bentenlaughing

Jan:   Davy, when did you first experience Frankie's music? Was it live or on record? Davy:  In 1956, our family had moved to a very large housing scheme on the outskirts of Edinburgh, where I attended the local primary school, where football was the main focus. Then in 1965, when all my football friends joined the local Secondary School, I went to a Senior Secondary in town (Boroughmuir), where one was able to study up to A Level standard. One of the exciting aspects was that I was immediately thrown into a “melting pot”of different young people from all over the city. Over the next couple of years and from a musical point of view, 2 stood out. Gordon McIntosh and Billy Lyall. Gordon was a guitarist in a local band called Leathur Soul then found fame with Bilbo Baggins. Billy Lyall was in the Bay City Rollers then moved to Pilot with David Paton. They had huge hits with ” Magic” and “January”. So from 1967 onwards, these two were mainly responsible for introducing me to the ...

  Maeve was warm and sunny on the inside. Hard exterior when she had to be. Maeve's beauty was not her destination. Not a face that would entertain Playboy's editors or gather dust in doctors' antechambers. Her face spelled out the proverbial eye in the beholder. Round and unpretentious without makeup. Maeve was not looking for the middle way. Life more than not took her into danger. She drove a red deluxe taxi. When she did her face up for late-night rides into dives where jazz musos laid down what was below the belt and pulsed the mathematics of jazz, Maeve's beauty was in-your-face intelligence. The first woman tenor jazz player to kick ass at the Conservatorium of Music. Paid her dues playing scales on the saxophone. Long hot afternoons on a rented terrace in Newtown. Two socialite sisters owned this row of tenacious Victorian tenements. Maeve shared this jewel in the crown of bindi-eyed Newtown with two other jazz musicians. One played his horn in a padded cell to ...

  Jan: my first memory of you Judy is playing in sessions; you were with Tommy Tycho right? What were those years like for you? Were they predominantly you playing, doing a lot of session work and doing your own gigs as well? Judy: I spent something like eight years pretty well non-stop in the Television Studios and the amount of actual night time playing say jazz work I used to have average 1 2 nights a week.  That was all though. Most of my work, was studio work and I didn’t go near a club until I was expecting my daughter and I had my first foray into the clubs with Barry Crocker.  (Interruption of sexy voice French waiter and friend of Judy’s on tape) Jan: So those years were really like you were into that studio thing.  Judy: Great learning, great learning years, because I'd never ever done anything like that, that was the first time in my life and then when I was expecting Lisette. I was playing and went with Barry Crocker, I was his MD musical director aro...