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James Blades OBE
By Michael Skinner
James Blades was born in Peterborough, England on September 9, 1901, the eldest
of four brothers, three of whom became professional percussion players. Similar
in appearance, they frequently deputised (subbed) for each other on busy days.
A trumpet player of the time told me that, on one occasion, James, known to everyone
as Jimmy, began playing a film music cue and Tommy finished it, Tommy having
arrived in the middle of the "take" as Jimmy left to go elsewhere.
At the end of the sequence the conductor looked over at the percussion and remarked, "Ah,
I see, an enharmonic change."
Jimmy's first remembered interest in percussion was sparked by the bass drum
player of the local Salvation Army Band. His first musical training, however,
was as a choirboy at the local church. At the age of 11, he first played the
snare drum with a Boy Scout band. After leaving school he began training as an
engineer, learning skills he was to use later in film-recording studios and in
working with composers. During this time he received lessons from his Uncle George,
a local amateur drummer.
His first professional engagement occurred in 1921 when he joined a tour as drummer
with Ginnett's Circus. This did not last very long as, shortly afterwards, the
circus went bankrupt.
After this short, but instructive, experience, Jimmy began working in silent
cinemas, gradually working his way up the scale. It was during this time that
he perfected the art of "double drumming"; that is, playing both the
snare drum and bass drum with snare drum sticks, the bass drum being upright
to the right of the snare drum and with the snare drum at a very steep angle.
This was common practice before the general use of bass drum pedals. Later in
his career Jimmy was very fond of demonstrating this technique to his (younger)
colleagues.
Jimmy also acquired the experience of creating sound effects for the weekly films.
Eventually, Jimmy reached the first goal on which he had set his sights: the
West End of London, playing at the Holburn Empire in 1928. Here he played for
many great artists of the day, one of whom was the great xylophonist Teddy Brown,
who befriended him and gave him useful tips on xylophone playing.
In 1932, on hearing that a drummer was required for the newly opened Gaumont-British
film studios, he applied for and got the job: thus beginning a recording career
spanning more than 40 years.
In addition to coping with the sound-track music, Jimmy found himself in some
bizarre situations. He appeared in the film Sanders of the River as a
heap of straw and for another film, The Magic Marble, found himself lying
on top of an upright piano, in the dark, playing the piano keys with snare drum
sticks with a marble attached to the ends. The sticks were treated so that only
the marble was visible.
During this time he recorded the "J. Arthur Rank Gong," which appeared
at the start of all Rank Films. A famous boxer of the day, Bombadier Billy Wells,
was filmed striking a gong made out of plaster; Jimmy recorded the strokes on
a real gong.
In 1936 Jimmy met Benjamin Britten for the first time, recording the young composer's
music for a Post Office promotional film, Night Mail. Later on they were
to form an outstanding musical partnership.
Shortly after the outbreak of World War II, Jimmy became an Associate Member
of the London Symphony Orchestra, beginning a new phase of his career. Playing
also for the London Philharmonic Orchestra, he played the symphonic repertoire
with the great conductors of the day. Among the chamber music performances he
took part in at this time were early performances in the UK of Bartok's "Sonata
for Two Pianos and Percussion."
The BBC (British Broadcasting Corporation) needed a signal for their broadcasts
to occupied Europe. Jimmy was approached for this project and it was decided
to use the Morse code letter V for Victory, which is dot-dot-dot-dash (short-short-short-long).
Jimmy recorded this on an African drum, using his handkerchief to damp the short
notes. This sound became the station identification signal of the BBC European
Service, and was broadcast many times a day, presaging the BBC's News and the
nightly messages to resistance groups. Jimmy said later, "That was the greatest
noise I ever made." It is probably the most heard percussion sound of all
time.
After the war's end, Jimmy continued his career as an orchestral player and "in
demand" session musician. The expression "send for Jimmy Blades" became
a contractor's solution to a problem.
His career as a chamber musician continued with membership of the Melos Ensemble
and later with the English Chamber Orchestra. His accuracy of intonation and
clear sound were evident with these groups. One of the highlights of this chamber-music
side was a performance in 1957 of "The Soldier's Tale" with Stravinsky
conducting. Later he published his own realization of the
percussion score.
His association with Benjamin Britten was renewed in 1952 when he performed Britten's
opera "Albert Herring" at short notice. This renewed partnership lasted
for more than 20 years. The recordings of the period, "Turn of the Screw," "Albert
Herring" etc., reveal how Britten wished his works to be played, and should
be studied by anyone intending to perform these works.
In 1962, Jimmy, as a member of the Melos Ensemble, played the first performance
and recorded the chamber group percussion part of Britten's "War Requiem," a
recording noteworthy for its accuracy.
During this period of time with Britten, Jimmy's experience as an engineer and
as a silent cinema drummer came to the fore. Some of these effects are now legendary:
the multi-bladed whip to
create the crackling of flames in Burning Fiery Furnace, the conical gourd for
the uneven shuffling of feet in The Prodigal Son and the motor-car spring for
an anvil (a Rolls Royce, of course). Whatever Britten, and many other composers,
asked for, Jimmy came up with a solution.
Jimmy retired from full-time playing in 1971. However, in 1973, he returned to
participate in the first performances and recording of Britten's last opera, "Death
in Venice." Here again he was to
use his creative talents. Britten had specified that, at one point, the bass
drum should be played with wire brushes to imitate the sound of the vaporetto,
the water bus plying between St. Mark's Square in Venice and the Lido. But the
effect was not quite right. Jimmy used two scrubbing brushes on the bass drum,
portrayed very well the "swish" and "thump" of the boat's
reciprocating engines.
