jabw_vintage/report no. 39

this page submitted by Terry Brown, 25 September 2017
edited for this webpage by John Wright
last updated 25 September 2017vintage@r2ok.co.uk

Let us tell you about...... Percival Mackey

Percival Mackey - from the Pit to Pictures

researched and written by Terry Brown

Chapter 2

‘Queen High’ was another musical comedy imported from the States, and the London production, produced by Alfred Butt, would include, Hermione Baddeley, Joyce Barbour, veteran comedian, A. W. Bascombe, and an early appearance of future film star and husband of Jessie Matthews, Sonnie Hale, in the cast. The Era, reported of the show, ‘The orchestra will be a twenty piece one and its composition will be somewhat novel. Owing to all the men doubling, there will be a five piece saxophone team, four first violins, four violas, two banjos, and the orchestra will otherwise include two pianos, two trumpets, two clarinets, cello, flute, oboe, bass, horn, trombone, harp and drums. Mr Percival Mackey will conduct’. Among the musicians would be, Jack Denahey (sax/clarinet), Arthur Watkins (banjo/cello), J. Symonds (violin), B. G. Knight (oboe/sax), H. J. Wilson (drums), and Barney Singleton (bass). The show appeared in try-out, at the Empire, Sunderland on 25 October, before arriving at the Queen’s Theatre, on 2 November 1926. Percy made a Columbia 12” two part selection from the show on 20 October 1926, (9150), as well as four other featured titles, on 20 October and 2 November, Cross Your Heart/Everything Will Happen for the Best, (4144), and Don’t Forget/Beautiful Baby (4145). Incidentally, and somewhat unsurprisingly, Percy ensured, Monti Ryan was also cast in the show.

Programme for Queen High

Hermione Baddeley in Queen High

Whilst on the subject of Percy’s Columbia releases, here are a few more worthy sides made over the last half of 1926; Looking for a Boy/When Do We Dance (4064), Charleston, Charleston, Show me the Way/Shake Your Little Shoulder (4137), Beautiful Baby/Everything We Hope for the Best (4145), Cross Your Heart/Don’t Forget (4146), and I’ve Never Seen a Straight Banana (4151). I’d also recommend, Percy’s 12”, two sided selection from the show, ‘Lido Lady’, recorded 20 December 1926 and issued on Columbia 9177. Meanwhile, ‘Queen High’, continued successfully into 1927, and with Percy’s status on the rise, he was invited to take a band, (which he based around his, ‘Queen High’, unit), to play for a private and high profile event for the Countess of Carlisle, at Carlton House Terrace, in London, on 8 February 1927, where, ‘Mr Mackey was congratulated on the excellence of his combination’.

Listen to What Can I Say After I Say I'm Sorry?
Columbia 4174, 10 November 1926

With business now burgeoning the need for the further expansion of Mackey’s operations was becoming overwhelming, and the Era, for 23 February 1927, reported a new recruit joining Mackey and MacDonagh Ltd., one, Leslie MacDonnell, from South Wales. He was a talented drummer and saxophonist, but more importantly he had also been a band organiser for some seven years. This aspect of the, ‘Three Mac’s’, operations, (as they became known), remained an important source of income, aside their publishing and orchestration work. Later, Leslie MacDonnell, became better known as, M.A.M. a top artist’s agency during the 1930’s. Percy’s business was a regular advertiser in the theatre press at the time, and a typical example from The Era for 10 March 1927, extolled the virtues of some of their newly published numbers, the comedy Fox Trot, ‘I’m a Blaster’ - ‘Get It! Your local Froth Blowers will be asking for it’ – ‘The Savoy Havana Hit - Dearest Pierrette – played eight times in one day by Al Tabor at the Hammersmith Palais de Danse’ – ‘Managers, if you require a stage band for your show, let me quote you – All bands are personally coached by Percival Mackey’. The following week The Era praised Mackey for a unit he put together for, Harry Day’s, touring review, ‘Happy Days’, which opened in Cardiff on 7 March. The unit, known as Percival Mackey’s Astoria Band, was led on violin by Joe Trowbridge, with C. Birmingham (piano), (brother of band leader, John Birmingham), Rube Helfond (sax), Sydney Witz (sax), George Lewis (sax), Alfred Jasperson (trumpet), Ted Foster (trombone – later, as Teddy Foster, a Band Leader), Harold Heggie (banjo) and Lionel Claff (later, Gus Greenfield took over the drums). Interestingly, on several occasions during April, Percy himself joined this unit to personally conduct it. In April 1927, Percy organised yet another combination, this time for the Riviera Club, in Grosvenor Road, London, to replace, Leo Van Straten’s Band. It’s stellar line-up consisted of, Arthur Stanley (banjo/guitar), Peter Yorke (piano), Douglas Foss (saxophone/Clarinet), Pat Whelan (saxophone), Cliff Garlick (trumpet), with Harry Robbins (drums/xylophone), as leader. Meanwhile when ‘Queen High’, finally completed its lengthy run at the Queen’s Theatre on 23 April 1927, Percy put together another new combination, but this time, one that he would lead himself from the piano for the Ambassadors Club, (which had been closed for refurbishment). With an opening on 2 May, the unit consisted of Percy, with Watson Marsh (saxophone), also doubling clarinet/violin, Ken Warner (saxophone), also doubling violin/xylophone, Wally Purdy (saxophone), doubling clarinet, Arthur Watkins (banjo), doubling cello, and a relative newcomer to the UK band scene, a youthful Sam Browne (drums/vocals), who of course went on to great solo success as a vocalist.

