The hut at Cranford, the home of the Crane River Jazz Band. Photograph by Bruce Randall.

Ken and Bill formally left the Merchant Navy with little idea of how they could make a living, until brother Bob found them work with a concrete window frame and deadlight manufacturer in Hayes.

Ken was looking for a way to get into the jazz scene and would attend record recitals given by Jimmy Asman, Sinclair Traill and others. He began to sit in whenever he could with established bands, such as Mick Mulligan’s and Johnny Haim’s Jelly Roll Kings, whilst searching for a band to join.

After a couple of unsuccessful attempts, Ken learned of a group of musicians living in Cranford, who were trying to form a quartet. He met Ben Marshall, Sonny Morris and Ron Bowden and the Crane River Jazz Band was born.

The music of Bunk Johnson now became a major influence and intensive practice sessions in the fields by the River Crane and in Sonny’s parents’ house followed. John R.T. and Julian Davies and Monty Sunshine soon joined them and later, when he left the R.A.F., Pat Hawes.

The Original Crane River Jazz Band, formed in 1949, grew in stature until its final public performance at the celebrated Royal Festival Hall concert of 14 July 1951. This was organised by the National Federation of Jazz Organisations and given in the presence of H.R.H. Princess Elizabeth.

In March 1951, seven musicians from the Crane River and Humphrey Lyttelton bands got together to make some records for the Esquire label: Ken, Pat and Ben from the Cranes, and Keith and Ian Christie, George Hopkinson and Mickey Ashman from Humph’s band. The success of this event led to the formation of the Christie Brothers’ Stompers. Ken, Pat and Ben left the Cranes, which continued to be run by Sonny and Monty, and the newly formed band became established as a strong attraction amongst the bands in the London jazz scene.

After a while, Ken began to realise that he was not the leader of the band and the other members did not want to play in the style he wished to. Ken was aware that many of the men who had created the music he loved and could hear on his 78’s, were still playing in New Orleans. He decided, therefore, that he must go to New Orleans to learn more about its Jazz.

He gave notice, left the Stompers and rejoined the Merchant Navy, determined to get to New Orleans at the earliest opportunity.

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