Judith Aileen Dyble is a British singer-songwriter, most notable for being a vocalist and a founding member of Fairport Convention and Trader Horne. In addition and Ian McDonald joined and recorded several tracks with Giles and Fripp, who became King Crimson; these tracks surfaced on the Brondesbury Tapes CD and Metaphormosis vinyl LP. Dyble was born at Central London, her first band was The Folkmen. They made homemade demo recordings, none of which were released, but some are included on a mooted anthology of Dyble's career, she became the original vocalist with Fairport Convention from 1967 to 1968. Ashley'Tyger' Hutchings asked her to sing and play with himself, Richard Thompson, Simon Nicol in November 1966 in some of the various band incarnations, they were all part of jug-bands and anything that needed a female vocal because of their reluctance to sing. This became the nucleus of Fairport Convention with Shaun Frater as a drummer and Martin Lamble; the group recorded their first album with her, their repertoire at the time consisting of both American singer-songwriter works, plus originals.
The first single was a cover of a 1930s American song, "If I Had a Ribbon Bow." The band covered and re-worked numerous American recordings with the band members choosing some tracks to work with from manager Joe Boyd's record collection. The band picked up on the works of Joni Mitchell before she was known in the UK, covered two of her songs on the first Fairport album, self-titled. Fairport's early live shows in London in the late 1960s saw Dyble share stages with names like Jimi Hendrix, Syd Barrett-era Pink Floyd. Famously, she sat on the front of the stage at the Speakeasy Club knitting, while Hendrix and Richard Thompson jammed. Dyble guested on The Incredible String Band's 1968 album The Hangman's Beautiful Daughter, on G. F. Fitz-Gerald's 1970 album Mouseproof. After her stint with Fairport Convention, Dyble joined the English pop band Giles and Fripp by famously advertising in Melody Maker. Dyble contributed to demo recordings for the group, but left after her relationship with McDonald ended.
Giles and Fripp - retaining McDonald - would evolve into the foundation progressive rock band King Crimson. Dyble would go on to become one half of the duo Trader Horne, with ex-Them member Jackie McAuley. Pete Sears was the third member of the band, but flew to the United States before recording began; the group took its name from John Peel's nanny Florence, called "Trader" Horne—a reference to explorer Trader Horn. The duo signed to Dawn releasing one album, Morning Way in 1969, two prized, collectible vinyl singles. Dyble wrote the title track, "Morning Way," and co-wrote "Velvet to Atone" with Martin Quittenton for the album; the pairing shared stages with acts such as Humble Pie and Genesis. The duo split a few days before they should have headlined the now legendary Hollywood festival in Newcastle Under Lyme that saw Mungo Jerry first come to public attention. In 2008, Trader Horne was featured in Kingsley Abbott's book, 500 Lost Gems Of The 60's: to coincide with this, Stuart Maconie did a one-hour biopic radio special on Dyble's career on BBC6 programme the Freak Zone, as well as a significant piece in Record Collector.
In 1973, Dyble left the music business to work with DJ and scenester Simon Stable. On, Dyble worked as a librarian. At the 1981 Fairport Convention Annual Reunion, Dyble appeared on stage as a surprise guest: backed by Fairport's Full House lineup, she sang Joni Mitchell's "Both Sides, Now" and the Everly Brothers' "When Will I Be Loved", she appeared as a guest in 1982, 1997, 2002 and 2007. Following Stable's death in 1994, 2003 Dyble began performing again. For a long time, the only Dyble recordings available in the retail trade was the first Fairport Convention album, but Morning Way was reissued on CD in November 2000, she released the first of several new works - Enchanted Garden - in 2004, followed by Spindle and The Whorl in 2006; the last two albums received only limited releases with little if any distribution. Occasional live appearances saw her appear at Cropredy in 2007. Dyble released a single on 3 March 2008 with northern indie/folk band The Conspirators through independent label Transcend Media Group.