The Ambassadors Club, exterior
Conduit Street London

With Percy’s various musical activities continuing to flourish, even further expansion was on the cards, and The Era, for 18 May 1927, reported that Mackey and MacDonagh had now become a larger operation, after it merged with a newly formed music publisher, Messrs Lareine & Company. At Lareine’s, Percy would have overall responsibility for orchestrations and the band business. Later, in May, Percy was happy to be reunited with Tony Lowry who also joined Lareine’s, mainly as a free-lancer, although he would partner Percy, with the two ‘working on piano transcriptions of the torrid type’. The same item noted that ‘Mr Mackey is the busiest of men. Besides grappling with numerous demands for arrangements, he is running a band organisation, and also personally conducting his own combination at the Ambassador Club, where his piano solos are a feature. Sam Browne has a good voice, indeed vocal choruses are a feature of this bright combination’. Of Percy’s touring Astoria Band, it reported it was ‘one of the best items in the show’, and that it was, ‘both musical and elegant’. Meanwhile there were other matters to deal with.

On 13 May 1927, Percy made his last recordings under his Columbia records contract, two 10” and two 12” sides featuring selections from the musical comedy, ‘Lady Luck’, issued on Regal G8869 and Columbia 9214, respectively. Prior to this, Percy’s 1927 Columbia output had been fairly thin, just five sessions between January and 6 May, consisting of 12 issues, half of which were fairly routine 12” show selections. Of his 10” issues, The Music of the Mountain Stream, (4314), a Willard Robinson composition has a good piano solo from Percy, as does, Syncopated City (4345). On 21 July 1927, Percy started a one year exclusive contract with the Edison Bell Company for issues on its, Electron and Winner labels. According to Rust/Forbes, Percy’s first four recording sessions for the Electron/Winner labels starting 21 July 1927, (with two more in August and one in September), were issued as by Percival Mackey and his Kit-Cat Band. But this is in fact incorrect. Percy had no connection whatsoever with the Kit-Cat Club at this time and it’s a puzzle as to how this mistake was made. In fact they were labelled simply as by Percival Mackey’s Band, as were the majority of his subsequent issues, although some of his later Edison Bell sessions appear as by ‘The Riviera Club Dance Orchestra’ or ‘Band’. The line-up Percy used for his Edison Bell recordings was indeed based mainly around his existing, Riviera Club unit, with Cliff Garlick, Douglas Foss, Pat Whelan, Peter Yorke, Arthur Stanley, and Harry Robbins, joined by Ken Warner, from the Ambassadors unit, with newcomers, Jock McDermott (trombone), Harry Owen (trumpets), (who were both given their first opportunity in the business by Percy), with Tom Eggerdon (bass), and singer/pianist, Miss Dickie Dixon. Miss Dixon, had recently arrived from Australia, and this was to be her stage debut in the UK.

