Briggs and Ouin met during Freshers' week at Oxford; Briggs thought Ouin looked like a member of Teenage Fanclub, a band both of them liked that became a topic of their first conversation. Soon after, the two began playing music together. They advertised for a bass player, and Oli Steadman was the only person to respond to their advert. Oli Steadman's younger brother Rob Steadman later auditioned for the role of drummer.[3]
In November 2009 Stornoway became the first ever unsigned band to appear on Later... with Jools Holland, and performed alongside Sting, Norah Jones, Jay-Z, and Foo Fighters.[20] The attention gained by this appearance led to tens of thousands of views of their homemade YouTube videos, and the band were playlisted on the BBC's national radio stations. In December 2009, Stornoway were announced as entrants onto the longlist of the BBC's Sound of 2010 competition, having been selected by a panel of some 165 UK-based tastemakers.[21] They toured Scotland and Ireland in March 2010 (dubbed the Highlands, Islands and Ireland tour), and signed their record deal in the castle grounds at Lews in Stornoway, after playing in their namesake town for the first time.
Brothers Oli and Jay Enjoy Having a Play Together!
However, their relationship wasn't always sailing. Last June Olivia announced that they had parted ways - at the time she told us at Grazia, 'Because of lockdown, Tristan and I have either been living together, or not seeing each other at all. It was very up and down but I think it made it a lot harder having a relationship in front of all our friends because it was just very intense.'
See, that's gonna work for me because sometimes when I get on an airplane--and I've been doing this for 16 years now--it's a great companion for me--this Switch. What else am I playing? I downloaded Rocket League, although I enjoyed for the PlayStation. Especially since it was a free download. On the Switch, you had to pay for it, but yeah it's okay on the Switch. Another thing, you know what's funky to me about the Switch?
real name: Leon Bix Beiderbecke Born Mar 10, 1903 in Davenport, IA Died Aug 6, 1931 in New York, NY Bix Beiderbecke was one of the greatest jazz musicians of the 1920s. His colorful life, quick rise and fall, and eventual status as a martyr made him a legend even before he died, and he has long stood as proof that not all the innovators in jazz history were black. Possessor of a beautiful, distinctive tone and a strikingly original improvising style, Beiderbecke's only competitor among cornetists in the '20s was Louis Armstrong but (due to their different sounds and styles) one really could not compare them. Beiderbecke was a bit of a child prodigy, picking out tunes on the piano when he was three. While he had conventional training on the piano, he taught himself the cornet. Influenced by the original Dixieland Jazz Band, Beiderbecke craved the freedom of jazz but his straight-laced parents felt he was being frivolous. He was sent to Lake Forest Military Academy in 1921 but, by coincidence, it was located fairly close to Chicago, the center of jazz at the time. Beiderbecke was eventually expelled he missed so many classes. After a brief period at home he became a full-time musician. In 1923, Beiderbecke became the star cornetist of the Wolverines and a year later this spirited group made some classic recordings. In late 1924, Beiderbecke left the Wolverines to join Jean Goldkette's orchestra but his inability to read music resulted in him losing the job. In 1925, he spent time in Chicago and worked on his reading abilities. The following year he spent time with Frankie Trumbauer's orchestra in St. Louis. Although already an alcoholic, 1927 would be Beiderbecke's greatest year. He worked with Jean Goldkette's orchestra (most of their records are unfortunately quite commercial), recorded his piano masterpiece "In a Mist" (one of his four Debussy-inspired originals), cut many classic sides with a small group headed by Trumbauer (including his greatest solos: "Singin' the Blues," "I'm Comin' Virginia," and "Way Down Yonder in New Orleans"), and then signed up with Paul Whiteman's huge and prosperous orchestra. Although revisionist historians would later claim that Whiteman's wide mixture of repertoire (much of it outside of jazz) drove Beiderbecke to drink, he actually enjoyed the prestige of being with the most popular band of the decade. Beiderbecke's favorite personal solo was his written-out part on George Gershwin's "Concerto in F." With Whiteman, Beiderbecke's solos tended to be short moments of magic, sometimes in odd settings; his brilliant chorus on "Sweet Sue" is a perfect example. He was productive throughout 1928, but by the following year his drinking really began to catch up with him. Beiderbecke had a breakdown, made a comeback, and then in September 1929 was reluctantly sent back to Davenport to recover. Unfortunately, Beiderbecke made a few sad records in 1930 before his death at age 28. The bad liquor of the Prohibition era did him in. For the full story, Bix: Man & Legend is a remarkably detailed book. Beiderbecke's recordings (even the obscure ones) are continually in print, for his followers believe that every note he played was special. — Scott Yanow All Music Guide
