Skip to main content

RIP Bill Ashton

"Higgles - we're coming to Hitchin today. Are you around?" I usually was around to see Bill Ashton when he and Kay came to visit the market in our little Hertfordshire town. We'd often grab lunch together and he'd catch me up on the news from all our mutual friends.

In one of Bill's favourite Hitchin pubs: Kay, Bill, me, Richard 

And so, I shall miss my good friend Bill Ashton (6 December 1936 to 8 March 2025).  He’s been a part of my life since I first took my baritone sax along to a rehearsal of the National Youth Jazz Orchestra (NYJO) in 1980. The Cockpit Theatre was a noisy place full of amazing young musicians who together produced outstanding jazz, the like of which I had never experienced, let alone imagined I could be a part of. 

Both Bill and I knew, and acknowledged, that I wasn't the best bari sax player ever to try their hand at NYJO, but I learned so much while being around great musicians and trying to keep up with sax players like Jamie Talbot, David Bishop and Nigel Hitchcock. Bill was always one for pushing standards and making us all work just that bit harder.

My teenage years were full of hours spent on the NYJO bus, travelling around the UK. They were overwhelmingly happy times and I learned a LOT on and off stage.

I stayed in touch with Bill and Kay on and off throughout the years and it's always been a source of amazement that Bill can remember so many names of musicians going back 40 or 50 years. Through the 1980s, once I'd moved on from NYJO and started playing in sessions and a huge range of bands, I regularly bumped into musicians and friends from those early days.

Bill created something so special when he began NYJO and many of us owe him a great deal in terms of musical knowledge and understanding.

And, by the way, no-one else has ever called me "Higgles". Just Bill.

Comments

Popular posts from this blog

Big Wade - 'Piano Man' out now

Big Wade and Black Swan Theory collectively blends funk, soul, jazz and everything that fills the cracks between those genres: his new album -  Piano Man - on all major streaming platforms ahead of the Piano Man Tour 2024 , which has dates across the US. Piano Man  brings a selection of original and covers, including a stunning version of Autumn Leaves , which reinvents the song as the funky, electronic Autumn . Big Wade's voice takes the song's melody and improvises around and around, with backing vocals and a deliberately sparse arrangement underpinning the song. Similarly, on Children of the Ghetto , the lead and backing vocals blend in with the soulful musicians of Black Swan Theory. Electronics are used with dexterity, often expanding the vocal lines, as in the ethereal and ghostly opening of Don't Let Me Go . However, the tools never dominate - simply adding depth and layers to the funk. Never more than when Big Wade enters a new world in Interludes , including vocals...

Playtime: 'Morse Code Through The Lights'

Every once in a while, an album drops into your inbox and isn't going anywhere. Morse Code Through The Lights is just such an album. Incontrovertibly controversial, this won't be everyone's cup of tea, but this one has absolutely, instantly, made it onto my list of top albums of 2024. Drummer Tom Bancroft and his band Playtime, which began in Edinburgh as Adventures in New Music ten years ago as a weekly session, have produced something delightfully experimental and brilliantly creative. Four of Scotland's most-established jazz musicians - Martin Kershaw (sax), Graeme Stephen (guitar), Mario Caribe (bass) and Tom Bancroft (drums) - tried out new music and new ideas together. Once lockdown struck in 2020, they decided to explore the possibilities of improvising music together online, partly for something to do, and partly because it was something they could do for their audience. Most of us discovered - or thought we had - that improvising online was difficult or impossi...

36 years ago today, my alto sax was stolen

Actually, it wasn't so much stolen as taken in error.    But at the time, we thought it had been removed from backstage at Amsterdam's De Meervaart venue, where I was on stage with The Style Council.     Luckily, the gig was being broadcast on radio and the support act were listening as they drove away. They soon realised the mistake and returned my sax and all was well.     It was the last gig of a great tour - Paul Weller's first European shows since breaking up The Jam.     Another benefit of the radio broadcast is the recording that exists of that show. A good friend of mine - Iain Munn, author of the definitive history of The Style Council, Mr Cool's Dream - gave me a copy several years ago.     Still a good story, after all these years.