Unfortunately, the music press gave no coverage or reviews to Percy’s efforts on Edison Bell, which is a pity as the majority of his 1927 issues are quite outstanding. The first, Brotherly Love/Don’t be Angry, (EBE0157), recorded on 21 July 1927, have brilliantly melodic arrangements, played with a spirited verve and thumping rhythm, with Dickie Dixon’s vocals a considerable asset. Magnolia (EBW4761), is a wonderfully hard driving rhythmic delight, with that superb ‘spacious’ sound Percy brings to his recordings. It also features a stomping piano solo from Miss Dixon. The Devil is Afraid of Music (EBW4717), has a wonderfully complex, bluesy arrangement, with excellent ensemble and a surprise, change of tempo at the conclusion. Down South (EBE0191) begins with a slow drawl then becomes a punchy ensemble piece, with superb harmonised saxophones. For some reason Percy’s Edison Bell recordings are quite hard to come by, but all are highly recommended.

But returning to our story. As usual, over the summer period of 1927, the Ambassadors and Riviera Club’s closed seasonally and Percy decided to front a touring variety show. It was again based around his Riviera combination, drawn from both clubs, and would be billed as Percival Mackey & his Riviera Band. Although invited to join the unit, one notable absentee, was drummer/vocalist, Sam Browne, who decided to form his own ‘New Ambassadors Orchestra’, which promptly headed off to Madrid for a nine month contract. At the same time as this was going on, in July 1927, Percy ‘called in’, the touring Astoria Band Unit, so he could give his full attention to his own touring. Fortunately, Percy found almost the whole of the Astoria Band work very quickly, when they joined others to form Teddy Watson and his Middies Band, which went into the Putney Hippodrome in late September 1927. Meanwhile, Percy’s tour was on the road, on the Hippodrome circuit, with appearances during August and September in Birmingham, Leeds, Newcastle, Portsmouth and finally Brighton. American star, Ann Suter headlined some of the initial performances, but it was Percy’s Riviera Band that was the principal constant in the show, which would bring in other variety performers depending on where the band was appearing and as to who was available. A reviewer at the Birmingham Hippodrome, said, ‘A leading feature of the fine entertainment here is the fine playing of Percival Mackey and his Riviera Band. Jazz in its many phases is admirably rendered to the direction of Mr Mackey. Monti Ryan, is a charming dancer’.

With September and the new dance season approaching, Percy contacted the Ambassadors Club, but they decided not to re-new his contract; with Jack Hylton providing a new combination led by Ray Starita. Undaunted, Percy decided to continue touring, which in any case had been proving, ‘very lucrative indeed’. Following their stay in Brighton, Percy and the Riviera Band went into the Holborn Empire in London for the first time, from 3 October for a week. A reviewer in The Era, wrote, ‘A new band which must be counted amongst the first flight is that of Mr Percival Mackey which made its debut at the Holborn Empire this week. The members of the band are all versatile instrumentalists, and render many of the popular tunes with distinction. Starting with Blue Skies, they went into a medley in which Monti Ryan figures in a whirl of dancing. She also illustrates in similar fashion L’Apache. The favourite, Side by Side, enlists no less than five pianists of whom Percival Mackey is one and Harry Robbins, a remarkable xylophone player, another. The saxophone quintet are a feature of Down South. A droll diversion is made when all the band don clerical garb to render The Devil is Afraid of Music, in which Miss Dickie Dixon, plays the piano and sings and the resourceful dancer conducts. The band, which numbers twelve, is led in person by Mr Mackey, whose piano solos are also a feature of the show’. The Era, then named the band, which was the same as Percy’s Edison Bell recording band as listed earlier. Following its successful spell at the Holborn Empire, the band headed to Dublin, for a ‘special week’ of performing, as it was described in The Era, and on 17th October 1927, were due back in London to play at the Alhambra for two weeks.

Later, the Stage newspaper reported that whilst at the Alhambra, Percy would also be doubling at the Kit-Cat Club, ‘where he has been engaged for an indefinite period’. Whilst at the Kit-Cat Percy had also been booked ‘for a lengthy tour around London and would visit the Gulliver Theatre circuit, including the London Coliseum, the Palladium, and other suburban halls’. Of the Alhambra opening, The Stage reported, ‘The combination of Mr Mackey himself as conductor and pianist, of Monti Ryan as a chic dancer, and of Harry Robbins and Dickie Dixon as featured instrumentalists, the band is as entertaining a one of the class as could be wished’.

On 1 November, Percival Mackey and his Band, (as it was billed), made their first BBC broadcast from the Kit-Cat Club, where they were sharing band duties with American xylophonist, Teddy Brown’s Band. They both broadcast again from the club on the 30 November 1927. Interestingly, Percy, over much of his career remained averse to broadcasting, indeed the 30th November showing was his last broadcast until 7 April 1932. His reluctance at this time was principally because at the time the BBC did not pay a fee to hotel and club bands on the basis that the free publicity received from broadcasting was sufficient payment in itself. During the thirties, as we shall see, Percy was far more straightforward in his criticism of the BBC and its fees, which he deemed totally inadequate.