Ernie Royal : A Les Tomkins interview of 1978 Ernest Andrew Royal Born Feb 6, 1921 in Los Angeles, CA. Died Mar 16, 1983 in New York, NY. A brilliant technician with a beautiful tone and a wide range, Ernie Royal spent most of his career in the anonymous settings of studio bands, uplifting the music but only gaining fame among those in the music industry. The younger brother of altoist Marshall Royal (who was nine years older), the trumpeter picked up early experience playing in Los Angeles with Les Hite's Orchestra (1937-38) and with Cee Pee Johnson (1939). Both of the Royal brothers were with Lionel Hampton's big band (1940-42) and Ernie Royal hit the famous screaming high notes on the original Hampton version of "Flying Home." After a period in the Army (1942-45), he worked in San Francisco with Vernon Alley, in Los Angeles with Phil Moore and then spent much of 1946 with Count Basie's Orchestra. Royal was a member of Woody Herman's Second Herd during 1947-49 and had short stints with Charlie Barnet and Duke Ellington. He played in France with Jacques Helian's Orchestra, worked with Wardell Gray in 1952 and was with Stan Kenton's Orchestra twice (1953 and 1955). After becoming a staff musician at ABC in 1957, Ernie Royal settled into the life of a well-respected studio musician, appearing on a countless number of recordings but rarely soloing. During his career he made few recordings as a leader; just ten titles in Paris in 1950 (six were reissued as part of a Xanadu album) and an LP for Urania in 1954. — Scott Yanow, All Music Guide
Bunny Berigan :"I love music but I hate the music business". Rowland Bernart Berrigan. Born Nov 2, 1908 in Hilbert, WI. Died Jun 2, 1942 in New York, NY. Bunny Berigan, during 1935-1939, was arguably the top trumpeter in jazz (with his main competition being Louis Armstrong and Roy Eldridge). Blessed with a beautiful tone and a wide range (Berigan's low notes could be as memorable as his upper-register shouts), Berigan brought excitement to every session he appeared on. He was not afraid to take chances during his solos and could be a bit reckless, but Berigan's successes and occasional failures were always colorful to hear, at least until he drank it all away. Bunny Berigan played in local bands and then college groups in the Midwest. He tried out for Hal Kemp's orchestra unsuccessfully in 1928 (rejected because of his thin tone, remarkably) but showed tremendous improvement by 1930 when he was hired. After a few recordings and a trip to Europe, Berigan joined Fred Rich's CBS studio band in 1931, where (except for a few months with Paul Whiteman) he would remain up to 1935. Berigan soon gained a strong reputation as a hot jazz soloist and he appeared on quite a few records with studio bands, the Boswell Sisters, and the Dorsey Brothers. In 1935, he spent a few months with Benny Goodman's orchestra, but that was enough to launch the swing era. Berigan had classic solos on Goodman's first two hit records ("King Porter Stomp" and "Sometimes I'm Happy") and was with B.G. as he went on his historic tour out West, climaxing in the near riot at the Palomar Ballroom in Los Angeles. Berigan soon returned to the more lucrative studio scene, making his only film appearance in 1936 with Fred Rich. In 1937, he joined Tommy Dorsey's band and was once again largely responsible for two hits: "Marie" and "Song of India." Berigan's solos on these tunes became so famous that in future years Dorsey had them written out and orchestrated for the full trumpet section. After leaving Dorsey, Bunny Berigan finally put together his own orchestra. He scored early on with his biggest hit, "I Can't Get Started." With Georgie Auld on tenor and Buddy Rich on drums, Berigan had a potentially strong band. Unfortunately, he was already an alcoholic and a reluctant businessman. By 1939, there had been many lost opportunities and the following year Berigan (who was bankrupt) was forced to break up his band. He re-joined Tommy Dorsey for a few months but never stopped drinking and was not happy being a sideman again. Soon Berigan formed a new orchestra, but his health began declining, and on June 2, 1942, he died when he was just 33. What would this brilliant swing trumpeter have done in the bop era? Bunny Berigan's life is definitively profiled in Robert Dupuis' book Elusive Legend of Jazz. — Scott Yanow, All Music Guide
Milton M. Rajonsky. Born Apr 14, 1924 in Great Barrington, MA. Died Nov 7, 1994 in Van Nuys, CA. A fine middle-register trumpeter whose style seemed to practically define "cool jazz," Shorty Rogers was actually more significant for his arranging, both in jazz and in the movie studios. After gaining early experience with Will Bradley and Red Norvo and serving in the military, Rogers rose to fame as a member of Woody Herman's First and Second Herds (1945-1946 and 1947-1949), and somehow he managed to bring some swing to the Stan Kenton Innovations Orchestra (1950-1951), clearly enjoying writing for the stratospheric flights of Maynard Ferguson. After that association ran its course, Rogers settled in Los Angeles where he led his Giants (which ranged from a quintet to a nonet and a big band) on a series of rewarding West Coast jazz-styled recordings and wrote for the studios, helping greatly to bring jazz into the movies; his scores for The Wild One and The Man With the Golden Arm are particularly memorable. After 1962, Rogers stuck almost exclusively to writing for television and films, but in 1982 he began a comeback in jazz. Rogers reorganized and headed the Lighthouse All-Stars and, although his own playing was not quite as strong as previously, he remained a welcome presence both in clubs and recordings. — Scott Yanow, All Music Guide 2ff7e9595c
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