It was a double A-side featuring Dyble's vocals on a remake of Fairport Convention's song "One Sure Thing" and The Conspirators song "Take Me To Your Leader". It reached No.7 in the official UK Indie Singles Chart, spending 3 weeks in the top 10. The promotion for this single saw Dyble make a couple of rare live appearances, at the Harrogate International Conference Centre, at an in-store live gig at HMV's superstore in Leeds city centre on 3 March 2008, her next album, Talking with Strangers, was recorded throughout 2008 with Tim Bowness and Alistair Murphy co-writing and producing. Collaborators include Robert Fripp, Simon Nicol, Pat Mastelotto, Ian McDonald, Julianne Regan, Celia Humphris, Jacqui McShee, Laurie A'Court and Mark Fletcher. During work on the album, she played a rare outdoor show
Ashley Stephen Hutchings, MBE is an English bassist, songwriter, band leader and record producer. He was a founding member of three of the most noteworthy English folk-rock bands in the history of the genre: Fairport Convention, Steeleye Span and The Albion Band. Hutchings has overseen numerous other projects, including records and live theatre, has collaborated on film and television projects. Hutchings was born in Southgate, but moved to Muswell Hill while still a child; as a teenager he became involved in the skiffle and blues movements and formed several groups, including'Dr K's Blues Band' in 1964. He met guitarist Simon Nicol in 1966 when they both played in the'Ethnic Shuffle Orchestra', they rehearsed on the floor above Nicol's father's medical practice in a house called "Fairport" and lent its name to the group they formed together as Fairport Convention in 1967 with Richard Thompson, which soon included Martin Lamble, Judy Dyble and Iain Matthews. Hutchings played on the band's first four albums.
The first three, Fairport Convention, What We Did on Our Holidays and Unhalfbricking consisted of American singer/songwriter material and original songs in a similar style. Hutchings' restrained but powerful bass style is one of the characteristics of the band in this period; the focus of the band changed with the introduction of Dave Swarbrick into the line up, who brought a virtuosity on the fiddle and a wealth of traditional tunes. This prompted Hutchings to carry out research in the English Folk Dance & Song Society Library at Cecil Sharp House which resulted in the pioneering classic Liege and Lief, seen by many as the foundation of British folk rock. Hutchings was, however unhappy with the direction of the band, as most members wanted to return to their older format; as a result, in 1969 he left to focus on more traditional projects. Hutchings' new band Steeleye Span was formed by putting together two established folk duos Tim Hart and Maddy Prior with Terry and Gay Woods; the Woodses departed the band shortly after the release of their debut album, Hark!
The Village were replaced by singer/guitarist Martin Carthy and fiddler Peter Knight. The resulting line-up toured small concert venues, recorded two regarded albums Please to See the King and Ten Man Mop, or Mr. Reservoir Butler Rides Again, both providing electric versions of traditional songs; the bringing in of manager Jo Lustig who pushed for a more commercial sound was what prompted the more traditionally minded Carthy and Hutchings to leave the band, which continued with changes of line-up and achieved considerable mainstream success. By this point the active Hutchings had other projects underway, he had gathered together the first incarnation of what has been the major outlet for his work, the Albion Country Band, to provide backing for his wife Shirley Collins on her solo collection, No Roses. Some of these personnel co-operated with him for the album Morris On, an affectionate electric tribute to Morris Dancing and others joined him in his next project the Etchingham Steam Band from 1974–6.
When this dissolved without releasing a record he returned to the Albion Band in 1976, with many bewildering line-up changes, continued to record and tour until 2002. Outside of the Albion Band, Hutchings has been a frequent guest on the albums of a wide variety of folk artists, he has continued to pursue a diversity of projects, some alone and some with groupings of more or less stability and continuity. The Morris on project has spawned several sequels across his career: Son of Morris On, Grandson of Morris On and Great Grandson of Morris On. There have been several other dance projects including, with John Kirkpatrick and other artists, The Compleat Dancing Master, Rattlebone & Ploughjack and Kickin' Up the Sawdust. In 1984, Hutchings wrote and toured with a one-man show about folk song collector Cecil Sharp, which resulted in the album An Hour with Cecil Sharp and Ashley Hutchings. From this point he combined writing and narration with his music, as in By Gloucester Docks I Sat Down and Wept: A Love Story, produced as a live show and album in 1990.
