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Kenny Graham
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Kenny Graham (born Kenneth Thomas Skingle; 19 July 1924 – 17 February 1997) was a British jazz saxophonist, arranger, composer and essayist, described as "one of Britain's foremost jazz composers and arrangers",[1] and as "a genuine, often overlooked pioneer of the modern jazz movement in Britain".[2]

Life

[edit]

He was born in Ealing, London, and learned to play the banjo as a young child. He then learned the saxophone, with the tenor sax his preferred instrument by the time he became a professional musician at the age of 16. He joined the army in 1942, expecting to join a service band, but was turned down for that role and went absent without leave, dyeing his red hair black and working under the name Tex Kershaw for two years as a member of Johnny Claes's Claepigeons.[2][3]

After the end of the war, he played in many of the leading British dance bands of the era, including those led by Nat Temple, Nat Gonella, Ambrose, Leslie "Jiver" Hutchinson and Eric Winstone, as well as in Victor Feldman's Sextet, before forming Kenny Graham's Afro-Cubists in April 1950. The band sought to develop "an amalgam of bebop, African and Cuban rhythms and super-modern harmonies".[4] Although "artistically successful"[3] and acclaimed for its innovative style, the band did not gain a large enough audience and the original band folded in March 1952 when trumpeter Jo Hunter and drummer Dicky DeVere left. However, a new band of Afro-Cubists performed at the opening night of the Flamingo Club in Soho in August 1952.[5] Graham also played baritone sax in Jack Parnell's band, and tenor with other bands, occasionally reconvening the Afro-Cubists for recordings and performances.[1][2] The Afro-Cubists recorded two EPs in 1954, Afro-Cadabra and Excerpts from Caribbean Suite, with a band including saxophonist Eddie Mordue and drummer Phil Seamen.[6]

From 1955, Graham became more active as a writer and arranger than as a performer. In 1956, inspired by the work of American musician Moondog, he recorded an album, Moondog And Suncat Suites, credited to Kenny Graham And His Satellites, which included treatments of some of Moondog's compositions as well as Graham's own.[7] The following year he recorded an album, Presenting Kenny Graham, for the Pye Nixa label, featuring Seamen and pianist Stan Tracey, and engineered by Joe Meek.[6]

Following a serious illness in 1958, Graham gave up performing completely. He wrote for several bands including that of Ted Heath, composing the Beaulieu Festival Suite recorded by Heath in 1959, and also worked as an arranger at recording sessions.[3] Inspired by the music of Duke Ellington, he was commissioned to write a series of compositions for Ellington's musicians in 1960, which were recorded by a band that included Harry Carney, Paul Gonsalves, Ray Nance and Sam Woodyard.[2] He also directed recording sessions by blues musicians including Big Bill Broonzy and Josh White,[8] and worked extensively as a writer and arranger with Humphrey Lyttelton, composing the piece "One Day I Met an African" which Lyttelton recorded several times. In 1980, Graham wrote further pieces for Lyttelton's band, including "Adagio For David" and "Ladyless and Lachrymose". He also wrote for films such as The Small World of Sammy Lee (1963), Night Train to Paris (1964) and Where the Bullets Fly (1966), and an orchestral suite, "The Labours of Heracles", for BBC Radio.[3]

He wrote occasional and acerbic essays on music for various magazines.[8] He was dismissive of much modern popular music, including rock and roll. It was said of him that "he was completely dedicated to his strong belief in how jazz should sound",[2] and was described as "a man of uncompromised integrity in both his musical and personal life [who] hated insincerity and crassness",[3] and who had a "mercurial temperament".[1]

He experimented with electronic keyboards, and became an expert in electronics. He worked as a London Underground ticket machine maintenance engineer, and also became a skilled maker of clocks and watches. In later life he worked as a caretaker of an apartment block in Putney, and became something of a recluse.[3]

He died in London in 1997, aged 72.[3]

