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Chiltern Hundreds Area

   Drums & Jazz Drummers

Max Roach In classical music, only two people are important, the composer and the conductor. Everybody else is a serf.  But in jazz, a thing of beauty is created collectively with everybody getting to express an idea. And that reflects what democratic society is --- or should be.


A typical drum set consists of five drums: 14" snare drum, 22" bass drum, 16" floor tom, and 12" and 13" rack toms (also called rack toms or toms).  The traditional method of describing drum sizes: depth followed by diameter. Thus, a 10"x12" tom is 10" deep and 12" in diameter; a 6 1/2"x14" snare drum is 6 1/2" deep and 14" in diameter; and so on. Some companies, however, prefer to reverse these dimensions.
The bass drum and floor tom need to be assembled. Locate the drum key and the parts needed: shells, heads, rims and hoops, tension rods, and claws. Choose a clean, open area to do the assembly and you're ready to go!

If you don't already own a drum throne, purchase one. You'll be spending hours at your set so select a throne that is sturdy and comfortable. Set the height of the throne so that it carries most of your weight. This'll make you "light" on your feet so you can play your pedals with maximum speed and agility. Position the throne so you can reach the bass pedal comfortably.

Place the snare drum in front of you and adjust the height to a comfortable level. You can play the snare drum tilted (as shown above) or flat. Experiment with different tilt positions to discover which works best for you.

Position the hi-hat next to the snare drum within easy reach of your other foot. Your legs should feel relaxed, not too close and not too far apart. Most of all, you should feel balanced. Adjust the height of the hi-hat cymbals so that they can be reached comfortably.
Adjust the height, tilt, and closeness of the 12" tom so that it butts up against (but doesn't touch) the snare drum. Position the 13" tom beside the 12" tom. Set the floor tom level to or slightly lower than the snare drum. Arrange the toms compactly so that you can move from drum to drum quickly and easily. When everything is comfortably positioned, tighten all Stop-Locks securely.

Position your cymbals where they can be reached easily and don't get in the way of your drums.

Proper Cymbal Playing Techniques
Give your cymbals "breathing room." Bolting down the wing nut restricts the sound and can cause damage to the cymbals. Replace worn plastic sleeves and felt washers on the cymbal posts to prevent damage to your cymbals.  Avoid extreme angles when positioning your cymbals. Extreme angles not only restricts the movement and diminishes the response of your cymbals, but also puts excess pressure on the bell (cup) and can damage your cymbals.  Avoid direct hits to the edge of the cymbal - this may result in damage, especially to thinner cymbals. Strike cymbals, especially splash, crash, and Chinese models, with quick glancing blows to obtain optimum sound response while minimizing the possibility of damage.  Hi-hats should be loose and slightly tilted. This eliminates air lock and keeps the sound crisp and consistent.

As you learn more about your drums, you'll find that there is no right or wrong way to do anything. What matters is what works best for you

Buddy Rich

Alyn Cosker 

Alyn Cosker has emerged as the top young drummer on the Scottish jazz scene, handsomely fulfilling the promise he showed as a teenager in the Strathclyde Youth Jazz Orchestra.
He has gone on to work in a variety of other contexts, from the Tommy Smith Quartet and the Scottish National Jazz Orchestra to Celtic-rock outfit Wolfstone.
His work as a composer is less familiar. ‘There are a lot of styles going on within his trio, and he wanted to challenge himself’ 
The trio first came to notice in a sensational set at the Glasgow Jazz Festival’s Homecoming concert last year, introducing electric guitarist David Dunsmuir to a hitherto unsuspecting jazz audience, the better-known Ross Hamilton completing the trio on bass.

Dave Barry

Born in Cardiff. Moved to London late 60's and studied percussion at the Royal Academy of Music [Pete Jacobsen and Stan Sulzmann were also studying there at the same time.  Joined Mike Westbrook in 1979; worked with his various ensembles and big band and toured Europe and Australia. Was a member of the Tim Whitehead Quartet, with Pete Jacobsen and Arnie Somoygi, for twelve years; has been a member of Don Weller's Quartet and his big band for sixteen years and the John Critchenson -Art Themen Quartet for ten years.  

For the last five years he has been teaching drum kit and percussion for the Borough of Croydon, and am now their Percussion Coordinator. Also teaches at the Royal Ballet School, Richmond Park and Shrewsbury House School in Surbiton

Bobby Orr

Bobby Orr was born on 15 August 1928 in Cambuslang, Lanarkshire, Scotland..His childhood was spent surrounded by, and immersed in, the rich drumming traditions for which the Scots are world renowned. Bobby's father was a drum major, and it was probably written in the stars that he would become a drummer The fact that he began at the tender age of three gives you some idea of the talent we' are dealing with here.

Art Blakey says, Hey man, you gonna get up and play? I say no, but he grabs me by the scruff of the neck, and I go up and play"
                                                                                                                    ^ Swinging New York In 1956

Bobby regularly played at Ronnie Scott's Club, backing top American jazz stars like Zoot Sims, Al Cohn, Milt Jackson, and Dizzy Gillespie  Bobby Orr is one of the true talents of British drumming - a simple summing up for a man who has spent the best part of 70 years playing the instrument we love. His drumming credentials are exemplary and to talk of the past is to see a drummer of an ilk and style that are all too rare these days. But the thing that most impresses is the inspirational way Bobby Orr still plays at 78 years old and recently appeared with Tommy McQuater the veteran Scots trumpeter at Ealing Jazz Festival before his demise. 