He produced an album of spoken-word material as A Word in Your Ear another themed album combining music and narration with Judy Dunlop, as Sway with Me. In the late 1980s he toured with the Ashley Hutchings All Stars, leading to a live album, As You Like It. With Phil Beer and Chris While he provided the sound track for the TV series The Ridge Riders which resulted in an album "Ridgeriders: Songs of the Southern English Landscape", a short tour and another live album Ridgeriders in Concert. In the 1990s he returned to his own musical roots of skiffle and rock and roll and recording with the Ashley Hutchings Big Beat Combo, which resulted in the album Twangin' and a Traddin', he returned to his interest in dance, in addition to continuing the Morris on project, he formed the Ashley Hutchings Dance Band to produce A Batter Pudding for John Keats. Other projects include with Malcolm Rowe, the eclectic Folk Your Way to Fitness, Street Cries, Human Nature. After the suspension of the Albion Band as a full time group in 2002 Hutchings put together another small group of up and coming folk musicians under the title Rainbow Chasers resulting in three albums, Some Colours Fly, A Brilliant Light and Fortune Never Sleeps.
In 2008 he formed The Lark Rise Band to perform and record music from his most successful show, resulting in the album, Lark Rise Revisited
David Cyril Eric Swarbrick was an English folk musician and singer-songwriter. He has been described by Ashley Hutchings as "the most influential fiddle player bar none" and his style has been copied or developed by every British and many world folk violin players who have followed him, he was one of the most regarded musicians produced by the second British folk revival, contributing to some of the most important groups and projects of the 1960s, he became a much sought-after session musician, which led him throughout his career to work with many of the major figures in folk and folk rock music. A member of Fairport Convention from 1969, he is credited with assisting them to produce their seminal album Liege & Lief which initiated the British folk rock movement. This, his subsequent career, helped create greater interest in British traditional music and was influential within mainstream rock. After 1970 he emerged as Fairport Convention's leading figure and guided the band through a series of important albums until its disbandment in 1979.
He played in a series of smaller, acoustic units and engaged in solo projects. He maintained a massive output of recordings and a significant profile and made a major contribution to the interpretation of traditional British music. Born in 1941 in New Malden, now in Greater London, his family moved to Linton, near Grassington, North Yorkshire, where he learned to play the violin. In the late 1940s the family moved to Birmingham, where he attended Birmingham College of Art in the late 1950s, with the intention of becoming a printer. After winning a talent contest with his skiffle band playing guitar, he was introduced to Beryl and Roger Marriott, influential local folk musicians; the Marriotts took him under their wing and Beryl discovering that he had played the violin classically up until the skiffle craze encouraged him to switch back to the fiddle and he joined the Beryl Marriott Ceilidh Band. He joined the Ian Campbell Folk Group in 1960 and embarked on his recording career, playing on one single, three EPs and seven albums with the group over the next few years.
He contributed to the BBC Radio Ballads series on recordings with the three most important figures in the British folk movement of the time A. L. Lloyd, Ewan MacColl, MacColl's wife Peggy Seeger, as well as part of several collections to which the Ian Campbell Group contributed. From 1965 he began supporting him on his eponymous first album; the association was such a success that Second Album, gave them equal billing. They produced another four regarded recordings between 1967 and 1968, including Byker Hill, whose innovative arrangements of traditional songs made it one of the most influential folk albums of the decade. Swarbrick played on albums by Julie Felix, A. L. Lloyd and on the radio ballads, became the most regarded interpreter of traditional material on the violin and one of the most sought-after session musicians. In 1967, Swarbrick released his first solo album Rags and Airs, with guests Martin Carthy and Diz Disley, which has since become a benchmark for generations of folk fiddlers.
