The Doric Columns
Bobby Pratt 1927~68 Trumpeter
Robert Stuart Pratt was born 24th January 1927 in Aberdeen, Scotland. Played trumpet, flugel horn, piano, drums and Vocalist
Bobby Pratt was a trumpeter, with an incredible high register, and a laser sound
that could kill a man at ten paces. Ted Heath reckoned that he had been struck
deaf by getting too close to Bob while he was playing. ‘I wandered over in front
of him, and suddenly felt my ears go bang.
There is a large poster from that period advertising the Skyliners as being led by 'the ace-trumpeter Bob Stuart'. He was not over-keen on 'Pratt' so used his middle name a lot, much to his father's disgust. Alan Blomerley, of Newcastle upon Tyne, a colleague from those days, upon seeing a mention of this in a jazz magazine many years later, wrote, "When I saw the word Skyliners I made a big effort and dug deep into a certain cupboard. There, beside a pile of 78s was "the album", never opened since my daughter got hold of it and had hysterics. In it was a photo of the Skyliners. It's certainly an early photo; I know that because the late Bobby Pratt had jumped out of bed that morning and announced that he was changing his name to Stuart - which he never did, except on the photo caption!"
Another member of the Skyliners was the trumpeter Alan Moorhouse, who later wrote, "They had a terrific musical scene at the Royal Signals - a military band and a tremendous dance band - The Skyliners. They broadcast, gigged and everything. The personnel included Eddie Blair, Ted Brennan, Alan Braden and the late Bobby Pratt. There were so many good trumpet players looking for jazz that we used to play Roy Eldridge's "Little Jazz" 4 times a night so that everyone could have a bash at the solo!" Stardust - Bobby Pratt
Bill Le Sage: I was sent up to Scarborough to join the Royal Corps of Signals. Bobby Pratt, the trumpet player, was up there as well. Bobby was one of the greatest lead players we've ever had. He was known all over the world. In fact when he arrived in Los Angeles with the Heath Band, he was met at the airport by a crowd of the top session players in the States, who feted him. They thought he was the guv'nor. It worried him, though, all the pressure. It's tough up there at the top. When I arrived in Scarborough I went to audition for the Big Band they had up there. I didn't fancy my chances much, because my reading was pretty dreadful, being self-taught, and there were four other piano players who were quite good readers. I was having a cup of tea in the NAFFI afterwards, and Bobby Pratt came in. 'I won't get this' I told him. 'Those others can read' 'Yes' he said 'Unfortunately they can't play. I've told the Sergeant to get you in!' So I got that gig, two nights a week, and, as well, we went out with a small group, with Les Simons. There were so many gigs up there we never had a night off. That's as well as all the Army training in the day.
After his two years of National Service Bobby joined the Ken Mackintosh Band, at the time resident at the Astoria Ballroom, Nottingham, and remained there from March 1948 until April 1949. The Astoria was a well-known visiting venue for all of the great big bands of that period, and Bobby was regularly seen and heard by most of the top musicians and bandleaders of his day. It was a surprise to no-one that, when Kenny Baker left the prestigious Ted Heath Band, Bobby was nominated for the job of lead trumpet. Heath trumpeter Stan Roderick said, "I stayed with Ted for about 6 years. But as people started to leave, it somehow lost the original magic; I think the band changed character, really. Kenny Baker left after 3 or 4 years, Norman Stenfalt left, and I missed both of them. Mind you, newer players came in, like Bobby Pratt, who I recommended for the job. First of all, Ted wasn't too keen; saying, "Oh yes, I've heard him. He's a youngster with little experience; he plays a lot of high notes. I'm not sure." I said, "Well, Ted, I think he's the chap." We all know the rest. Dear old Bob. Who, incidentally, was a lovely boy. Apart from his tremendous high notes and powerful playing he was a big, happy character. I never heard him say a bad word about anyone."
With the Ken Mackintosh Band, Bobby played trumpet, flugel horn, piano, drums and also sang. He used to play Body and Soul, and his version of the tune will always be remembered by everyone who heard it. While Bobby was working with the Ken Mackintosh band it was obvious to all that here was a player of exceptional ability.