Teddy Brown – Xylophonist

Returning to late 1927, elsewhere, over November, Percy fitted in visits to such as The Stoll Picture House, and the Coliseum (again), whilst at the Kit-Cat Club, which he finally left following his last broadcast mentioned above. The following week he hit the road again with his Kit-Cat combination and headed for Leeds Hippodrome, followed by two weeks in Swansea, then the Metropolitan and Alhambra in London, amongst other venues into 1928, including a highly paid ‘gig’ job for the Melton Hunt Ball in Grantham on 14 January. Interestingly, on 11 January, and just prior to an Edison Bell recording session on 17th, Percy, went along to Small Queen’s Hall with his Kit-Cat unit to record a 12” two part selection from the musical comedy, ‘Clowns in Clover’. The resultant disc for HMV (C1456), was issued as by the New Mayfair Orchestra, HMV’s re-introduced house band nomenclature. Percy was of course still under contract to Edison Bell, and perhaps HMV intended Percy to be its New Mayfair house band long term, under the New Mayfair Dance Orchestra name. But in any case, the New Mayfair (Dance) Orchestra didn’t record again until March, by which time, it consisted of a studio unit, drawn from various dance bands, under Carroll Gibbons, rather than a full time band like Percy’s. That said, Percy did in fact record with the NMDO, again as their musical director, but not until 1934, as we shall see later in this essay.

Meanwhile, over the balance of January and February 1928, Percy continued the rounds at the Hackney Empire and the Sheffield, Birmingham and Brighton Hippodromes. A review in the Sheffield Daily Telegraph read, ‘We have heard countless performances through the medium of the gramophone of Percival Mackey’s famous dance band, but saw, heard, and enjoyed the real thing for the first time last night, (30 January 1928). This is one of the foremost British dance bands in the country, and has answered the American challenge and invasion of jazz musicians with outstanding success. Percival Mackey is an inimitable conductor and a versatile musician himself, too. Sparkle and rhythm characterise this bands playing, and with them is Monti Ryan whose dancing was an added attraction. All in all, one of the best musical presentations seen at the Hippodrome in a very long time’.

Percival Mackey
on the cover of Melody Maker
February 1928

The February 1928 edition of Melody Maker, featured Percy on the front cover and a reviewer ‘V.N.L.’, wrote, (in rather more sober terms than the Sheffield piece), the following about Percy’s tour: ‘Percival Mackey without much change in his programme, is leading his band from success to success. Charlie Pemmel, late trumpeter of Jack Hylton’s Band, has now added his experience to an already excellent combination, but, apart from the drummer, there is no further change in the personnel from that which appeared in London at the Holborn Empire about three months ago. The band, as is only to be expected is playing far better together. It is now easily one of the best stage bands we possess. At the last time of hearing, I particularly liked its rendering of the Russian Lullaby. I am sorry that further acquaintance has not reconciled me to the five pianists in Side By Side, - they sound more like a loud pianola than anything else. But I admit the spectacle, ‘gets’, the house and it always meets with great applause. Miss Monti Ryan’s dancing is as charming as ever, but I must say, at the risk of being ungallant, that her stage smile is becoming almost as fixed as a piece of stage property. I am sure she does not want it to appear unnatural, but that risk is there’. Whilst hard at it on the boards, Percy also remained in band supply work, and Melody Maker reported he had installed a seven piece for the Carlton Dance Salon, (formerly Rector’s), to be known as, Percival Mackey’s Carlton Band. It would be playing opposite, Max Chappell’s London Choreans.

