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Lagu Baron Soulmate Album Full Post To

Click the full post to read liner notes, links to more information, and a transcript of the episode.

Patreon backers also have a thirteen-minute bonus episode available, on Walk on By by Dionne Warwick.

Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on.

No Mixcloud this week due to the number of tracks by Manfred Mann.

Information on the group comes from Mannerisms: The Five Phases of Manfred Mann, by Greg Russo, and from the liner notes of this eleven-CD box set of the groups work.

For a much cheaper collection of the groups hits -- but without the jazz, blues, and baroque pop elements that made them more interesting than the average sixties singles band -- this has all the hit singles.

This podcast is brought to you by the generosity of my backers on Patreon.

So far, when weve looked at the British blues and RB scene, weve concentrated on the bands who were influenced by Chicago blues, and who kept to a straightforward guitarbassdrums lineup.

But there was another, related, branch of the blues scene in Britain that was more musically sophisticated, and which while its practitioners certainly enjoyed playing songs by Howlin Wolf or Muddy Waters, was also rooted in the jazz of people like Mose Allison.

Today were going to look at one of those bands, and at the intersection of jazz and the British RB scene, and how a jazz band with a flute player and a vibraphonist briefly became bubblegum pop idols.

Manfred Mann is, annoyingly when writing about the group, the name of both a band and of one of its members.

Manfred Mann the human being, as opposed to Manfred Mann the group, was born Manfred Lubowitz in South Africa, and while he was from a wealthy family, he was very opposed to the vicious South African system of apartheid, and considered himself strongly anti-racist.

He was also a lover of jazz music, especially some of the most progressive music being made at the time -- musicians like Ornette Coleman, Charles Mingus, and John Coltrane -- and he soon became a very competent jazz pianist, playing with musicians like Hugh Masakela at a time when that kind of fraternisation between people of different races was very much frowned upon in South Africa.

Manfred desperately wanted to get out of South Africa, and he took his chance in June 1961, at the last point at which he was a Commonwealth citizen.

The Commonwealth, for those who dont know, is a political association of countries that were originally parts of the British Empire, and basically replaced the British Empire when the former colonies gained their independence.

These days, the Commonwealth is of mostly symbolic importance, but in the fifties and sixties, as the Empire was breaking up, it was considered a real power in its own right, and in particular, until some changes to immigration law in the mid sixties, Commonwealth citizens had the right to move to the UK.

And several of the other member states, unsurprisingly, objected to the continued membership of a country whose entire system of government was based on the most virulent racism imaginable.

So, as soon as South Africa became a republic, it lost its Commonwealth membership, and that meant that its citizens lost their automatic right to emigrate to the UK.

But they were given a years grace period, and so Manfred took that chance and moved over to England, where he started playing jazz keyboards, giving piano lessons, and making some money on the side by writing record reviews.

For those reviews, rather than credit himself as Manfred Lubowitz, he decided to use a pseudonym taken from the jazz drummer Shelly Manne, and he became Manfred Manne -- spelled with a silent e on the end, which he later dropped.

Graham Bond, who weve seen in several previous episodes as the leader of The Graham Bond Organisation, was at that time playing Hammond organ there, but only wanted to play a few days a week.

Mann became the substitute keyboard player for that holiday camp band, and struck up a good musical rapport with the drummer and vibraphone player, Mike Hugg.

When Bond went off to form his own band, Mann and Hugg decided to form their own band along the same lines, mixing the modern jazz that they liked with the more commercial RB that Bond was playing.

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