He was on a two-year contract
with Ken and Ted Heath made it known that he wanted Bobby just
as soon as his contract finished. He took over the lead chair from Kenny
Baker with Ted Heath, and it was there that he made a worldwide name
and became dubbed the Conrad Gozzo of Britain.
Ted said that Bert had a lot of trouble with the lead parts, which were too high and too strenuous for him. When he did manage, though, it sounded great. I could never understand why Ted didn’t give the lead book to Bert Ezzard, who was, as far as I was concerned, a far better player than all the rest of us, technically, and who could play every bit as high as Bobby Pratt, who was generally supposed to be the highest player in the country in his hey-day.
Heath with Bobby Pratt top right. Bobby Pratt and Bert Ezzard - Manhattan
Conrad Gozzo (1922-64) played with Isham Jones (1938) and Red Norvo (1940), then performed and recorded with Bob Chester (1941) and Claude Thornhill (1941-2). After working with Benny Goodman (1942) he joined the navy and played in a band led by Artie Shaw (1942-4). He rejoined Goodman in 1945, then toured and recorded with Woody Herman (he was featured as a soloist on "Stars fell on Alabama", 1946 Col.37197and performed with Boyd Raeburn and Ted Beneke (1947). In Los Angeles he played on Bob Crosby's radio broadcasts (1947-51). Gozzo was highly acclaimed as a lead trumpeter and was much in demand as a studio musician; he also took part in sessions with Les Brown (1949), Jerry Gray (1949-53), Ray Antony (1951-8), Billy May (1951-64). You Go To My Head
Conrad was considered one of the best lead players ever. He was also a terrific soloist. Conrad used what is known as "TONGUE CONTROLLED EMBOUCHURE" This method was also used by such greats as Harry James, Louis Armstrong, and Miles Davis
“In 1956 the great British ‘Big Band’ conducted by Ted Heath toured the USA. One of the features of their concerts was the duetting of trumpeters Bobby Pratt and Bert Ezzard, of both of whom I was a huge fan. It was after their performance in Pasadena near Los Angeles that Bobby Pratt was making his way out of the stage door of the theatre (he was a well built, but rather shy man) when he was accosted by a diminutive figure, who grasped his hand energetically and effused: ‘Mr Pratt, that was just marvellous playing: I truly believe that you must be the greatest trumpet player in the world’. Somewhat overwhelmed, Pratt replied with customary modesty: ‘Oh no, you’re very kind, but the greatest player, I believe, is a man called Conrad Gozzo.’ The other, in his turn, was overcome with confusion. ‘Why, thank you’ said he, ‘I am Conrad Gozzo.”
Bobby also worked with the string orchestra of Frank Chacksfield and played solo trumpet, Bobby Hackett style. On every session he did he would be booked from 10-2, then 2-5, then 7-10pm and this went on day after day. He made his name as a high note man, and on every session he did it was demanded that he play at the top of his range, often taking things up an octave to get more excitement in an arrangement. Bobby stayed with Ted Heath until November 1960. During this period he also worked in Humphrey Lyttelton's Big Band, Eddie Harvey's Big Band, with Bob Miller, and with the Ivor Kirchin band on various recordings and broadcasts. As he was under contract to Heath his name appears on the Kirchin band lineups for such dates as Big Tarp, a name conceived for him by the drummer Basil Kirchin. After leaving the Heath band he went freelance, worked with Johnny Keating, the Tubby Hayes Big Band, Downbeat Big Band, Tommy Watt, Jack Parnell's ATV Orchestra and many others. - Chris Hayes
^Bobby in Parnell's Orchestra 2nd from Right
we got married, Bobby was filming It's
a Beautiful World at
Shepperton Film Studios, consequently this was where we spent our honeymoon.
We were married on the 22nd January 1957 and not long after Bobby was off
to the States again. - Bobby with Tina
Other orchestras Bobby played with, mostly on sessions were Frank Weir, again with Ken Mackintosh, Joe Loss, Oscar Rabin, Dennis Wilson, Dennis Main Wilson, Norrie Paramour, Harry Robinowitz, Jack Parnell, Sunday Night at the London Palladium, John Coleman, Geoff Love, Malcolm Lockyer, the Cyril Stapleton Show Band, Frank Chacksfield and Laurie Johnson. Laurie entered the film industry doing scores for Dr Strangelove in 1964 and The Avengers in 1966, and Bobby was on the latter.