Alongside this, Percy began to prepare for his next theatrical adventure, a new, ‘Musical Entertainment’, as it was described, with a book by Donovan Parsons and music by Vivian Ellis and a host of additional American songs, by the likes of George Gershwin, Irving Berlin, Walter Donaldson, Harry Richman and many others, entitled, ‘Will O’ the Whispers’. Melody Maker for March 1928 reported, ‘It will be remembered that ‘No No Nanette’, was the first British revue to experiment successfully with a modern dance band in the orchestra pit. Percival Mackey was the man who made good in this experiment. It is not suprising, therefore, especially in view of his more recent variety successes, to find that he has been re-engaged to direct his band in another important production, Archie de Bear’s, ‘Will O’ the Whispers’. In this case, however, the band will be featured even more strongly, for although it will accompany the whole review it will do so from an elevated platform, and will in addition, present an act from the stage. ‘Will O’ the Whispers’, prior to its West End appearance, will open in Cardiff on 5 March, followed by a week at Southsea and a week at Golders Green’. This show was designed to showcase visiting American singer/cabaret star, ‘Whispering’ Jack Smith, with support from, comedian Billy Bennett, with George Metaxa, Elsa Macfarlane, Greta Fayne and Billy Milton amongst its cast.

Whispering Jack Smith
in 1928

Edison Bell Electron 0233

Following its try-outs, ‘Will O’ the Whispers’ officially opened at London’s Shaftesbury Theatre on 4 April 1928. The show was reasonably well received, but the styles of, ‘Almost a Gentleman’ Billy Bennett with his recitations and ‘working class’ humour, clashed with the smooth, confidential cabaret style of Jack Smith. ‘It was like watching two shows at once, each fighting for their own space’, wrote one critic. As indicated earlier, it contained a plethora of mainly imported songs, including The Man I Love, Playground in the Skies, I Never Dreamt, Wild Rose, Blue Butterfly and even an abbreviated version of Rhapsody in Blue. The Stage reported, ‘Mr Percival Mackey, who provided the orchestrations and his Band are very conspicuous and audible both on stage and in the pit, but are one of the elements of its success’.

Whilst leading and conducting the pit band for the show, and after a gap in his Edison Bell issues of nearly four months, (Percy had last recorded for the company on 17 January 1928, Polly/Dainty Miss (EBE0209), Percy returned to the studio on 12 May 1928, to make a selection and three other titles from the, ‘Will O’ the Whispers’ score, (EBE0232/0233), billed as, ‘Percival Mackey and his Band At the Shaftesbury Theatre, London’.

Also in May 1928, Percy, in that month’s edition of Rhythm magazine, wrote an article ‘The Trials of a Top Liner’ in which he talked amusingly of some of the trials and tribulations of touring. He wrote, ‘How many members of a variety theatre audience realise, when they see a band well staged and lit, that all is not gold that glitters, especially on tour. Although rail travel has been greatly simplified it occasionally happens that props and luggage go astray, or have a funny habit of turning up just before the curtain rises’. He recalled an incident in Manchester when the first alto’s clarinet mysteriously disappeared despite being placed on its stand on stage with the rest of the instruments, later to discover the instrument had got itself hooked to a drop set, which when raised took the clarinet with it. He continued, ‘I remember one Monday matinee at the Palladium where the bands set was timed for 3.15, and the three pianos used in the act did not arrive until 3.10. Imagine three pianos being carried on stage, legs screwed on etc., while the stage manager has to signal the preceding turn to lengthen his act. Sunday concerts can also have their difficulties. One rarely comes across a theatre other than in the west end, with sufficient staff to work the lights. I know several suburban halls, where the local electrician, my own manager and my own stage manager have to work all the lights themselves. Then there’s illness. A few months ago at Birmingham, my first saxophonist was taken ill between the first and second shows, and was unable to go on. Luckily my boys are versatile enough to busk through at a moment’s notice and from the front of house everything went okay’.

Meanwhile, with ‘Will O’ the Whispers’, about to conclude its London run, Percy embarked on a new departure for him, one day Sunday Concerts. The Hastings and St Leonards Observer gave a lengthy review of Percy’s first Sunday Concert outing, a visit to the White Rock Pavilion in Hastings which he undertook on Sunday 20 May 1928, (requiring a dash back to London for that evening’s performance), which is worth quoting in full, ‘Percival Mackey’s Band was quite remarkable for its resources of volume, variety, delicacy, and innumerable shades of tone and expression, when one thinks that these results were obtained by a mere handful of players – not many more than a dozen. True most of them are equally at home with two or more instruments, and the ease and readiness with which four of them alternated between clarinet and saxophone was as interesting to the eye as well as pleasing to the ear. The excellence of the general effect rested mainly upon the fact that Mr Percival Mackey has assembled a group of men all of whom are first rate performers on their particular instruments and, though at times the ensemble fell just short of perfection, the rhythm had a fine broad swing, and whether the music asked for brilliant or refined treatment, it got it. The band includes an excellent baritone singer, (Charles Pemmell), whose share of the performance was much admired. Of the other soloists, the banjoist and xylophonist claimed the greatest applause’. Percy did a number of other Sunday Concerts across the balance of 1928, all of which were very well received.