References

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Kenny Graham

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Kenny Graham is a British jazz saxophonist, composer, arranger, and bandleader known for his pioneering fusion of bebop with Afro-Cuban and African rhythms in the 1950s and his subsequent work as a composer and arranger for leading British jazz figures. Born Kenneth Thomas Skingle on 19 July 1924 in London, England, Graham started his musical journey early, learning banjo from his father and progressing to saxophone, turning professional in 1940. He gained experience in the British dance band scene, performing with prominent leaders including Nat Gonella, Ambrose, Eric Winstone, and Jack Parnell after World War II, as well as in small jazz ensembles with musicians like Victor Feldman. In 1950, he formed Kenny Graham's Afro-Cubists, an innovative ensemble that integrated West Indian and African percussion with modern jazz harmonies, drawing from London's Caribbean community and visiting African musicians. Though commercially challenging, the group was artistically significant as an early British experiment in world-jazz fusion and occasionally reformed in later years. He also led Kenny Graham and His Satellites, producing the notable recording Moondog and Suncat Suites. A serious illness in 1958 curtailed his saxophone playing, leading him to concentrate on composition and arranging. He created significant works for the Ted Heath Orchestra, including the acclaimed Beaulieu Festival Suite, and contributed pieces to Humphrey Lyttelton such as "One Day I Met an African," "Adagio For David," and "Ladyless and Lachrymose." Graham also composed for films, wrote a BBC-commissioned orchestral suite The Labours of Heracles, and directed sessions for blues artists including Big Bill Broonzy and Josh White. Renowned for his uncompromising integrity, acerbic essays critiquing musical trends, and deep admiration for Duke Ellington, Graham lived reclusively in later years in Putney, London, working as a caretaker, electronics expert, and amateur clockmaker until his death on 17 February 1997.

Early Life

Childhood and Musical Beginnings

Kenneth Thomas Skingle, professionally known as Kenny Graham, was born on 19 July 1924 in London. His father, a keen amateur musician, began teaching him the banjo at age five or six, providing his earliest musical instruction. Graham later recalled that he could read music before he could read letters. He transitioned to the saxophone at age 12, starting with the C-Melody saxophone, then moved to the alto saxophone at age 15. By the time he entered the professional ranks, he had settled on the tenor saxophone as his primary instrument, though his first engagements were on alto. At age 16, around 1940, Graham secured his first professional job playing alto saxophone, marking his entry into the world of dance-band music.

World War II and Early Career

Military Service and Post-War Dance Bands

Kenny Graham volunteered for the Army in 1942, hoping to be enrolled in a service band, but the Army had other ideas. Determined to continue his musical pursuits, he dyed his flaming red hair black, went absent without leave, and assumed the alias Tax Kershaw, performing with trumpeter Johnny Claes's band, the Claepigeons. He was eventually cornered and served out the remainder of his military commitment, being demobilised after four miserable years. After demobilisation, Graham resumed his career as a dance-band musician, working as a sideman in several leading British orchestras during the late 1940s. The name bands he performed with included those led by Nat Temple, Nat Gonella, Ambrose, Leslie "Jiver" Hutchinson, Eric Winstone, and Jack Parnell. He played tenor and baritone saxophone in these ensembles, contributing to the vibrant post-war British dance band scene before transitioning to form his own group in April 1952.

The Afro-Cubists

Formation and Work with Kenny Graham's Afro-Cubists

Kenny Graham formed his Afro-Cubists in the early 1950s, with sources varying between 1950 and April 1952 for the band's inception. The group pioneered a fusion of bebop with African and Cuban rhythms combined with super-modern harmonies, creating an eclectic style that blended elements of emerging world music influences with jazz in a manner years ahead of its time. The original lineup featured inventive trumpeter Jo Hunter and dazzlingly fast drummer Dickie DeVere, whose contributions helped define the band's rhythmic and harmonic experimentation. Later configurations included saxophonist Eddie Mordue and drummer Phil Seamen among the personnel. The Afro-Cubists recorded material that appeared on releases such as the 1954 EPs Afro-Cadabra and Excerpts from Caribbean Suite, capturing their innovative sound. Though widely regarded as one of the most artistically successful British jazz groups of the era, the band proved a financial disaster and disbanded in 1952 for its original lineup. Occasional reconvenes took place, including a performance of intellectual Latin bebop at the opening of the Flamingo Club in August 1952.