It was as a session musician that Swarbrick was called in by Joe Boyd, the manager of rising folk rock group Fairport Convention, in 1969, to undertake some overdubs on the Richard Thompson-penned track "Cajun Woman". Fairport had decided to play a traditional song "A Sailor's Life", which Swarbrick had recorded with Carthy in 1969, he was asked to contribute violin to the session; the result was an eleven-minute mini-epic that appeared on the 1969 album Unhalfbricking and which marked out a new direction for the band. Subsequently, Swarbrick was asked to join the group and was the first fiddler on the folk scene to electrify the violin. Martin Carthy recalled that Swarbrick had been indecisive about joining, telling Carthy: "I just played with this guy Richard and I want to play with him for the rest of my life." Together, now with Swarbrick co-writing with Richard Thompson "Crazy Man Michael", they created the groundbreaking album Liege & Lief. His energetic and unique fiddle style was essential to the new sound and direction of the band, most marked on the medley of four jigs and reels that Swarbrick arranged for the album and which were to become an essential part of every subsequent Fairport performance.
Before the album was released, key members of the band, founder Ashley Hutchings and singer and songwriter Sandy Denny left, Swarbrick stayed on with the band full-time, excited by the possibilities of performing traditional music in a rock context. His greater maturity, knowledge of folk song and personality meant that he soon emerged as the leading force in the band and continued to be so for the next decade, encouraging the band to bring in Dave Pegg, another graduate of the Ian Campbell Folk Group, on bass. However, Swarbrick was beginning to suffer the hearing problems that would dog the rest of his career; the first album of this new line-up, Full House, although not as commercially successful as Liege & Lief, sold well, remains regarded. Like Liege & Lief it contained interpretations of traditional tunes, including the epic "Sir Patrick Spens" and another instrumental arranged by Swarbrick, "Dirty Linen", but contained songs jointly penned by Swarbrick and guitarist Richard Thompson, including what would become their opening live song "Walk Awhile", the nine-minute long anti-war anthem "Sloth".
The partnership produced another three songs on Full House. However, the fruitful
Dan Ar Braz
Dan Ar Braz is a Breton guitarist-singer-composer and the founder of L'Héritage des Celtes, a 50-piece Pan-Celt band. Leading guitarist in Celtic music, Dan Ar Braz has recorded as a soloist and with innovative Celtic harp player Alan Stivell, he represented France in the Eurovision Song Contest 1996. At the age of 13, Daniel Le Bras obtained his first guitar after teaching himself how to play, inspired by guitarists like Hank Marvin, Bert Jansch, Pretty Things. Daniel's father insisted. At the age of 17, he performed locally in Bal-musette, interpreting folk-rock songs by Donovan, Van Morrison, Rory Gallagher. In 1967, Dan met Breton singer Alan Stivell who invited him to join his group. Alan Stivell and his musicians embraced Breton and Irish music, were later joined by Gabriel Yacoub to form Malicorne. Alan's father had made a reconstruction of the ancient Breton harp in 1953, Alan learned to play the harp and Irish flute. Stivell opened Dan's eyes to the possibilities of its proximity with rock.
Stivell rebranded Daniel Le Bras as "Dan Ar Bras" to show that he belonged to Breton culture rather than French culture. In 1971, with "Pop Plinn", "for the first time rock music was put in service for a traditional Breton dance song." His electric guitar made the "essential element of Stivell's sound for more than a decade" and made contributions to nine of Stivell's albums, including the influential "Renaissance of the Celtic Harp" and "Olympia Concert" in 1972. After a successful tour in France in 1972–73, Breton Music was undergoing a revival and they traveled around Europe, North America, Australia. At the same time in 1972, Dan Ar Bras formed. Compared to Stivell's group, this was the middle-of-the-road and it broke-up shortly after recording one album, released in 1973. In 1976, Braz joined the band Fairport Convention, he changed his name to Dan Ar Braz, for about a year he toured with Fairport but did not record any studio albums with them. This experience was allowing him to cot for long-term Anglophone musicians and to make the cover of Melody Maker.