Meanwhile back in theatre land, ‘Will O’ the Whispers’ continued at the Shaftesbury until 2nd June 1928, then went out on tour, but without Percy, who had decided to do his own thing. Retaining some of his ‘Will O’ the Whispers’ combination, Percy decided to take this unit on tour, particularly as he had been offered the opportunity to travel to and perform in Berlin. We can find out exactly what happened next, as fortunately we have a fascinating first-hand account from top guitarist, Ivor Mairants, who just at this point in time was offered the chance to join this tour, on the recommendation of veteran banjo player, Emile Grimshaw Senior.

Here’s Ivor’s, (slightly abridged) account, which provides an amazing insight into the dance band world at this period, and what Percy was up to. ‘In 1928, the pecking order of British stage bands was Jack Hylton, Jack Payne and Percival Mackey, and when Emil Grimshaw Junior, was about to transfer his allegiance (from Mackey) to Jack Hylton, I received a call from his father, Emile Grimshaw Senior, to ask if I would like to join Percival Mackey (as a replacement). I looked very young and wondered how I would fit in with a band of seasoned professionals, so as a safeguard I grew a Moustache and, one day in July 1928, I presented myself to Percival Mackey in his office in Oxenden Street off Leicester Square, London, with a letter of recommendation from Emile Grimshaw Snr. Mackey, a tall fair-haired, blue eyed round faced, pleasant looking chap with horn-rimmed glasses, read the letter, looked up at my baby face, now adorned with a Ronald Coleman moustache, and said, Yes, you look alright. The job pays £14.00 per week. Can you sing? I really did not know as I had never tried, but for £14.00 per week, I would have done handsprings, so I said, yes. Before rehearsals began, there was a recording session – my first – and it took place in a studio in Portland Place, W1. It was for Edison Bell Records and there I played with some of the best dance musicians in the land. Arthur Stanley, (who later became M.D. of the Henry Hall organisation), George Gibbs (bass). On trumpets were Tim Cave and Charlie Pemmell (late Jack Hylton), Jock Fleming (trombone), Douglas Foss, Bill Rogers (ace photographer), and A.N. others on saxophones. Dan Ingman played the drums and percussion instruments’

Ivor Mairants - portrait 1928

Now, taking a pause from Ivor’s account, the session, he refers to took place on 12 July 1928, Nanette/Dolly Dimples (EBE0248), which was followed on 26 July by Percy’s last under his Edison Bell contract, Just Suppose/Lazy Father Time (EBE0250), and Sweetheart, I’m Dreaming of You/Hop on Your Toes, (EBE0251). Percy did not renew his contract, with Edison Bell, principally, because of his appointment, (as reported in The Era), a few weeks before this session, as Dance Music Director to a new and rival firm, the Metropole Gramophone Company, makers of Metropole and later Piccadilly label records. The Metropole label at 3 shillings each was a premium purchase and for a period of time, had majored on ‘highbrow’ fare, including choirs, organ, salon vocals and light music, (usually supplied by the likes of Sydney Baynes and Herman Darewski). Dance music seems to have been fairly low down its list of priorities, with initially only Jack Harris and George Fisher’s Bands regularly recording for the label, (although Jay Whidden also made three sides for the company in April 1928). With the company now becoming rather more concerned with its profit margins, rather than anything else, Percy’s expertise across the whole range of popular music was deemed just what the company needed. On Percy’s arrival he boosted the company’s dance band output by recruiting in quick succession, Billy Cotton’s London Savannah Band, Tommy Kinsman’s Florida Club Dance Band, and Allan Selby’s Frascations, who all began recording for the label from July.

But now, let’s get back to our story and continue Ivor Mirant’s reminiscences from where we left off, just after Percy’s last Edison Bell recording session. ‘Almost immediately after the session the band went into rehearsal for the stage show which was to open a fortnights run at the Alhambra, Leicester Square, (now the Odeon), at the beginning of August 1928’. (In fact, just to be factually accurate, the band initially went into Leeds, Hippodrome, in early August, then later onto the Alhambra).

