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Bruce Turner

b. 5 July 1922, Saltburn, Yorkshire, Britain, d. 28 November 1993, Newport Pagnell, Buckinghamshire, Britain. A self-taught clarinettist, Turner used alto saxophone during armed forces service in Globe War II. Within the instant post-war years, Turner demonstrated himself to be always a completely eclectic and accommodating musician, playing both bebop and dixieland with identical aplomb and capability. Considerably, he also performed these diverse types of jazz with significant integrity. In the beginning of the 50s he became a member of a current development among British music artists and performed aboard transatlantic liners to be able to visit NY. While there he examined with Lee Konitz (this at the same time when Konitz was himself learning with Lennie Tristano). Not surprisingly exposure to modern believed in jazz, on his go back to the united kingdom Turner became a member of Freddy Randall, with whom he previously performed in the past due 40s, and began an extended association with Humphrey Lyttelton. His tenure with Lyttelton was proclaimed at its outset by one of the most extreme types of the department in loyalties among UK jazz viewers of the period; a banner bearing what ‘Go home, filthy bopper’ was waved in a concert as well as the expression got into the vocabulary even when, subsequently, it had been not at all times used in combination with defamatory objective. In 1957 Turner produced his very own ‘leap’ music group, a move that seems to have provided him the best option placing for his quirky, traveling playing design, which reflects the task of predecessors such as for example Pete Dark brown while staying distinctively personal. With this music group, Turner toured thoroughly, often accompanying going to American jazzmen such as for example Ben Webster, Ray Nance, Expenses Coleman and Don Byas. A few of these trips brought character clashes and resulted in Turner’s decision to fold the leap band. Within the middle-60s Turner after that returned to a far more traditional establishing with Acker Bilk. In the first 70s his romantic relationship with Lyttelton was resumed, although Turner continuing to business lead his own little rings and to function in a richly assorted selection of rings, from the original, with Keith Smith, to the present day, with Dave Green (notably within the group Fingertips). Past due in his profession Turner also used soprano saxophone, showing an effective order of the device. Among the exceptional British music artists of his era, Turner’s eclecticism may possess limited the pass on of his status. Certainly, this enormously talented and well-liked shape deserved to become better displayed on information and on the worldwide festival and golf club circuits.

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