Some of the shows he accompanied, with various orchestras, were: Steptoe and Son, The Arthur Haynes Show, The Dick Emery Show, The Dave Allen Show, Morecambe and Wise (their first six shows, one of these had the guest artist Maurice Chevalier, I was there and met him), That Was The Week That Was, David Frost, The Fabulous Shirley Bassey and Hancock's Half Hour. He recorded with Geoff Love, Matt Monro, Laurie Gold, Petula Clark, Tony Hatch, Cilla Black and Tom Jones.
Bobby - Left with the Cyril Stapleton Band
Bobby Pratt died on the 5th of June, 1968, aged 41, in Alperton, Middlesex. He took his own life.(Conrad Gozzo had died four years earlier, in 1964, aged 42, from a heart attack).
Stan Reynolds: A tribute to
Britain's Conrad Gozzo.
After his stay with Ken Mack, he took over the lead chair from Kenny Baker with the legendary Ted Heath band, and it was there he made a world-wide name and was dubbed the Conrad Gozzo of Britain. What more fitting tribute can you give any lead trumpet man? Heath with Bobby - Hawaiian War Chant
Off the stand he was a lovable big beauty; never a show of temper or a bad word about anyone. All he wanted was to make music. He was the best work-horse any bandleader could ever have-yet at the bottom of his heart all he wanted was to play Bobby Hackett style of jazz, which he proved he could do on an album with Frank Chacksfield's Orchestra. Surely this deserves to become a collector's item. Stars Fell On Alabama
So we've had to say farewell to
one of the world's finest lead trumpets. I, for one, will always be thankful
that I had the privilege of being led by the Gozzo of Britain - Bobby Pratt.
trouble with playing
is that you have to be so damned accurate all the time. There can be no half
measures about it, because you are terribly exposed playing up on top there. The
strain has caused more people than I care to mention to turn to drink as a means
of bolstering up confidence, and Bob Pratt has been by no means the only lead
trumpet player in the world to commit suicide.
In the car Ted told me that he’d been using
Bert Courtley on lead trumpet after I’d left. Bobby Pratt had finally
succeeded in killing himself. Apparently, after his wife Tina left him he had
sunk ever lower into an alcoholic nightmare. The rest of the guys had
kept on booking him on sessions out of sympathy - this shows just how great all
these people were. He could hardly play, but they stuck him down on fourth or
fifth trumpet and told him to play it cool. Stan Reynolds had gone
to pick him up one morning and smelled gas. He broke into the kitchen and
rescued Bob, who was laying on the floor with his head in the oven. It was a
waste of time, because he did it again a short time later, and this time there
was no one there to stop him. Ted said that Bert Courtley had a lot
of trouble with the lead parts, which were too high and too strenuous for him.
When he did manage, though, it sounded great. I could never understand why Ted
didn’t give the lead book to Bert Ezzard, who was, as far as I was
concerned, a far better player than all the rest of us, technically, and who
could play every bit as high as Bobby Pratt, who was generally supposed
to be the highest player in the country in his hey-day.
A Bobby Pratt Memorial Concert was organised by bandleader Bob Barter (with whom Bobby had been working latterly) for July 1, 1968 at the 100 Club in Oxford Street, London. It turned out to be one of the hottest days for years and with the railwaymen in the middle of a go-slow strike, the odds were stacked against a big turn-out, but a large crowd came. There were many sincere musical tributes paid during the evening. Peter King's beautiful singing alto and the excellent Ron Matthewson's marathon stint on bass deserve special mention, along with Kenny Clare's sparkling drumming, Humphrey Lyttleton and the phenomenal Kenny Baker. Bob Barter organised the benefit, admirably aided by Stan Reynolds. Among those present were the Humphrey Lyttelton Band, the Bob Barter Band, the Ted Heath Orchestra (past and present members-directed by Jack Parnell), the Danny Moss Quartet with Acker Bilk, the Don Rendell/Ian Carr Group, the Ronnie Ross Quintet with Art Ellefson and the Kenny Ball Jazz Band. Notes by Geoff Burdett.
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