Homesick for Brittany, Dan releases in 1977 an instrumental progressive folk album, "Douar Nevez". In three years, he record three Celtic music solo-albums. By this time, he was making sales in the United States. Braz released a collegian album of Irish jigs and reels in 1979, entitled Irish Reels, Jigs and Airs with a band featuring Davey Graham, Dave Evans, Duck Baker, it was not commercially successful, for several years, Braz seemed to turn his back on Celtic music. In 1981, he toured Europe promoting his album Acoustic, a subdued collection of instrumentals, written by himself, he joined a blues-rock trio. Between 1984 and 1987, he toured the United States over a dozen times. By the time he recorded Musiques pour les silences à venir in 1985, he was being described as "New Age". After making another instrumental album, he moved in a new direction by recording a collection of songs in English, Songs. Most were written by one each by Richard Thompson and Donovan, he teamed up with John Kirkpatrick to record a film score in 1992.
Dan Ar Braz's greatest moment occurred in 1992, when the organizer of the Festival de Cornouaille in Quimper asked him to create a live show uniting traditional music with modern styles. Dan had many contacts in Britain and America, delivered beyond all expectations. Donal Lunny came from Ireland, Karen Matheson came from Scotland, Elaine Morgan came from Wales, both Bagad Kemper and Alan Stivell came from Brittany. Altogether, 75 musicians were involved; the group called L'Héritage des Celtes performed their debut show at the Quimper festival in July 1993 went on to Rennes in 1994. A hugely successful studio recording recreated the show, it sold 100,000 copies in over ten countries, a live album followed. Their fame within France was so great that in 1996 they represented France in the 41st Eurovision Song Contest. In 1997, they again sold 100,000 copies; the music awards ceremony Victoires de la Musique awarded them "Best Traditional Music Album" in 1998. They went on tour in France and played the biggest stages of Paris Le Zénith and Bercy Arena on St Patrick's Day in 1999.
But with more than 70 musicians on stage at once, the show was tremendously difficult to put on. In August 2000, the group played at the Festival Interceltique in the stadium of Lorient where Dan announced that it would be the final concert. Dan Ar Braz returned to solo work. La mémoire des volets blancs is a tribute to the deceased friends from his childhood, is a nostalgic instrumental-piece, he performed in another major show at the Stade de France on St Patrick's Day in 2002. For the following albums, he worked with his friends, singers Clarisse Lavanant, Jean-Jacques Goldman, Red Cardell. In 2012, with Bagad Kemper, he produced Celebration in Brittany, an album and a tour-unifier which gets closer to the spirit of L'Héritage des Celtes, but centers on Brittany. In 2015, the album Cornouailles Soundtrack was produced, which takes a more contemplative turn, telling the story of his life in instrumentals that range from "Moon River" and "Oh Shenandoah" to Dan's own compositions in a style that echoes his musical heroes, The Shadows.
With the band Mor Stations With Alan Stivell Renaissance of the Celtic Harp Olympia Concert From Celtic Roots E Langonned Live in Dublin Treman Inis Before Landing Ag
A concert is a live music performance in front of an audience. The performance may be by a single musician, sometimes called a recital, or by a musical ensemble, such as an orchestra, choir, or band. Concerts are held in a wide variety and size of settings, from private houses and small nightclubs, dedicated concert halls and parks to large multipurpose buildings, sports stadiums. Indoor concerts held in the largest venues are sometimes called arena concerts or amphitheatre concerts. Informal names for a concert include gig. Regardless of the venue, musicians perform on a stage. Concerts require live event support with professional audio equipment. Before recorded music, concerts provided the main opportunity to hear musicians play. While the first concerts didn’t appear until the late 17th century, similar gatherings had been around throughout the 17th century at several European universities, such as Oxford and Cambridge. Though, the first public concerts that required an admission were created by the English violinist, John Banister.
