Peter Ind - Sound Engineer and Recordings
Even in my youth – recording was a part of music
My uncle set up his own radio station. You could do that then. They broadcast concerts.
My parents were amateur musicians – my father played piano my mother the violin
I watched my father teach my sister the piano and taught myself
By 16 I was playing in local dance bands and entertaining the troops
By 1947 I was playing the bass professionally with Freddie Barratt’s band
1948 Radio broadcasts of our music with Lou Praeger were recorded.
Playing on the Queen Mary
Visiting NY was the only way to hear the emerging jazz music
I was part of “Geraldo’s Navy” – the entertainment bands on the liner – The Queen Mary.
Between 1949 and 1951 I played for 60 crossings on the Queen Mary in cabin class.
We would spend two days in New York, mostly going to the centre of jazz on 52nd street
52nd Street, the centre of New York Jazz - what an introduction!
From Peter Ind – Play Now Pay Later: The Bass Clef story Mar 2009
“Summer 1949 I remember hearing George Shearing with John Levy ,, Errol Garner at the Three Deuces .. Charlie Parker would also play (there) with Max Roach.. Coleman Hawkins regularly played in 52nd St clubs .. my second trip I heard Lennie Tristano’s group in the Orchid Room.. To my ears it was a huge step forward in the development of jazz”
I went to live in New York in 1951 and was a part of that jazz clubs and loft scene
Photo of me by W Eugene Smith at his studio
The Jazz Loft Project Book
Lofts were a crucial part of the vibrant cultural context of New York in the 50s.
Artists and Musicians often lived in old industrial building lofts in those days.
They were cheap, a good size but cold and with VERY basic facilities – nothing like todays luxurious loft living.
In industrial areas you could make noise and play music all night with no complaints.
We would rehearse, play, record and meet up with writers, artists and photographers.
My long time fascination with Recording started in New York...
I, like other musicians, went to NY to be able to hear the Jazz on 52nd Street – only a few 78 RPM jazz disc were available in the UK
1950 when I visited NY it was the beginning of vinyl records and use of tape machines (Before they were 10” black shellac disc recorded at 78 RPM)
Newly arrived, in the summer of 1951 I helped Lennie Tristano set up his recording studio in East 32nd Street on Manhattan’s lower East Side
The Wave LP “Timespan” with Lee Konitz captures that atmosphere in some of our loft sessions that I recorded in the early 1950s
Working with Lennie Tristano opened up a new world of jazz – playing & recording
My first gig in NY – Lennie asked if I could play a set at Birdland
Nov 1951 My first professional jazz recording was with Lennie Tristano and Roy Haynes at Lennie’s studio – the first overdubbing
1952 I purchased my 1st tape machine recording in clubs
1955 I bought Lennie’s Presto recorder and set up my recording studio in Riverside Drive, Upper Manhattan
Early 1958 I purchased Ampex equipment for my loft studio in Astoria, Long Island
1960 I moved to larger loft premises in downtown Manhattan
1961/62 I recorded groups – Zoot Sims, Al Cohn, Bill Evans, Tommy Flanagan, Jerry Mulligan – for record labels – Verve, Bethlehem, Warwick. I made tapes of Abby Lincoln, Max Roach and Coleman Hawkins in the “Freedom Now” group.
I made a number of recordings with Lennie Tristano in the early 50s
- Lee Konitz – “Konitz” 1954 (Storyville, 1954) LP (Side)
- Lee Konitz Quartet – 1954 (Timespan – Wave LP14) (Side)
- Lee Konitz at Harvard Square 1955 Boston USA. 1955. Storyville LP 323 (Side)
- Lee Konitz “Inside Hi-Fi” 1956 (Atlantic) LP (Side)
- Lee Konitz – Very Cool 1957 (Verve, 1957) LP (Side)
- The Real Lee Konitz – Lee Konitz 1957 Atlantic 1273 LP (Side).
