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Pat Halcox obituary Pat Halcox obituary
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The career of the jazz trumpeter Pat Halcox, who has died aged 82, was defined by the exceptional length of his musical partnership with the trombonist Chris Barber. Halcox explained the longevity of this relationship in a 2008 interview: "Chris always cared so much about what he was doing, and that's why I stayed with him. I've seen the world, made good friends with wonderful musicians, played for huge crowds in fabulous places. I have to thank Chris for all that."The career of the jazz trumpeter Pat Halcox, who has died aged 82, was defined by the exceptional length of his musical partnership with the trombonist Chris Barber. Halcox explained the longevity of this relationship in a 2008 interview: "Chris always cared so much about what he was doing, and that's why I stayed with him. I've seen the world, made good friends with wonderful musicians, played for huge crowds in fabulous places. I have to thank Chris for all that."
Described by the critic Max Jones as having a playing style that was "high-spirited, crisp and clear", Halcox enjoyed a half-century tenure with Barber's band. It embraced periods of extraordinary success during the heady days of the trad-jazz boom; frequent tours with star US jazzmen; playing visits to Europe, the US and Australia; film assignments and near-insatiable demand for their recordings and concert performances.Described by the critic Max Jones as having a playing style that was "high-spirited, crisp and clear", Halcox enjoyed a half-century tenure with Barber's band. It embraced periods of extraordinary success during the heady days of the trad-jazz boom; frequent tours with star US jazzmen; playing visits to Europe, the US and Australia; film assignments and near-insatiable demand for their recordings and concert performances.
Originally destined to be a research chemist, Halcox, who was born in London, took a trainee laboratory job at Glaxo, in Greenford, and began to study for his exams while pursuing his nascent interest in jazz. He had stumbled on traditional jazz when a record shop counter-hand played him a King Oliver record; he soon fell in with other like-minded enthusiasts. Having started on piano, Halcox transferred his allegiance to the trombone while in the RAF, but when his local friends needed a trumpeter for their amateur band, he changed instruments again, this time permanently. "I thought I'm not going to be left out," he said. "The trumpet wasn't a difficult leap in those early days."Originally destined to be a research chemist, Halcox, who was born in London, took a trainee laboratory job at Glaxo, in Greenford, and began to study for his exams while pursuing his nascent interest in jazz. He had stumbled on traditional jazz when a record shop counter-hand played him a King Oliver record; he soon fell in with other like-minded enthusiasts. Having started on piano, Halcox transferred his allegiance to the trombone while in the RAF, but when his local friends needed a trumpeter for their amateur band, he changed instruments again, this time permanently. "I thought I'm not going to be left out," he said. "The trumpet wasn't a difficult leap in those early days."
Balancing his growing passion for jazz with his day job – he also played football and hockey for Glaxo – proved to be more of a challenge. As he crammed in as many jazz sessions as he could, he began to fall behind in his studies. "I wasn't getting through any exams and before you know where you are, the music becomes the most important thing to you."Balancing his growing passion for jazz with his day job – he also played football and hockey for Glaxo – proved to be more of a challenge. As he crammed in as many jazz sessions as he could, he began to fall behind in his studies. "I wasn't getting through any exams and before you know where you are, the music becomes the most important thing to you."
Halcox began to play more and more, sitting in with an early version of Barber's group without anticipating his professional career in jazz. By 1954, Barber's band had begun to prosper, the advent of the cornettist Ken Colyer proving decisive until he decided the band's members were insufficiently committed to his purist viewpoint. Colyer was voted out of the band and Halcox was voted in. He recalled: "[I thought] I'll give it a go until it wears out, but you soon realise it doesn't."Halcox began to play more and more, sitting in with an early version of Barber's group without anticipating his professional career in jazz. By 1954, Barber's band had begun to prosper, the advent of the cornettist Ken Colyer proving decisive until he decided the band's members were insufficiently committed to his purist viewpoint. Colyer was voted out of the band and Halcox was voted in. He recalled: "[I thought] I'll give it a go until it wears out, but you soon realise it doesn't."
