Granville Edwards

b. Granville Mortlock Edwards, 3 Feb 1921, St. Anne’s Parish, Brownstone, Jamaica, d. 7 August 2004, Manchester, Britain. Edwards’ dad was a bandmaster so that as a son he performed trumpet under his tutelage. A lip damage prompted a big change to reed tools and he ultimately settled using the tenor saxophone. A preference for jazz created after hearing the music on radio so that as an adolescent he shaped his own music group, playing dance music. In 1940, he went to the USA, operating at various careers in several state governments, hoping to build up enough money to get decent equipment for his music artists back home. Back Jamaica, he resided and proved helpful in Kingston where he noticed bop, again thanks to the air, and was interested more than enough to seek to create this type of jazz into his repertoire. In 1948, Edwards visited Britain over the SS Empire Windrush, among the many Western world Indians forming an integral part of the new influx of migrants that was to truly have a lasting influence on United kingdom culture and specifically on music in London. Edwards resided in various areas of the united kingdom before taking on home in Manchester where he was to stay almost continuously for the half hundred years. He took stock function, but produced a music group that performed whenever and wherever he may find function. He continuing with a time work, with music being a sideline that was even more vital that you him because of its intrinsic benefits than as a second income. His rings were generally multi-racial, with Africans, Western world Indians, Europeans; their music, ethnically-charged contemporary jazz using a pronounced Caribbean experience. One of is own sidemen was bass participant Lord Kitchener, better referred to as a calypso vocalist. Every once in awhile, jazz music artists from London on appointments to Manchester would look for and sit along with Edwards, notably Tubby Hayes and Joe Harriott. Edwards continuing with this vein, day time work and music by night time, for another 30 years, occasionally playing resorts, but mainly pubs and night clubs. Initially, he could profit from the trad jazz growth although his musical passions were a lot more assorted and versatile. Among locally-based music artists with whom he performed had been banjoist Martin Boorman, whom he became a member of in Mardi Gras, a music group that also included trumpeter Cuff Billett and bass participant Mickey Ashman. Edwards also used gospel vocalist Sheila Collier, and a fellow Jamaican, pianist Chester Harriott. It had been though his reference to the second option that Edwards begun to function frequently at Granada Tv’s Manchester studios, chiefly off display screen. The Granada music group, in fact trombonist Dave Donahoe’s Hi-Life Music group, a fresh Orleans-style marching music group, entertained tourists going to the studios and in addition performed outside gigs, including executing at 1990’s celebration at Ascona, Switzerland. Edwards continuing playing until soon after the 1994 Cork Jazz Celebration when he was compelled to abandon his device due to a blood coagulum over the lung. A couple of years afterwards, this habitually retiring musician’s profile grew up just a little when he became the main topic of an affectionate content by Val Wilmer in the Sept 1998 problem of Jazz Journal International.