- Lee Konitz in Hi Fi 1958 Atlantic 1258. LP (Side)
In the 50s I worked and recorded fairly continuously with Lee Konitz
I worked and recorded with other jazz musicians in New York, Notably Buddy Rich...
Paul Bley 1954 (EmArcy)
Jutta Hipp live at the Hickory House 1956 (Blue Note)
Unusually this was recorded by Blue Note
Both Rudy van Gelder and I had begin making recordings around the same time and he came to the club to record this two volume vinyl.
My only top ten LP Hit in New York
We were so full of interest and enthusiasm exchanging ideas and cultural experiences
One memorable experience was playing Oriental improvised music with an Armenian Band – we got into the charts!
By 1961 I had my loft studio, started the Wave label and put out my own first LP - Looking Out
The LP was a mix of recordings with various musicians recorded 1957 – 1961
It included a song by the incredible singer Sheila Jordan – her first song. She is still touring in 2019
1963 – 66 I moved from New York to Big Sur in California with a young family
I was painting, researching cosmic energy, giving concerts but no recordings. I played the first bass solo concerts at Hertz Hall the University campus Berkeley, California
This concert was recorded and released as part of Wave CD 22 Sixty Years with my Bass – Well Almost: Peter Ind)
In 1966 I moved back with my family to the UK and a new arena of teaching, playing and recording
1967 – Co-founder with Bernie Cash of the first full time jazz course in the UK at Leeds College of Music
1975 Bernie and I also brought Lee and Warne over to gig and record in Europe
I was still recording with other UK bands:
Tommy Whittle Quartet – Sax for Dreamers 1967 (Masquerade}
Tony Coe / John Picard Quintet 1966 (Jazz tete a tete)
Buddy de Franco “On Tour” 1974 with Buddy de Franco/ Martin Taylor (HEP)
Bud Freeman – Song of the Tenor 1975, (Phillips LP)
Camden 75 Bob Wilbur Bud Freeman and Peter Ind
BUD FREEMAN Song Of The Tenor (1976 UK 12-track LP, Philips
including Bob Wilber on Soprano Sax & Clarinet, Bruce Turner on Alto Sax & Clarinet, Keith Ingham on Piano, Peter Ind on Bass & Bobby Orr on Drums in sessions recorded in London on November 4th 1975, joined by Roy Williams on Trombone the following day
In the 70s I was recording sessions with a number of UK musicians
– and a group of UK musicians inspired by Lennie Tristano’s music
In particular I was working with Bernie Cash – We both saw Bach as one of the first improvisers. I also played a lot of classical concerts during this time.
I wanted Wave to be as focused on learning and exchange of ideas as recording concerts
Duos provided a very particular way of exploring improvisation
As examples – we recorded Martin Taylor’s first two LPs and a special collaboration with Louis Stewart
In the 1980s I set up a recording studio. Firstly in my Twickenham House then at 1 Hoxton Square. Central London
In 1984 I opened the music club – Bass Clef - in the building and in 1990 I opened the Tenor Clef
Photos – Tim Motion, Brian O.Connor and David Sinclair
I invited over many musicians I knew from New York – we recorded the gigs
Duke Jordan – Charlie Parker’s pianist (Photos Brian O’Connor)
We began to record some of the good club concerts on African and Latin nights
Afro Latino – Recorded live from the Bass Clef
Samba con salsa – recorded live from the Bass Clef
By 1988 there were 26 Vinyl Discs in the Wave Collection
But rotten timing – LPs were out of favour. New kids on the block – CDs – became all the rage.