Percy Mackey at the Alhambra
late August 1928

Ivor continued, ‘The featured vocalist in the band was a chap named Ben Levin (who became famous as Jewish comedian, Issy Bon) and I was scheduled to sing, Collegiana. I had never performed on stage, and besides singing this song in front of the footlights through a megaphone, (P.A. systems had not yet been invented), I also acted the pirate who kidnaps the heroine, Monti Ryan, the dancer, and carries her across the stage in an extravaganza based on the song, 47 Ginger Headed Sailors. Imagine, becoming a featured singer, actor and player in a famous West End Variety Theatre in my first professional job’.

Let’s pause again here from Ivor’s account, to quote from a review in September’s Melody Maker, which had a few moans about the Alhambra show, thus, ‘Mackey’s ensemble may or may not be composed of outstandingly brilliant musicians, but he certainly knows how to get the best results from those he has, so that the general impression given by the band is one of fairly good style and nice tonal balance. The brass, with the exception of the trombone player, might be improved a little, it’s true, but the saxes sound well when playing in combination, and the whole band exudes an atmosphere of vim and jollity that is refreshing in itself’. Of Percy’s, ‘characteristic piano solo’, Nanette, it continued, ‘Some may say this was rendered in a somewhat old-fashioned and stereotyped style, but it must be admitted that it is sound musical fare, nevertheless, and stuff calculated to please the average audience’. Returning to Ivor’s reminiscences, ‘After the fortnight at the Alhambra, then we were off to Berlin for a month. We sailed from Harwich to the Hook of Holland, through what must have been one of the roughest nights on the North Sea. The ship threw itself and her passengers up and down from aft to stern, from port to starboard relentlessly and with such ferocity that when at one time the ship was standing on its end, I hoped it would complete its dive and not rise again. Battered and green at the gills, we reached the Hook of Holland the following morning and made our way by train to Berlin, then basked in an Indian summer which was to last for the whole month of our engagement’.

Percival Mackey’s Band
Berlin - September 1928

Ivor continues ‘We performed at the newly rebuilt Wintergarden Theatre which boasted the largest stage in the world with the auditorium arranged to accommodate tables for dining; the most spacious theatre-restaurant I have ever seen. The bill constituted a gathering of internationally famous artistes, singers, dancers, jugglers, acrobatic acts, and Percival Mackey’s Band playing one twenty minute show a night, with a most spectacular water fountain display. The Berlin experience was unforgettable. The month soon came to an end and we were soon back touring but with dwindling success’. (Percy in fact first performed at the Metropolitan in London, in early October, after returning from Berlin, then went on to Devonport, Hippodrome).

Ivor continues, ‘Devonport Hippodrome was so poorly attended that the band travelled the town playing in an open charabanc hoping to entice the good people to come to the show’. This concludes Ivor’s reminiscences, but his remarks certainly suggest that despite Percy’s billing at Devonport, as his ‘First Provincial Engagement after Their Continental Tour of the Premier Recording Orchestra with Monti Ryan Britain’s Champion Charleston Dancer’, business was clearly not good. Perhaps October was not the best of months to start a provincial tour in the South of England. As a consequence, Percy decided to close the tour, although he found the majority of his touring unit other opportunities elsewhere or within his overall band supply operations. Over the balance of 1928, Percy remained off the road and got busy again, back at the Metropole Record Company, where he remained Dance Music Director.

Percival Mackey - 1928

In October the Metropole company, who were still desperately trying to increase cash flows and revenue generally, had introduced their budget Piccadilly label which sold at 1/6d, half the price of Metropole. (Both HMV and Columbia also had, ‘budget’ labels, Zonophone and Regal respectively). Percy organised an in-house unit, (the company’s first), principally for the Piccadilly label, under the name The Ever-Bright Boys, which would appear on Metropole under his own name, (along with the associated prestige). Percy’s recording combination consisted of some of London’s top session men, including, Max Goldberg (trumpet), George Clarkson (saxophone), Eric Siday (violin), and Len Fillis (banjo/guitar). Percy’s initial recordings for Metropole/Piccadilly were recorded over three sessions during November 1928 and January 1929. All Percy’s issues from his first three, Metropole/Piccadilly sessions, are highly regarded by collectors, with their rhythmic and appealing arrangements, bright ‘spacious sound’, and hot solo spots. Melody Maker reviewed one side of Percy’s first Metropole release, Away Down South in Heaven (1089), thus: 'This record is far above anything which those who have heard Mackey’s Band on stage would probably expect from it. The ensemble lacks style and rhythm in places, but some of the solo work is really excellent. Also the orchestration is decidedly good. The solo by alto saxophone is the best part of the record – it is an example of good ideas, put into practise with delightful tone and fine execution. Trumpet and trombone also prove that they have ideas which they can carry out. There is quite a number of good effects and breaks on pedal tympani’.

