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Kathy Stobart obituary Kathy Stobart obituary
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The saxophonist Kathy Stobart, who has died aged 89, was one of the finest jazz soloists of her generation. "Always possessed of a robust tone and forthright style," in the words of the critic Brian Priestley, she was best known for extended periods with the Humphrey Lyttelton band, but was as likely to turn up in touring big bands as she was to play in tightly organised modern jazz combos or freewheeling mainstream groups. Whatever the situation, it was her musicianship and co-operative disposition that carried her through, these qualities also enabling her to develop a successful parallel career as a teacher of the saxophone. Widely admired by her peers and respected by her American counterparts, the saxophonist Kathy Stobart, who has died aged 89, was one of the finest jazz soloists of her generation. "Always possessed of a robust tone and forthright style," in the words of the critic Brian Priestley, she was best known for extended periods with the Humphrey Lyttelton band, but was as likely to turn up in touring big bands as she was to play in tightly organised modern jazz combos or freewheeling mainstream groups. Whatever the situation, it was her musicianship and co-operative disposition that carried her through, these qualities also enabling her to develop a successful parallel career as a teacher of the saxophone.
Daughter of Jessie and Matthew, she was from South Shields, Co Durham, born into a musical family. Both her brothers, Ralph and Billy, were saxophonists and her mother an experienced pianist. This doubtless prompted Kathy to study the piano and to tackle the alto saxophone. As a teenager, she spotted an advertisement calling for a tenor saxophonist/vocalist for Don Rico's Ladies Swing Band. Borrowing her brother's instrument, she survived a month's trial, wearing her "pretty pink dungarees", and toured wartime Britain for a year, supporting entertainers such as the comedian Nat Jackley while singing, dancing and doing impressions, including of the hugely popular Gracie Fields.Daughter of Jessie and Matthew, she was from South Shields, Co Durham, born into a musical family. Both her brothers, Ralph and Billy, were saxophonists and her mother an experienced pianist. This doubtless prompted Kathy to study the piano and to tackle the alto saxophone. As a teenager, she spotted an advertisement calling for a tenor saxophonist/vocalist for Don Rico's Ladies Swing Band. Borrowing her brother's instrument, she survived a month's trial, wearing her "pretty pink dungarees", and toured wartime Britain for a year, supporting entertainers such as the comedian Nat Jackley while singing, dancing and doing impressions, including of the hugely popular Gracie Fields.
With London theatres forced by the blitz to close, Rico's band broke up. Stobart was keen to emphasise that she never again worked in an all-female band. Back in the north-east she joined the Peter Fielding ballroom orchestra at the Oxford Galleries in Newcastle. It was there that her putative interest in jazz began. Stobart confessed that she had no awareness of jazz at all until she met the noted saxophonists Keith Bird and Derek Neville, who were then stationed at a local RAF camp. They bought her "10 jazz records for my 17th birthday", and Bird painstakingly took her through various harmonic exercises and saw to it that she succeeded him when he vacated a quartet job in Ealing in London in late 1942.With London theatres forced by the blitz to close, Rico's band broke up. Stobart was keen to emphasise that she never again worked in an all-female band. Back in the north-east she joined the Peter Fielding ballroom orchestra at the Oxford Galleries in Newcastle. It was there that her putative interest in jazz began. Stobart confessed that she had no awareness of jazz at all until she met the noted saxophonists Keith Bird and Derek Neville, who were then stationed at a local RAF camp. They bought her "10 jazz records for my 17th birthday", and Bird painstakingly took her through various harmonic exercises and saw to it that she succeeded him when he vacated a quartet job in Ealing in London in late 1942.
Doubling up at the Jamboree Club in a band led by the jazz modernist Denis Rose, then a leading advocate of bebop's harmonic innovations, she learned yet more of the ways of jazz. There followed a heady period when she "took jobs everywhere", broadcasting on BBC Jazz Club, playing at the Feldman Club, the first jazz tenants of 100 Oxford Street, and for "bottle parties" in dingy locations, "with bombs falling all around", while deputising with the Lou Preager and Geraldo dance bands.Doubling up at the Jamboree Club in a band led by the jazz modernist Denis Rose, then a leading advocate of bebop's harmonic innovations, she learned yet more of the ways of jazz. There followed a heady period when she "took jobs everywhere", broadcasting on BBC Jazz Club, playing at the Feldman Club, the first jazz tenants of 100 Oxford Street, and for "bottle parties" in dingy locations, "with bombs falling all around", while deputising with the Lou Preager and Geraldo dance bands.
