Dick Heckstall-Smith: A Virtuoso of Jazz and Blues
Early Life and Musical Beginnings
Dick Heckstall-Smith, born Richard Malden Heckstall-Smith on September 16, 1934, in Ludlow, Shropshire, England, was a renowned jazz and blues saxophonist. He began playing piano, clarinet and alto saxophone in childhood. After refusing a second term at a York boarding school, he went to Gordonstoun, where his schoolmaster father, Reginald, had taken a job. Reginald soon fell out with the autocratic Kurt Hahn and the family retreated to Dartington. Heckstall-Smith completed his education at the Foxhole school before reading agriculture – and co-leading the university jazz band – at Sidney Sussex College, Cambridge, from 1953. Aged 15, he had taken up the soprano sax at Foxhole, captivated by the sound of Sidney Bechet. Then the smokiness of Lester Young’s sound caught him, and the music of tenor saxist Wardell Graybridge, who was the bridge between Young and the Charlie Parker bebop generation.
Career Development and Musical Collaborations
Heckstall-Smith was an active member of the London jazz scene from the late 1950s (including a six-month stint from December 1957 with the band led by clarinettist Sandy Brown). He joined Blues Incorporated, Alexis Korner’s groundbreaking blues group, in 1962, recording the album R&B from the Marquee. The following year, he was a founding member of that band’s breakaway unit, The Graham Bond Organisation. In 1967, Heckstall-Smith became a member of guitarist-vocalist John Mayall’s blues rock band, Bluesbreakers. That jazz-skewed edition of the band also included drummer Jon Hiseman, bassist Tony Reeves, and future Rolling Stones guitarist Mick Taylor. They released the album Bare Wires in 1968. From 1968 to 1971, Heckstall-Smith, Hiseman, and Reeves were members of the pioneering UK jazz-rock band Colosseum. The band afforded Heckstall-Smith an opportunity to showcase his writing and instrumental virtuosity, playing two saxophones simultaneously.
Recognition and Awards
Heckstall-Smith’s contributions to jazz and blues have been recognized with numerous accolades. He was known for his innovative collaborations and also created his own plectrums using dentist’s acrylic and sometimes plucking his guitar’s strings with objects such as pebbles and shells. Some of the guitarist’s creations form part of the exhibition, along with pedals, posters, programmes, and records. In 1970 he co-founded Incus Records, believed to be the first artist-owned label, in which musicians were involved in every stage of production, right down to their album artwork.
Teaching and Mentoring
In addition to his performing career, Heckstall-Smith was also a dedicated educator. He shared his knowledge and experience with the next generation of musicians through various teaching positions.
Current Work and Projects
Even in his later years, Heckstall-Smith remained active in the music scene. He continued to perform, record, and contribute to the jazz and blues community. His recent projects included physically distanced concerts, live streams, and the release of new albums.
Conclusion
Dick Heckstall-Smith’s life and career serve as an inspiring example for aspiring musicians. His dedication to his craft, his contributions to jazz and blues, and his commitment to education have left a lasting impact on the music world. His story is a testament to the power of passion, perseverance, and continuous learning in the pursuit of musical excellence.
- “R&B from the Marquee”(Blues Incorporated): This album, recorded with Alexis Korner’s groundbreaking blues group, showcases Heckstall-Smith’s early work in the blues genre.
- “Bare Wires”(John Mayall’s Bluesbreakers): This album features Heckstall-Smith’s work with John Mayall’s blues rock band, Bluesbreakers. The band also included drummer Jon Hiseman, bassist Tony Reeves, and future Rolling Stones guitarist Mick Taylor.
- “Colosseum”(Colosseum): From 1968 to 1971, Heckstall-Smith, Hiseman, and Reeves were members of the pioneering UK jazz-rock band Colosseum. The band afforded Heckstall-Smith an opportunity to showcase his writing and instrumental virtuosity, playing two saxophones simultaneously.
- “A Story Ended”: This album showcases Heckstall-Smith’s work in the fusion genre, blending elements of jazz and rock.
- “Woza Nasu”(also known as “Where One Is”): This album showcases Heckstall-Smith’s work in the world fusion genre, blending elements of jazz with various world music traditions.
- “This That”: This album, recorded with Jack Bruce and John Stevens, showcases Heckstall-Smith’s innovative approach to free improvisation.
- “Celtic Steppes”: This album showcases Heckstall-Smith’s work in the world fusion genre, blending elements of jazz with Celtic music traditions.
- “On the Corner/Mingus in Newcastle”: This album showcases Heckstall-Smith’s work in the avant-garde jazz genre, featuring innovative interpretations of jazz standards.
- “Blues and Beyond”: This album showcases Heckstall-Smith’s work in the blues genre, featuring a mix of original compositions and blues standards.
- “You don’t know Dick”: This album showcases Heckstall-Smith’s work in the blues genre, featuring a mix of original compositions and blues standards.