|1. Looking Out – Peter Ind and friends, including Sheila Jordan 1961|
|2. Sal Mosca/ Peter Ind at the Den 1975|
|3. Improvisation – Peter Ind 1968|
|4. Time for Improvisation – Peter Ind 1967|
|5. Jazz at the 1969 Richmond Festival 1969|
|6. Release Record Send Tape – Warne Marsh 1975|
|7. Your Friendly Neighbourhood Rhythm Section Peter Ind Tox Drohar 1974|
|8. Sal Mosca/ Peter Ind solos and duets 1969|
|9. No Kidding – Peter Ind w Chas Burchell, Tox Drohar, Dave Cliff 1974|
|10. Warne Marsh – Jazz from the East Village 1976|
|11. Jazz Bass Baroque Peter Ind – with Martin Taylor/ Daryl Anger 1988|
|12. Baubles, Bangles and Beads – Louis Stewart/ Peter Ind 1976|
|13. Peter Ind Sextet 1975|
|14. Timespan – Lee Konitz 1977|
|15. Kings of Clubs – Matthew Ross and Eddie Thompson 1983|
|16. Lee Konitz/ Warne Marsh – The London Concert 1977|
|17. Martin Taylor/ Peter Ind/ John Richardson Taylor Made 1978|
|18. Great Jazz Solos Revisited 1978|
|19. Time for Improvisation Vol ii – Martin Taylor and Peter Ind|
|20 Contrabach – Peter Ind Bernie Cash 1970|
|(Martial Solal – The Martial Solal Concert Album)|
|23. Ray Swinfield’s Argenta Ora – Angel Eyes 1983|
|24. Triple Libra – Martin Taylor Peter Ind 1981|
|27. The New Paul Whiteman Orchestra 1974|
|28. Afro- Latino – Live from the Bass Clef, London 1985|
|29. Leave My Name at the Door – District Six 1986|
|31. Samba con Salsa – Latin music from the Bass Clef London 1987|
1994 - Bass Clef collapsed
With bank loan rates of 19%, Hedge fund money now unfettered and developers keen to grab the potential of an underdeveloped area, guess what?
When the business collapsed I was devastated – I felt betrayed
But 6 months later I played the tape of Kenny Barron’s Morning of the Carnival at the Bass Clef– it was so beautiful.
It gave me the energy to think of putting out recordings again
We decided – with Sue’s help – to re-start the company and put out a series of CDs
I still continued to record duos and trios
A rare experience – two basses playing together with the wonderful Rufus Reid (Photo Sue Jones)
“Sixty Years with my bass – Well Almost” – recorded as solos and trios with Tony Barnard and Matt Wates. Recorded at my fellow club owner Steve Rubie’s 606 club in Chelsea. (Photo Tim Motion)
Most recently I recorded more jazz events
Most notably re-uniting with Lee Konitz, recorded at Steve Rubie’s club the 606 in Chelsea (Photos Sue Jones)
I did a number of sessions with Tony Barnard and Jim Mullen and the Barnard family, including a recording at Ronnie Scotts
It was good to be asked by Ian Shaw to record an album at Abbey Road studios in 2011
Anything else – yes a planned CD with Martin Taylor in 2019
And Now – at 90?
Yes I am still so enthusiastic about recording. In the pipeline:
- The new CD with Martin Taylor
- The idea for a new recording of Oriental Improvisational Rhythms and Rhymes
- Involving younger generations in practically understanding tape recording– now a piece of jazz history technique.
I have always explored poetry and jazz improvisation
I played with the poet Eric Barker in Big Sur, jazz poetry with Michael Horowitz and Pete Brown In the 70s and more recently with Peter Marinker. We are preparing an album with oriental rhythms
I also played on Molly Parkin’s Poetry and Jazz CD
My tape collection
I have taken all the tapes I had from my New York days and the Wave recording studios at Bass Clef with every move. Imagine carrying tapes from 1954 onwards.
With help I am now going through them all.
We have just found some gems: Oscar Peterson from the New York days and Stephane Grapelli and Buddy de Franco from the Wave days
A new project – or maybe for the next generations
Are new generations interested to try and use the reel to reel and 24 track systems?
I am hoping so – I would like to set up a recording arena for them to try
I want to involve them in practically mastering the original recording tapes of Wave and recording on a 24 track Deck – which is now a historic technique.
I have a working studio. In turn they can show me how to digitize them!