1964, while still a student, he joined Mike Daniels' Delta Jazzmen as trombonist, playing repertoire from early jazz figures such as Bix Beiderbecke, King Oliver, and Louis Armstrong. After graduation, he joined The Levity Lancers, a group specializing in hot jazz and comedy. Within the band, Nichols played piano and trombone as his primary instruments, along with tuba in some contexts, focusing on this multi-instrumental approach rather than the accordion that had distinguished his earlier youth as a junior champion. His work with The Levity Lancers provided further foundation in ensemble playing and performance before later developments.

Musical career

Breakthrough and early bands

Keith Nichols gained notice in the London jazz scene during the 1970s through his work in ragtime and early jazz revivalism, including formation of the New Sedalia band. In the mid-1970s, he assembled the Ragtime Orchestra with Mo Morris, Richard Warner, and Paul Nossiter, a group that emphasized authentic period styles and helped solidify his reputation among revivalist musicians. He performed and recorded with American jazz figures including Bing Crosby and Dick Sudhalter during this period, bridging British revivalism with transatlantic traditions. In 1977, Nichols co-founded the Midnite Follies Orchestra with Alan Cohen, a significant ensemble dedicated to recreating the sound of 1920s and 1930s dance bands. Nichols also contributed as an arranger for prominent groups and individuals including the New York Jazz Repertory Company, Dick Hyman, and the Pasadena Roof Orchestra, roles that demonstrated his growing expertise in orchestration and historical jazz performance practices.

Major ensembles and collaborations

Keith Nichols established himself as a prominent bandleader in the field of vintage jazz revival, leading several ensembles dedicated to the authentic recreation of 1920s and 1930s styles including ragtime, Dixieland, swing, and orchestral jazz in the traditions of Paul Whiteman and Duke Ellington. His long-term leadership of Keith Nichols' Cotton Club Orchestra (also known as the Cotton Club Gang) became one of his most recognized projects, with the group performing period-accurate arrangements at festivals, concerts, and special events across the UK and internationally. In addition to the Cotton Club Orchestra, Nichols led other revivalist groups such as the Little Devils, Blue Devils, Earthbound Spirits, and the Collegians, each emphasizing small-group and big-band formats characteristic of early jazz eras. He also co-founded and directed the Nichols-Duffee International Jazz Orchestra, a larger ensemble focused on orchestral interpretations of classic jazz repertoire. Nichols maintained fruitful collaborations with several notable jazz musicians, including trumpeter Digby Fairweather, with whom he performed and recorded in various configurations, as well as Guy Barker, Thomas "Spats" Langham, and drummer Richard Pite, often in the context of his own ensembles or special projects celebrating pre-swing era music. He also worked with the Northern Sinfonia on select orchestral jazz programs that bridged classical and vintage jazz idioms. As a long-standing faculty member in the jazz program at the Royal Academy of Music, Nichols influenced younger generations through his teaching while continuing to lead ensembles that preserved the sound and spirit of early jazz. His work in these later decades built upon foundations laid in early bands from the 1970s, evolving into sustained leadership of period-specialist groups.

Recordings and performances

Keith Nichols amassed a significant discography centered on authentic recreations of 1920s and 1930s jazz, ragtime, and dance band music, primarily issued on specialist independent labels including Stomp Off, PEK, and Lake. Many of his albums featured him leading period ensembles such as the Cotton Club Orchestra, emphasizing precise historical instrumentation and arrangements. Key recordings include the 1991 album Syncopated Jamboree with the Cotton Club Orchestra on Stomp Off Records, showcasing guest contributions from Claus Jacobi and Bent Persson. This was followed by Henderson Stomp (1993) with the Cotton Club Orchestra and Harlem's Arabian Nights (1997) with the same group, both continuing his focus on Harlem-based and Fletcher Henderson-inspired material. Subsequent releases encompassed The Charmful Little Armful (2003), Kansas City Breakdown (2004), and the orchestral A Tribute to Paul Whiteman (2007) with the Northern Sinfonia. His later work included One More Time (2013) in collaboration with Nichols-Duffee. In live settings, Nichols was celebrated for performances that integrated virtuosic multi-instrumentalism with humor, anecdotal storytelling, and infectious enthusiasm for early jazz traditions, frequently appearing at festivals, concerts, and revival events to bring historical repertoire to life for modern audiences.

Teaching and recognition

Keith Nichols held a long-term position on the jazz faculty at the Royal Academy of Music, where he taught for 25 years and introduced generations of young musicians to early jazz and ragtime styles that many had never encountered. His practical classes emphasized playing period arrangements, helping students appreciate the technical demands and musical depth of the repertoire. Nichols' enthusiasm and humour made him an ideal educator, as he conveyed the sheer pleasure of making music while guiding pupils through vintage styles. Widely regarded as an authority on ragtime and early jazz, Nichols was praised for his expertise and energy in bringing these traditions vividly to life for new audiences. His work as a teacher enthused unprejudiced younger players with a taste for vintage jazz, ensuring many became thoroughly at home with an entire century of the music. Former students and colleagues highlighted his ability to communicate enthusiasm, describing him as a central figure in celebrating jazz from the 1920s and 1930s who introduced young people to early forms with infectious passion. In 2004 Nichols received the BBC Jazz Heritage Award, shared with Richard Pite and Martin Wheatley, in recognition of his contributions to preserving and promoting jazz heritage. His performances and recordings often served as direct material for his teaching, providing authentic examples for students to study and emulate.

