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An Easter Sermon

Terrence Davin (far left, at the drums) aged 15 or 16, with Rego and his Rhumba Boys in Rawalpindi. The picture was taken in the courtyard of an Anglo-Indian home where they played for a wedding reception.

For the last few weeks, I’ve been exchanging mail with Terrence Davin, a retired pastor from British Columbia, in Canada, who spent his youth making music in north India. He tracked me down after I appeared on a radio programme in Australia. Here, this Easter weekend, is his wonderfully detailed story:

I was a musician in India for a while. I was born in 1928 in a small town named Kundian in the North Western Province of then British India.  My father, an Irishman, worked on the North Western Railway and was stationed there for a while, my mother was an Anglo-Indian.  We eventually moved to Rawalpindi where I attended the Station School for my early education and then the (co-ed) Presentation Convent for standards 5 & 6.  I finally ended up with a private tutor and passed the matriculation exam.

I started playing drums at an early age. One of my English school friends had a mini-set and I got a chance to practice on it and we would play along with the records, old 78s in those days.  Then we formed a three piece band to amuse ourselves and entertain his parents.  I played harmonica, he the drums and my brother converted and old metal bath tub into a bass.  We were about 11 or 12 years old at that time and still in school.

I made some progress with the drums I guess because when the drummer for Rhondo’s band (they played for the Telegraph Club) was ill, Mr. Rhondo asked me to stand in.  I used to go to their dances and sit close to the drummer, a Filipino, and watch him play and occasionally he would let me play for a piece or two.  He was somewhat old-fashioned but very regimented!  I guess that’s how Rhondo knew I could play even though I was just a teenager, still in school.  I began to be called to stand in quite often and what I earned for those one night gigs helped to pay my private tutor.

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The Myrtle Mystery Is Solved

South American Way by Paquita & Zarate by tajmahalfoxtrot1

Myrtle Watkins

Paquita

A few months ago, I wrote here about the singer Myrtle Watkins, who performed at the Taj in Bombay during the winter of 1935. She had made her reputation as a jazz singer in Europe but then, in a transformation I couldn’t quite track in the archives, seems by the late 1930s to have started performing Latin American music under the name Paquita, along with her husband, the Mexican violinist Sam Zarate.

Between November 1941 and December 1942, Paquita and Zarate cut more than a dozen discs in India, backed by the African-American pianist Teddy Weatherford, like the one above,  South American Way.  The confusion about the performer’s identify arose when a discography published in the jazz magazine Storyville said that Paquita was actually the stage name for Myrtle Watkins. But I wasn’t able to find other evidence for this, and the photos I had of Paquita and Watkins (reproduced above) were too indistinct to be able to make a clear identification either way.

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Still in the AIR

All India Radio Signature Tune by tajmahalfoxtrot1

 

Preparing to moderate a conversation earlier this week with the writer-musician Amit Chaudhuri about his new book on Calcutta, I revisited his This Is Not Fusion album — and remembered that he had also recorded a tune called All India Radio.  The source material for Amit’s melody was the All India Radio theme song, composed, as this article noted last fortnight, by a Jewish refugee named Walter Kaufmann.

The music on the This Is Not Fusion album, as Amit explained in his liner notes, aims to move “towards a musical and conceptual meeting point, a space in which not only musicians encounter each other but in which musical lineages intersect and renovate themselves and become altered by this contact”.
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