By the time the same reviewer got round to considering some of Percy’s subsequent recording unit sides, Just a Night for Meditation (Met.1120/Picc.209), What a Wonderful Wedding That Will Be (Met.1120/Picc.210), I’d Rather Cry Over You (Met.1131), he knew exactly what was going on, saying:

Piccadilly 200 – recorded
late November 1928

‘It is all good stuff, obviously played by musicians who not only know the game but are about as useful a crowd on their instruments as one could expect to find. Of course, it’s quite easy to see what Percy has done. He has got together the pick of the boys from the London dance bands, (I recognise quite a number of them, but for obvious reasons can’t give their names), put good orchestrations in front of them and let them get on with it, without being afraid to do their stuff, when they spot a suitable opportunity. Mackey had found the right people with the happy results that not only can they produce the goods as soloists, but fit together excellently as an ensemble. Result – performances that go with a zip throughout and no empty patches in the rhythm. All the vocal choruses are by that dynamic little firework, Phil Arnold. Percy’s orchestrations were described as ‘Musicianly, with lots of good ideas and effects and generally well-constructed and full of variety’.

With the arrival of 1929 came Percy’s next theatre job, when he was appointed M.D. for the musical comedy, ‘Merry Merry’. The show by Harlan Thomas and Harry Archer had been originally produced in the US and had been knocking around since 1925, but producer Jack Waller brought in musical comedy specialists Joseph Tunbridge, R. P. Weston, Bert Lee and Harris Weston to revise the book, lyrics and music to bring the show back to life. Percy, produced the orchestrations and arrangements in collaboration with old friend Harry Perritt, who had just recently successfully orchestrated another of Jack Waller’s shows, ‘Virginia’, at the Palace Theatre.

‘Merry Merry’, opened in try out at the Southampton Hippodrome in January and had its London premier at the Carlton Theatre on 28 February 1929. It starred, veteran comedians, A. W. Bascombe and W. H. Berry, with Peggy O’Neil, George Vollaire, and Gladys Cruikshank. The ensembles and chorus numbers, by Ralph Reader, were particularly praised, as was Percy’s, ‘bright and tuneful’ orchestrations. Percy, as usual had organised a new combination for the show, which also formed the majority of his recording band for his Metropole/Piccadilly issues recorded from February to July 1928. The band included, Freddy Pitt and George Brown (trumpets), Ben Oakley (trombone), Bill Rogers, Ralph Laughton and Harry Carter (saxophones), William Greaves (banjo), Dan Ingman (drums), with Sidney Bliss leading the string section.

Programme for ‘Merry Merry’
February 1929

Monti Ryan pictured on
a cigarette card - 1929

Also in February 1929, Percy moved into another new sphere of popular entertainment, the talking film. He made a 15 minute short as ‘Percival Mackey and his Trio’, for British Sound Film Productions, although the film doesn’t appear to have survived, and the other members of the trio are not known. Percy stayed with, ‘Merry Merry’, when it transferred to the Lyceum Theatre (in April 1929) until the end of its London run at the end of June 1929. Interestingly, just after ‘Merry Merry’ went into the Lyceum, Percy was approached by HMV to act as cover for Carroll Gibbons, who had left for a trip to America on 18 May 1929. According to Melody Maker, Percy would ‘temporarily take over the direction of the HMV house band and accompaniments for recording artists’ in his absence. In consequence, Percy undertook several New Mayfair (Dance) Orchestra sessions at HMV, plus a number accompanying others, with Gibbon’s deputy, Ray Noble, assisting. But with Percy now planning a return to the stage with a new band, he relinquished his role at HMV, and Ray Noble took over full time from July 1929.

Incidentally, at this time, Percy’s paramour, Monti Ryan, also got a distinct step up the show business ladder herself as the supporting soubrette in Gracie Field’s and Archie Pitt’s review, ‘The Show’s the Thing’, for which Percy had written the orchestrations. (It opened at the Victoria Palace on 4 June 1929, later transferring to the Lyceum).

Go to Chapter 3

Any further information on the career of Percival Mackey will be much appreciated.

Please e-mail Terry Brown nostalgia@martel.plus.com with any additions or corrections.

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