Film and television work

Acting roles

Keith Nichols' on-screen acting appearances have been infrequent and supplementary to his primary career as a musician. His most notable acting credit is a small role in the 1989 television movie The Return of Sam McCloud, where he portrayed the Pub Piano Player in a scene that aligned with his musical expertise. This part represented one of the few instances where Nichols appeared before the camera rather than contributing musically behind the scenes. Earlier in his life, Nichols gained some performance experience through childhood acting roles, which served as an introduction to public performance before he focused predominantly on music. However, such early credits were minor and did not lead to a sustained acting career. Overall, Nichols' film and television work as an actor remains limited, with verified credits confined to this single notable appearance in adulthood, underscoring the secondary nature of acting within his professional output.

Composition and music contributions

Keith Nichols' contributions to film and television music were relatively limited compared to his extensive career as a jazz multi-instrumentalist and arranger, focusing primarily on a handful of credited composition and performance roles. He received composer credits for the 2007 short film Petit poucet as well as for seven episodes of the 1988 television series No Frills. Nichols also worked in music department capacities, performing piano in the 1991 film Bix and providing musical arrangements for the 1979 television series Star Treatment. Additionally, his music was featured as uncredited stock music in one episode of the animated television series Futurama in 2011. These credits reflect his occasional involvement in audiovisual projects, where his musical expertise supported specific production needs.

Soundtrack licensing

Keith Nichols' pre-existing music recordings have been licensed for use in the soundtracks of approximately 30 film and television titles. These licenses primarily involve library tracks composed and performed by Nichols, sourced through production music companies such as APM Music, rather than original scores commissioned for specific projects. Notable examples include major motion pictures such as The Prestige (2006), where his composition "Drinkin' Down the Rose & Crown" appears courtesy of APM, Shanghai Noon (2000), featuring a performance by Nichols, Mesrine: Killer Instinct (2008), and Water for Elephants (2011). The ragtime and early jazz style of his recordings has lent itself well to period and historical settings in these productions.

Personal life

Family and residence

Keith Nichols was married to his wife Eve. He lived with her in Redbridge, the London borough encompassing the Ilford area where he had been born in 1945. Their home served as a welcoming place for musical colleagues and friends over the years.

Death and legacy

Final years and passing

Keith Nichols died on 20 January 2021 at the age of 75 in London, England. He passed away at the Royal London Hospital after contracting COVID-19 while undergoing treatment for delayed prostate surgery, leading to fatal complications. Nichols had lived with his wife Eve in Redbridge until his final days, remaining engaged in music through occasional local performances in the years leading up to his illness.

Tributes and influence

Following his death in January 2021, Keith Nichols received heartfelt tributes from the jazz community, which underscored his pivotal role in preserving and promoting early jazz styles in Britain. Digby Fairweather described him as a central figure in the celebration of 1920s–1930s jazz, noting that Nichols' enthusiasm and humor made him uniquely effective at sharing the music with new generations. Richard Pite hailed Nichols as a "supremely gifted musician," emphasizing his extraordinary versatility and mastery across multiple instruments. The Royal Academy of Music acknowledged his contributions as both a performer and educator who inspired students through his deep knowledge of traditional jazz and ragtime. Nichols was widely praised for his infectious humor and boundless enthusiasm, qualities that helped introduce early jazz and ragtime to young audiences during workshops, masterclasses, and performances. His legacy endures as a cornerstone of the British revivalist jazz movement, where he stood out as an authority on ragtime and a remarkable multi-instrumentalist capable of performing convincingly on piano, trumpet, trombone, tuba, and other instruments.

References

  1. https://www.allmusic.com/artist/keith-nichols-mn0000080434
  2. https://londonjazznews.com/2021/01/21/rip-keith-nichols-1945-2021/
  3. https://nationaljazzarchive.org.uk/explore/jazz-in-essex/1277603-keith-nichols
  4. https://syncopatedtimes.com/british-bandleader-keith-nichols-has-died/
  5. https://www.jazzwise.com/news/article/keith-nichols-13-2-1945-20-1-21
  6. https://londonjazznews.com/2021/01/25/keith-nichols-1945-2021-tribute-by-richard-pite/
  7. https://www.ilfordrecorder.co.uk/news/obituaries/21175604.tributes-paid-ilford-jazz-legend-keith-nichols-died-covid/
  8. https://www.pressreader.com/uk/the-daily-telegraph/20210204/282553020921184
  9. https://ukjazznews.com/keith-nichols-1945-2021-tribute-by-richard-pite/
  10. https://www.telegraph.co.uk/obituaries/2021/02/02/keith-nichols-pianist-trombonist-enthused-new-generation-taste/
  11. https://www.allaboutjazz.com/musicians/keith-nichols
  12. https://www.discogs.com/artist/1322885-Keith-Nichols
  13. https://www.discogs.com/release/9457958-Keith-Nichols-Cotton-Club-Orchestra-With-Claus-Jacobi-And-Bent-Persson-Syncopated-Jamboree
  14. https://www.discogs.com/release/9350685-Keith-Nichols-And-The-Cotton-Club-Orchestra-Henderson-Stomp
  15. https://www.discogs.com/release/9668771-Keith-Nichols-And-The-Cotton-Club-Orchestra-Harlems-Arabian-Nights
  16. https://nationaljazzarchive.org.uk/explore/jazz-in-essex/1277603-keith-nichols?
  17. https://www.imdb.com/name/nm0629628/
  18. https://www.imdb.com/title/tt0482571/soundtrack/
  19. https://www.imdb.com/title/tt0184894/soundtrack/
  20. https://www.imdb.com/title/tt1067583/soundtrack/
  21. https://www.imdb.com/title/tt0102753/soundtrack/
  22. https://www.imdb.com/title/tt0357054/soundtrack/
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