Over the next few centuries, concerts began to gain larger audiences, classical symphonies were popular. After World War 2, these events changed into the modern concerts that take place today. An example of an early, post-WW2 concert is the Moondog Coronation Ball; as stated in the general history part above, the first known occurrence of concerts where people are charged admission took place at violinist John Banister's home in Whitefriars, London in 1672. 6 years in 1678, a man by the name of Thomas Britton held weekly concerts in Clerkenwell. However, these concerts were different. Before, you had an admission that you paid upon entering the building where the concert was held but at Britton's concerts, patrons purchased a yearly subscription to come to the concerts. At 10 shillings a year, people could see as many concerts. In addition to holding concerts at certain venues, concerts went to the people. In 17th century France, concerts were performed for only the nobility. Organized by Anne Danican Philidor, the first public concerts in France, arguably the world, were the Concerts Spirituels.
These concerts were held on religious holidays when the Opera was closed and served as a model for concert societies all over the world. In the late 18th century, music from the likes of Haydn and Mozart was brought and performed in English concerts. One notable work from Haydn performed at these concerts was his set of 12 symphonies referred to as the London Symphonies. Concerts reflecting the elegance of England during the time period were held at the gardens of Vauxhall and Marylebone; the musical repertoire performed at these events ranged from works composed by young Mozart, to songs that were popular in that time period. The nature of a concert varies by musical genre, individual performers, the venue. Concerts by a small jazz combo or small bluegrass band may have the same order of program and volume—but vary in music and dress. In a similar way, a particular musician, band, or genre of music might attract concert attendees with similar dress and behavior. For example, concert goers in the 1960s had long hair and inexpensive clothing made of natural fibers.
Regular attendees to a concert venue might have a recognizable style that comprises that venue's scene. A recital is a concert by small group which follows a program, it can highlight a single performer, sometimes accompanied by piano, or a performance of the works of a single composer, or a single instrument. The invention of the solo piano recital has been attributed to Franz Liszt. A recital may have many participants, as for a dance recital. A dance recital is a presentation of choreographed moves for an audience in an established performing arts venue competitively; some dance recitals are seasonal. Some performers or groups put on elaborate and expensive shows. To create a memorable and exciting atmosphere and increase the spectacle, performers include additional entertainment devices; these can include elaborate stage lighting, electronic imagery via system and/or pre-recorded video, inflatable sets, artwork or other set pieces, various special effects such as theatrical smoke and fog and pyrotechnics, unusual costumes or wardrobe.
Some singers popular music, augment concert sound with pre-recorded accompaniment, back-up dancers, broadcast vocal tracks of the singer's own voice. Activities during these concerts can include dancing, sing-alongs, moshing. Performers known for including these elements in their performances include: Pink Floyd, The Flaming Lips, Prince, Alice Cooper, Iron Maiden, Daft Punk, Lady Gaga, Jean Michel Jarre, Sarah Brightman, KISS, Gwar and Madonna. Classical concerts embody two different styles of classical music — orchestral and choral, they are performed by a plethora of different groups in concert halls or other performing art venues. For orchestra, depending on the number of performers and the instruments used, concerts include chamber music, chamber orchestra, or symphony orchestra. Chamber orchestra is a small-scale orchestra containing between ten to forty members string instruments, led by a conductor. Symphony orchestra, on the other hand, is a large-scale orchestra that can have up to eighty or more members, led by a conductor and is performed with instruments such as strings, brass instruments, percussion.
For choral style pieces, concerts include Choral music and musical theater. Each encompassing a variety of singers who are organized by a conductor or
St John's Wood
St John's Wood is a district in the City of Westminster, lying about 2.5 miles northwest of Charing Cross. Much of the neighbourhood is covered by a Conservation Area, a small part of which extends into neighbouring Camden. Traditionally the northern part of the Ancient Parish and Metropolitan Borough of Marylebone, it extends east to west from Regent’s Park to the Edgeware Road, with the Swiss Cottage area of Hampstead lying to the north. Once part of the Great Middlesex Forest, it was from 1238 a wooded farm of St John's Priory, Clerkenwell before Protestant Edward VI of England sold the farm to noblemen, it is an affluent neighbourhood, with the area postcode ranked by Forbes magazine as the fifth most expensive in London based on average home prices in 2007. According to a 2014 survey, St John's Wood tenants pay the highest average rent in London, with rents averaging £1,889 per week; the great landholding of St John's Priory lying nearest London until Protestant monarch Edward VI of England was St John's Wood Farm.