For the next 54 years, Halcox, Barber and the clarinettist Monty Sunshine (whose recording of Petite Fleur propelled the band to even more success) made up a frontline that balanced clear-eyed traditionalism with driving swing. Early on, Halcox had wedded himself to the strict New Orleans style; later, he broadened his tastes as the band widened its repertoire and toured with key players from the heyday of US mainstream jazz. Barber's deep understanding of African-American blues and gospel also brought the group into contact with Muddy Waters (they sat in with the bluesman at his Chicago South Side club) and Sister Rosetta Tharpe. Halcox remembered the UK tour with the ebullient American saxophonist Louis Jordan with pleasure: "Working with Louis Jordan was like being dragged along by wild horses. He went out to enjoy himself and make an impact, which he did."For the next 54 years, Halcox, Barber and the clarinettist Monty Sunshine (whose recording of Petite Fleur propelled the band to even more success) made up a frontline that balanced clear-eyed traditionalism with driving swing. Early on, Halcox had wedded himself to the strict New Orleans style; later, he broadened his tastes as the band widened its repertoire and toured with key players from the heyday of US mainstream jazz. Barber's deep understanding of African-American blues and gospel also brought the group into contact with Muddy Waters (they sat in with the bluesman at his Chicago South Side club) and Sister Rosetta Tharpe. Halcox remembered the UK tour with the ebullient American saxophonist Louis Jordan with pleasure: "Working with Louis Jordan was like being dragged along by wild horses. He went out to enjoy himself and make an impact, which he did."
Known from 1968 as Chris Barber's Jazz and Blues Band, with the excellent blues guitarist John Slaughter as a regular sideman, it had, by 2001, morphed into the Big Chris Barber Band, with added instrumentalists enabling them to play Duke Ellington's 1920s material. While other band members came and went, Halcox stayed on, always playing with luminous elegance, his partnership with Barber at the core of everything they sought to achieve. An excellent short film Momma Don't Allow, co-directed by Tony Richardson and Karel Reisz in 1955, showed the early band in their element, performing to a club full of happy jivers. Other film associations included the soundtrack for the 1959 screen adaptation of John Osborne's Look Back in Anger – Halcox tutored Richard Burton in how to mime the trumpet and dubbed his playing – and a brief appearance in 1962 by Halcox and a small group in The Loneliness of the Long Distance Runner.Known from 1968 as Chris Barber's Jazz and Blues Band, with the excellent blues guitarist John Slaughter as a regular sideman, it had, by 2001, morphed into the Big Chris Barber Band, with added instrumentalists enabling them to play Duke Ellington's 1920s material. While other band members came and went, Halcox stayed on, always playing with luminous elegance, his partnership with Barber at the core of everything they sought to achieve. An excellent short film Momma Don't Allow, co-directed by Tony Richardson and Karel Reisz in 1955, showed the early band in their element, performing to a club full of happy jivers. Other film associations included the soundtrack for the 1959 screen adaptation of John Osborne's Look Back in Anger – Halcox tutored Richard Burton in how to mime the trumpet and dubbed his playing – and a brief appearance in 1962 by Halcox and a small group in The Loneliness of the Long Distance Runner.
As the band began to spend more time touring in Europe – they were especially popular in Germany – the travelling took its toll and at the age of 78 Halcox retired. He continued to play and front occasional bands of friends and sometimes returned to guest with Barber.As the band began to spend more time touring in Europe – they were especially popular in Germany – the travelling took its toll and at the age of 78 Halcox retired. He continued to play and front occasional bands of friends and sometimes returned to guest with Barber.
Halcox was innately modest and always anxious to stress how lucky he had been to enjoy so fruitful a career. He is survived by his wife, Shirley, and their son, Julian.Halcox was innately modest and always anxious to stress how lucky he had been to enjoy so fruitful a career. He is survived by his wife, Shirley, and their son, Julian.
• Patrick John Halcox, jazz trumpeter, born 18 March 1930; died 4 February 2013• Patrick John Halcox, jazz trumpeter, born 18 March 1930; died 4 February 2013
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