Jimmy was married twice. His first wife, Olive, whom he married in 1927, sustained
him in the early part of his career. Olive died in 1945. In 1948, Jimmy married
Joan Goossens, a distinguished pianist and oboist. In 1942, Joan was awarded
the Instrumentalist's Gold Medal at the Guildhall School of Music, London for
her piano playing.
That same year, Joan suggested to Jimmy that he give a talk to the local music
society on his experience as a professional percussion player. This, being a
success, launched Jimmy into a new phase. Accompanied by Joan, he gave dozens
of lecture recitals to school children, music clubs, in prisons, and factories.
His lecture recital was broadcast on television on several occasions. He was
witty, charming and, above all, entertaining.
He was the first person in the UK to bring percussion to the general public.
People still say to percussion players here, "When I was at school James
Blades came to give a talk."He was particularly proud of his work with handicapped
children and enjoyed talking to and working with them; helping a mentally handicapped
child to play a few notes on a maraca he regarded as a real achievement.
Jimmy's teaching career began with giving occasional private lessons. Among the
youngsters who had lessons from Jimmy were Eric Allen (session musician), Heather
Corbett (Principal Percussion, B.B.C. Scottish Symphony Orchestra), and rock
drum star Carl Palmer.
In 1954 Jimmy was appointed Professor of Percussion at the Royal Academy of Music,
London. Here he organized an examination system for diplomas in percussion—one
of the first in the UK.
He taught and influenced many students who are now prominent players and teachers
in the UK and abroad. His teaching emphasized musicianship and integrity. In
addition, he was wont to give students sound business advice as well as instrumental
tuition, "Earn while you learn and learn while you earn" being one
of his favorite quotes. His list of former students is considerable. He was proud
of the achievements of all of them.
After his retirement from the Royal Academy of Music Jimmy continued to teach
privately and at the annual week-long percussion course at the Canford Summer
School. There he always gave a master class on "The Soldier's Tale," quoting
Stravinsky's remark to him: "I see you have been a jazz drummer."
Jimmy authored several books: Orchestral Percussion Technique (1961, Oxford
University Press) is a basic instruction book in which the author takes a student
timpanist through an imaginary performance of Elgar's "Enigma Variations," with
lots of advice on how to approach such a major work, particularly with regard
to the tuning changes.
In 1970 Faber & Faber published Jimmy's major work, Percussion Instruments
and Their History. This work is the result of many years' research into the
history and development of percussion. It is, literally, an encyclopedia of percussion.
Jimmy spent many weeks in the Reading Room of the British Library reviewing material
as far back as Arbeau's Orchesographie of 1588. In addition to his own
research, Jimmy made use of the collective experiences and knowledge of many
of his colleagues. It is, without doubt, the greatest work of scholarship concerning
percussion to be printed. It has been reprinted several times and has also appeared
in paperback.
In 1997, Jimmy's autobiography, Drum Roll, was published by Faber & Faber.
This is a most entertaining, amusing account of Jimmy's life. In it he goes into
detail about his time in the film studios and describes how some of the sound
effects were created. It is full of anecdotes and is of interest to percussionists
and non-percussionists alike. In 1998 Thames Publishing issued These I Have
Met, in which Jimmy describes his meetings with some of the many characters
he
met along the way.
At 10 a.m. on October 28, 1995, Jimmy declared open, in resounding tones, PAS
(UK) '95—the first major PAS event to be held in the UK. His original intention
had been to open the proceedings, stay for an hour and go home. He was still
there, with Joan, at six o'clock that evening on the front row, listening to
the soloists and ensembles.
Jimmy received many honors during his career. He was made a Fellow of the Royal
Academy of
Music and received the Master of Music (M.Mus.) from Surrey University. In 1975
he was elected to the PAS Hall of Fame. In 1972, he became the first of three
UK percussionists so far to appear in the Queen's Honours List. He received the
OBE (Officer of the Order of the British Empire), acknowledging both his musical
career and his work with disabled children.
Jimmy enjoyed playing. He had a good sense of humor and was most entertaining
with his account of past happenings. He was kind and helpful to young players,
giving them the benefit of his long experience and excellent memory. He was always
pleased to see his friends and colleagues.
The last time I played with Jimmy was in 1987, when we played on "By Beat
of Drum," a recording of the fife and drum band The Guild of Ancient Fifes
and Drums. On this recording we played his realization of the traditional "English
March" and together played the tenor drum part in "It's a Long Way
to Tipperary" - a well known World War I marching song. He really enjoyed
playing that session. Jimmy never lost his boyhood enthusiasm for drumming.
Jimmy Blades died at his home in London on May 19, 1999. His life and career
spanned the 20th century. During his time he witnessed an amazing revolution
in percussion. He made a major contribution to this revolution through his own
work, his co-operation with composers, his teaching of many of today's leading
players and teachers, and his book Percussion Instruments and their History.
He brought percussion to a wide audience through his performances, recitals and
his radio and television appearances. He was a player of intelligence, imagination
and integrity, and he was kind and helpful to the young people following in his
path.
(Michael Skinner was a long-time friend and colleague of James Blades.)
James Blade's bio
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