This was equivalent to today's area in what was the north of Marylebone. It had the estate farmed out on agricultural tenancies as a source of income. Edward saw the farm sold to wealthy noblemen. St John's Wood developed from the early 19th century onwards. One of the first developers was James Burton, it was among the first London suburbs with lower-density villa housing and frequent avenues, but fewer communal garden squares. Most of the villas have since been replaced by small apartment blocks or terraces; this pattern of development has made it one of the most expensive areas of London. St John's Wood is the location of Lord's Cricket Ground, home of Middlesex County Cricket Club, the Marylebone Cricket Club, the original headquarters of cricket, it is famous for Abbey Road Studios and the street Abbey Road, where The Beatles recorded, notably the Abbey Road album, the cover of which features the band crossing the road. The King's Troop, Royal Horse Artillery was based at St John's Wood Barracks.
The regiment moved to Woolwich on 6 February 2012. The area is home to St. John's Wood Church Grounds, which contains the only nature reserve in the City of Westminster; the area has various schools, both state and independent: 3 House Club Robinsfield Infant School Saint Christina's Primary School Barrow Hill Junior School George Elliot Primary School Quintin Kynaston Community Academy The American School in London Arnold House School St John's Wood has a range of places of worship. ChristianAbbey Road Baptist Church St John's Wood Church St Mark's Church, Hamilton Terrace The Church of Our Lady JewishSt John’s Wood United Synagogue The Liberal Jewish Synagogue The New London Synagogue Saatchi Shul Neighbouring locations: Belsize Park to the north-east Hampstead to the north Kilburn to the north-west Lisson Grove to the south Maida Vale to the south-west Marylebone to the south Primrose Hill to the east Regent's Park to the south Swiss Cottage to the northThe nearest London Underground stations are St John's Wood and Swiss Cottage on the Jubilee line.
The nearest London Overground station is South Hampstead. Sir Lawrence Alma-Tadema OM, painter, at 44 Grove End Road Gilbert Bayes, sculptor, at 4 Greville Place Sir Joseph Bazalgette, civil engineer, at 17 Hamilton Terrace Sir Thomas Beecham CH, conductor and impresario, at 31 Grove End Road George Frampton, sculptor, at 32 Queen's Grove William Powell Frith, painter, at 114 Clifton Hill Guy Gibson V. C. pilot and leader of the Dam Busters, at 32 Aberdeen Place Thomas Hood, poet, at 28 Finchley Road Thomas Huxley, biologist, at 38 Marlborough Place Melanie Klein, psychoanalyst, at 42 Clifton Hill Henstridge Place and Woronzow Road London NW8 featured in the “Give Us This Day Arthur Daley’s Bread” episode of the popular U. K. television series Minder. Count and Countess Fosco live at No. 5 Forest Road, St. John's Wood in Wilkie Collins's 1859 sensation novel The Woman in White. Irene Adler lives there in Arthur Conan Doyle's 1891 Sherlock Holmes story "A Scandal in Bohemia". In the first instalment of John Galsworthy's The Forsyte Saga, The Man of Property, Young Jolyon lives on fictional Wistaria Avenue with his second wife and family.