The Canadian pianist Art Thompson led the band at the Embassy Club, then a favourite London haunt for visiting stars such as Bing Crosby and Bob Hope, and Stobart joined him in 1943. She and Thompson were married at the end of the war and worked together, also visiting the US on holiday, where Stobart sat in at Eddie Condon's club in New York. The marriage foundered when Thompson elected to stay on in north America.The Canadian pianist Art Thompson led the band at the Embassy Club, then a favourite London haunt for visiting stars such as Bing Crosby and Bob Hope, and Stobart joined him in 1943. She and Thompson were married at the end of the war and worked together, also visiting the US on holiday, where Stobart sat in at Eddie Condon's club in New York. The marriage foundered when Thompson elected to stay on in north America.
Back in the UK, and intermittently in and out of the Vic Lewis Orchestra, then very prominent with its Stan Kenton-style arrangements, Stobart made her recording debut and toured, staying until 1950 when she formed her own innovative modern group. While it never recorded and Stobart later admitted that its Lennie Tristano-influenced arrangements were hardly likely to make it popular, it was remembered with affection by the saxophonist Pete King (later co-founder of Ronnie Scott's club) and the exceptional trumpeter Bert Courtley, who stayed with it for the year of its existence.Back in the UK, and intermittently in and out of the Vic Lewis Orchestra, then very prominent with its Stan Kenton-style arrangements, Stobart made her recording debut and toured, staying until 1950 when she formed her own innovative modern group. While it never recorded and Stobart later admitted that its Lennie Tristano-influenced arrangements were hardly likely to make it popular, it was remembered with affection by the saxophonist Pete King (later co-founder of Ronnie Scott's club) and the exceptional trumpeter Bert Courtley, who stayed with it for the year of its existence.
Stobart and Courtley married in 1951 and the birth of their three sons curtailed her professional activities. After sitting in at the 100 Club with Lyttelton's band, she was called to replace Jimmy Skidmore in 1957 for several months while he was sidelined by illness, this resulting in a fine album, Kath Meets Humph, with one of the tracks composed by Courtley. Thus began an association with Humph that endured until Stobart retired for good in 2004. Stobart and Courtley married in 1951 and the birth of their three sons curtailed her professional activities, although she worked until the sixth month of each pregnancy. After sitting in at the 100 Club with Lyttelton's band, she was called to replace Jimmy Skidmore in 1957 for several months while he was sidelined by illness, this resulting in a fine album, Kath Meets Humph, with one of the tracks composed by Courtley. Thus began an association with Humph that endured until Stobart retired for good in 2004.
In the interim, she and Courtley co-led modern groups, and Stobart took jobs with leaders including Tony Kinsey and Eddie Thompson, also forming her own bands and working in a splendidly open-minded ensemble in the 1970s led by the ex-Lyttelton trombonist John Picard. Courtley died in 1969 from the effects of alcoholism, and Stobart rejoined Lyttelton permanently, staying until 1978 and recording a number of substantive albums, including collaborations with US stars such as the trumpeter Buck Clayton and the tenorist Buddy Tate. Humph, always unstinting in his praise, once referred to her "huge, booming sound, imbued with total originality and commanding presence".In the interim, she and Courtley co-led modern groups, and Stobart took jobs with leaders including Tony Kinsey and Eddie Thompson, also forming her own bands and working in a splendidly open-minded ensemble in the 1970s led by the ex-Lyttelton trombonist John Picard. Courtley died in 1969 from the effects of alcoholism, and Stobart rejoined Lyttelton permanently, staying until 1978 and recording a number of substantive albums, including collaborations with US stars such as the trumpeter Buck Clayton and the tenorist Buddy Tate. Humph, always unstinting in his praise, once referred to her "huge, booming sound, imbued with total originality and commanding presence".
And so it remained as she added the flute, clarinet and baritone saxophone to her more usual tenor saxophone, back with Lyttelton from 1992. She still took solo engagements and undertook lengthy teaching stints at the City Literary Institute in London and, after moving to Devon, in Exmouth.And so it remained as she added the flute, clarinet and baritone saxophone to her more usual tenor saxophone, back with Lyttelton from 1992. She still took solo engagements and undertook lengthy teaching stints at the City Literary Institute in London and, after moving to Devon, in Exmouth.
Stobart is survived by her sons, David, Peter and Paul.Stobart is survived by her sons, David, Peter and Paul.
• Florence Kathleen Stobart, jazz saxophonist, born 1 April 1925; died 5 July 2014• Florence Kathleen Stobart, jazz saxophonist, born 1 April 1925; died 5 July 2014