FLANNELLED FOOLS - BRITISH JAZZ CRICKETERS including THE RAVERS part one

Frank Parr, Ray Smith and the author Matthew Wright

MATTHEW WRIGHT, jazz devotee, critic, author and longtime mainstay of Ray’s Jazz Record shop which stood proudly for some years on the corner of Shaftesbury Avenue, is slowly writing the definitive history of that strange British bond between jazz and cricket. Eventually, there will be a book. Meanwhile, Matthew has very kindly allowed me to give visitors to this website a taster. It is in fact a large helping - so I am serving it up in three instalments, of which this is the first.

I never met Frank Parr of Lancashire who is jazz’s most famous cricketer but I was close friends with the record shop owner Ray Smith who in his day was a demon spin bowler for “The Ravers” cricket club.

Over to Matthew:

 “I like it when nobody, neither the participants nor the audience, knows what’s going to happen or how it’s going to turn out, which is the link between cricket and jazz.” (Writer Richard Williams)

Last summer saw the series of cricket matches known as The Ashes played between England and Australia and it reminded me of one day in 2013, when a small group of us left the Magdala pub in Hampstead to scatter the remains of writer, former agent and long-time editor of house magazine Jazz at Ronnie Scott’s, Jim Godbolt. On our way to the Heath I noticed clarinettist Wally Fawkes had an earpiece plugged into a radio, and asked him what he was listening to. “Cricket,” he appropriately replied, “The Ashes.”

Wally and Jim shared a liking for the game and played together for a number of years for the Ravers Cricket Club. Founded in 1954 in the Blue Posts pub, as a result of Wally and pianist George Webb deciding that the 100 Club (then known as the Lyttelton Club) should have a jazz cricket team, its early members included Mick Mulligan, Max Jones, Sandy Brown, Jim Bray, Harry Hayes, Monty Sunshine and agent Lyn Dutton. During the next few years Bruce Turner, Frank Parr, Frank Holder and his brother Ovid, Bob Dawbarn, Jim Godbolt and Ray Smith were all regulars.  Others in the jazz fraternity that later played included Brian Lemon, John Chilton, Johnny Barnes, Campbell Burnap, Jeff Horton of the 100 Club, writer Richard Williams and Martin Ash (aka Sam Spoons of the Bonzo Dog Band).

Frank Parr was the most eminent cricketer, having played for Lancashire from 1951-54 and tipped by the Times as a potential future England wicket keeper. Unfortunately he fell out with the Lancashire captain, Cyril Washbrook, and although Frank was offered a place at Worcestershire, Washbrook told them Frank was a social liability, apparently based on his scruffiness and habit of holding jam sessions in the changing room. The Lancashire and England fast bowler, Brian Statham, described Frank as “a fine wicketkeeper, but he was an arty, untidy type who looked what he was, a spare-time musician. Even in flannels, walking on to the field, he still managed to look anything but a cricketer.” A trombonist with the Merseysippi Jazz Band from 1949, Frank gave up county cricket and joined Mick Mulligan’s Magnolia Jazz Band in 1956, depicted graphically in George Melly’s Owning Up.

Max Jones holds court; Bob Dawbarn, Ray Smith and Robin Rathborne in attendance

 The team had its share of eccentrics – when captain Lyn Dutton asked Bruce Turner to field at square leg, the saxophonist was reluctant and when pressed for a reason answered “don’t like going anywhere that’s square, Dad.” Melody Maker photographer Eric Jelly often baffled opposing batsmen, as when fielding, the ball would make a deafening clank that resounded around the ground after hitting his tin leg.

Frank Parr leads Ravers CC off field; Ray Smith extreme left; Harry Hines extreme right; Wally Fawkes rear centre, smoking.

Drummer and manager of Collets Jazz Shop (later Ray’s), Ray Smith, was a long-serving member of the team. As a 'modernist' amongst many traddies and mainstream jazzers, Ray took some flak, especially on his debut when the caustic Mick Mulligan started singing “I Ain't Got No Body” on seeing Ray's unathletic, skeletal body in the changing room. But Ray was a spin bowler of great skill, taking over 1,000 wickets and such was his reputation that a rival club invited him on tour. In one match, Ray took all nine wickets to fall when the last batsman came in. It was the last ball of his over and he decided to improvise – change his style by bowling absolutely straight, simply varying the pace and flight. This had the desired effect as the final batsman missed the ball which hit his pad directly in front of the stumps. A clear leg before wicket and all ten wickets for Ray. To his astonishment the umpire judged it not out. The bowler at the other end then took the tenth wicket. In the club house after the match, over a drink, Ray questioned the decision and the umpire agreed it was plumb lbw, but added that as the batsman in question was chairman of the club, he had no intention of giving him out first ball. Enough said!

Later in the early 80s, this ability & prowess led to Ray being asked to advise young spin bowlers at the nets at Lords, where he could often be seen watching matches with drummer Charlie Watts, another ardent follower of the game, or with his close friend, improvising musician Paul Shearsmith. In his earlier drumming days, Ray was in Wally Fawkes’ band that also had Dave Wilkins on trumpet, so one can imagine the conversation in the band room.

TO BE CONTINUED…………………………………………

The Ravers C.C.late 50s: Back row l to r Pete Appleby, Bob Dawbarn, Jim Bray, Jom Godboldt, Mick Mulligan, Bruce Turner. Front row l to r: Frank Parr, Robin Rathborne, Wally Fawkes, Ray Smith