St John's Wood is the home of fictional characters Bingo and Rosie Little in P. G. Wodehouse's Jeeves and Wooster short stories and novels, written from the early 1920s onward. Referenced in the Rolling Stones song, "Play with Fire", released in 1965; the protagonist of J. G. Ballard's novel Millennium People, is a psychologist who lives in St. John's Wood, which he abandons to join a middle-class rebellion. Appears in two books by Howard Jacobson, as the setting for his 2004 book The Making of Henry, followed in his 2010 Man Booker Prize winning novel The Finkler Question as the planned location for the Museum of Anglo-Jewish Culture. Violet Hill, a street and area off Abbey Road with Violet Hill Gardens and Violet Hill Hospital, is the source of the name in Coldplay's 2008 song "Violet Hill". Due to the conveniently close location to Elstree Studios, St John's Wood was used extensively for location shooting for many of the ITC adventure shows of the 1960s and 1970s, including The Saint and Hopkirk, The Persuaders! and
A drum kit — called a drum set, trap set, or drums — is a collection of drums and other percussion instruments cymbals, which are set up on stands to be played by a single player, with drumsticks held in both hands, the feet operating pedals that control the hi-hat cymbal and the beater for the bass drum. A drum kit consists of a mix of drums and idiophones – most cymbals, but can include the woodblock and cowbell. In the 2000s, some kits include electronic instruments. Both hybrid and electronic kits are used. A standard modern kit, as used in popular music and taught in music schools, contains: A snare drum, mounted on a stand, placed between the player's knees and played with drum sticks A bass drum, played by a pedal operated by the right foot, which moves a felt-covered beater One or more toms, played with sticks or brushes A hi-hat, played with the sticks and closed with left foot pedal One or more cymbals, mounted on stands, played with the sticksAll of these are classified as non-pitched percussion, allowing the music to be scored using percussion notation, for which a loose semi-standardized form exists for both the drum kit and electronic drums.
The drum kit is played while seated on a stool known as a throne. While many instruments like the guitar or piano are capable of performing melodies and chords, most drum kits are unable to achieve this as they produce sounds of indeterminate pitch; the drum kit is a part of the standard rhythm section, used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include the piano, electric guitar, electric bass, keyboards. Many drummers extend their kits from this basic configuration, adding more drums, more cymbals, many other instruments including pitched percussion. In some styles of music, particular extensions are normal. For example, some rock and heavy metal drummers make use of double bass drums, which can be achieved with either a second bass drum or a remote double foot pedal; some progressive drummers may include orchestral percussion such as gongs and tubular bells in their rig. Some performers, such as some rockabilly drummers, play small kits that omit elements from the basic setup.
Before the development of the drum set and cymbals used in military and orchestral music settings were played separately by different percussionists. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a set; the bass drum, snare drum and other percussion instruments were all struck with hand-held drum sticks. Drummers in musical theater shows and stage shows, where the budget for pit orchestras was limited, contributed to the creation of the drum set by developing techniques and devices that would enable them to cover the roles of multiple percussionists. Double-drumming was developed to enable one person to play the bass and snare with sticks, while the cymbals could be played by tapping the foot on a "low-boy". With this approach, the bass drum was played on beats one and three. While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of ragtime music when the simplistic marching beats became more syncopated.
This resulted in dance feel. The drum set was referred to as a "trap set", from the late 1800s to the 1930s, drummers were referred to as "trap drummers". By the 1870s, drummers were using an "overhang pedal". Most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05. Liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist; the bass drum became the central piece around which every other percussion instrument would revolve. William F. Ludwig, Sr. and his brother, Theobald Ludwig, founded the Ludwig & Ludwig Co. in 1909 and patented the first commercially successful bass drum pedal system, paving the way for the modern drum kit. Wire brushes for use with drums and cymbals were introduced in 1912; the need for brushes arose due to the problem of the drum sound overshadowing the other instruments on stage.
Drummers began using metal fly swatters to reduce the volume on stage next to the other acoustic instruments. Drummers could still play the rudimentary snare figures and grooves with brushes that they would play with drumsticks. By World War I, drum kits were marching band-style military bass drums with many percussion items suspended on and around them. Drum kits became a central part of jazz Dixieland; the modern drum kit was developed in the vaudeville era during the 1920s in New Orleans. In 1917, a New Orleans band called "The Original Dixieland Jazz Band " recorded jazz tunes that became hits all o