Composing and Arranging

Shift to Composition, Arrangements, and Key Commissions

In the mid-1950s, Kenny Graham increasingly shifted his focus from bandleading and performance to composition and arranging, following the dissolution of his Afro-Cubists ensemble. His output as a writer grew markedly from 1955, yielding distinctive works such as the album Moondog And Suncat Suites (recorded 1956, released 1957) and Presenting Kenny Graham (1957), which showcased his evolving compositional voice influenced by earlier rhythmic experiments. A serious illness in 1958 compelled him to abandon regular saxophone playing and public performance, after which composition and arranging became his principal occupation. Graham's post-1958 work included outstanding arrangements for the Ted Heath Orchestra, notably the Beaulieu Festival Suite (recorded 1959), regarded as a masterpiece of British jazz writing with atmospheric passages unmatched by contemporaries. In 1960 he was awarded a distinctive commission to compose specifically for musicians from Duke Ellington's orchestra, with the pieces recorded by baritonist Harry Carney, tenor saxophonist Paul Gonsalves, trumpeter Ray Nance, and drummer Sam Woodyard. He developed a fruitful long-term collaboration with Humphrey Lyttelton, contributing some of his finest material to Lyttelton's octet and later bands; key works include "One Day I Met an African" (first recorded 1959 and revived in a rearranged version in 1980) alongside the 1980 ballads "Adagio For David" (for clarinettist John Barnes) and "Ladyless and Lachrymose" (for trombonist Roy Williams). Among his other notable efforts were the orchestral suite The Labours of Heracles, commissioned by the BBC for radio broadcast but performed only once, and his role as musical director for recording sessions with blues artists Big Bill Broonzy and Josh White.

Film and Television Work

Original Film Scores and Media Contributions

Kenny Graham composed original scores for several British feature films and short subjects during the 1960s, following his transition from jazz performance to more studio-based work. His contributions to cinema often featured jazz idioms blended with exotic percussion and atmospheric textures, reflecting his earlier Afro-Cuban influences. One of his most notable achievements was the original jazz score for the 1963 crime drama The Small World of Sammy Lee, directed by Ken Hughes and starring Anthony Newley, which evoked the gritty underworld of Soho through moody, percussion-driven cues with elements of flute, marimba, and tenor saxophone. The soundtrack remained unreleased until Trunk Records issued it in 2014 after the master tapes were discovered in his daughter's possession. Graham also provided original music for the thrillers Night Train to Paris (1964) and Where the Bullets Fly (1966), as well as the musical comedy The Cuckoo Patrol (1967). In addition to features, he scored several short films, including Scene Nun, Take One (1964), Carousella (1966), Saharan Venture (1965), Timber Move (1965), and Frontiers of Power (1967). He contributed an uncredited theme to the television program On the Braden Beat (1965) and background music for The Cuckoo Patrol (1967). Graham further created library music for the KPM Music Library, which enjoyed posthumous reuse in animation. His cues appeared in the 1967–1970 Spider-Man animated series and later in programs such as Ren & Stimpy, SpongeBob SquarePants, and The Patrick Star Show, with tracks including "Panic Patrol", "The Hurry Up", and "Spooky" licensed for episodes.

Later Years

Health Issues, Retirement, and Other Pursuits

In 1958, Kenny Graham suffered a serious illness that forced him to abandon saxophone performance professionally. He subsequently developed expertise in electronics and undertook maintenance work on ticket machines for the London Underground. Graham was also a skilled maker and repairer of clocks and watches. By 1979, he had become caretaker of an apartment block in Putney and grew increasingly reclusive. Graham maintained a long friendship with Humphrey Lyttelton that prompted occasional late compositions, including rare contributions in the 1980s. He was known for his uncompromising integrity, hatred of insincerity, acerbic essays, and irreverent humor, frequently expressed through amusing postcards to friends. Graham was married and had two sons and one daughter.

Death and Legacy

Death and Posthumous Recognition

Kenny Graham died on 17 February 1997 in London at the age of 72. He chose a lonely death for himself and was listening to jazz compact discs at the time of his passing. In his obituary, Graham was remembered as a man of uncompromised integrity in both his musical and personal life, who hated insincerity and crassness. He was widely regarded as the most original and effective of British jazz composers, with a strong and lifelong influence from Duke Ellington yet a distinctive and original voice of his own. His work with Kenny Graham's Afro-Cubists was described as eclectic and years ahead of its time, blending bebop with West Indian and African rhythms in a fusion that anticipated later world music developments. Though the group was artistically successful and considered one of the most accomplished British jazz ensembles of its era, it disbanded after two years due to financial difficulties. Posthumously, Graham has been recognized as an overlooked pioneer of modern jazz in Britain, whose refusal of commercial compromise underscored his commitment to artistic integrity. As early as 1953, critic Steve Race described him as "the nearest thing we have to a real composer" in jazz, a view echoed in later assessments of his contributions.
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