Jazz Eddie - while erecting posters for Gig 17 in Princes Risborough I was approached from behind by a curious senior citizen - mmm Jazz Eh - have you heard of Bobby Orr the world famous Jazz Drummer?  the gentleman said - "I have as it happens"   was my terse and forward gazing reply - "Well that's me!"  said Bobby - a enthusiastic conversation then ensued about jazz and lapsed well into the Scottish dialect.  "Tell 'em I am still alive and drumming" he added.  Walters Ash is Rich beyond compare and Scotland is fair Scunnert.  Bobby had a spell as trumpeter with Basil Kirchin's band  before giving up to concentrate on Drums after embouchure problems.  Bobby's Trio + Guests appear at a fortnightly Sunday Jam Sessions at the Red Lion - Bradenham, Bucks. last of the season on 31st July 6 - 9pm

Bobby's Party Piece - Mozart - Turkish March on an HB Pencil http://www.youtube.com/watch?v=gnFW3uLTCA4

Bobby Orr is available for Drum Tuition and Drum Clinics for all aspiring drummers in Bucks Berks or Oxon - there is no finer local Tutor.  If you wish to register your interest and gather like minded students together he would be delighted to impart his insight and skills to all such enthusiasts. - contact
Bobby Orr Drum Tuition  01494 566067

Tony Royster Jr Drum Solo Video
Tony Royster Jr. is 25 years old now and plays like a seasoned professional drummer! Starting at the age of 3, his prodigious talent helped him become proficient in the styles of Jazz, Rock, Latin, and Funk at an early age. He has already had the opportunity to share the stage with such notable drummers as Dennis Chambers, Steve Smith, and Sheila E. and has won numerous drummer contests worldwide at events such as The Montreal Drum Festival and Florida’s Drum Expo.

Tony Williams' death in 1997 of a heart attack after routine gall bladder surgery was a major shock to the jazz world. Just 51, Williams (who could be a very loud drummer) seemed so youthful, healthy, and ageless even though he had been a major drummer for nearly 35 years. The open style that he created while with the Miles Davis Quintet in the mid- to late '60s remains quite influential, and he had a long list of accomplishments during the decades that followed. Williams' father, a saxophonist, took his son out to clubs that gave him an opportunity to sit in; at 11, the youngster already showed potential. He took lessons from Alan Dawson, and at 15 was appearing at Boston-area jam sessions. During 1959-1960, Williams often played with Sam Rivers, and in December 1962 (when he was barely 17), the drummer moved to New York and played regularly with Jackie McLean. Within a few months he joined Miles Davis, where his ability to imply the beat while playing quite freely influenced and inspired the other musicians; together with Herbie Hancock and Ron Carter he was part of one of the great rhythm sections. Williams, who was 18 when he appeared on Eric Dolphy's classic Out to Lunch album, stayed with Davis into 1969, leading his own occasional sessions and becoming a household name in the jazz world. In addition to his interest in avant-garde jazz, Tony Williams was a fan of rock music, and when he left Miles he formed the fusion band Lifetime, a trio with Larry Young and John McLaughlin. After leading other versions of Lifetime (one of them starring Allan Holdsworth), Williams stuck to freelancing for a time, studied composition, and toured with Herbie Hancock's V.S.O.P. band. By the mid-'80s, he was heading his own all-star hard bop group which featured Wallace Roney as a surrogate Miles Davis and a repertoire dominated by the drummer's originals (including the standard "Sister Cheryl"). After breaking up his longtime quintet in 1995, Williams gigged a bit with a trio, recorded a very interesting set of original music for the Ark 21 label, and seemed to have a limitless future. His premature death makes one grateful that he started his career early and that he was extensively documented.




Mahavishnu-Fibes-set-up-1.jpgBilly Cobham Widely regarded as one of the world’s greatest living drummers, Cobham’s dazzling skills have seen him perform with the finest including George Benson, Jack Bruce, Count Basie, Miles Davis and John McLaughlin. His latest project hooks him up with a band Asere, a band that epitomise the Cuban street music sounds of 1950s New York, where Billy grew up. With Asere's raw, gritty groove and Billy's explosive, spectacular playing style, together they produce dynamite sounds.






Winston Clifford is one of Britain's leading jazz drummers. Born September 1965. In 1979 - Studied with ex-Tubby Hayes drummer Bill Eyden. 1985 studied drums with Trevor Tomkins at Guildhall School of Music. Has played with many musicians including Courtney Pine, Bheki Mseleku, Jason Rebello, Gary Husband, Pete King, Dick Heckstall-Smith, Iain Ballamy, Leroy Osbourne, Ronnie Scott Band, Julian Joseph, Andy Sheppard, Tony Remy, Steve Williamson Band, Jean Toussaint Band, Slim Gaillard, Bobby Watson, Monty Alexander, Gary Bartz, Art Farmer, Archie Shepp, Freddie Hubbard etc. Has appeared at many International Festivals & recorded albums with Frevo, Roadside Picnic, Jean Toussaint, Andy Hamilton, Brian Dee Trio, Harry Beckett Quintet & Jan Ponsford. Appeared on Channel 4, BBC 2 & ITV as well as radio broadcasts.  He has worked with Courtney Pine, Bheki Mseleku, Jason Rebello, Iain Ballamy, Julian Joseph, Andy Sheppard, Jean Toussaint, Orphy Robinson, Bobby Watson, Monty Alexander, Birelli Lagrene and Joey Calderazzo. He has performed in New York and Bombay with Carmen Lundy and is featured on her latest album, Old Devil Moon.  He sings a mean song all by himself too!

Mark Mondesir  is self taught and because he could not have a drum set where he lived he learned to play on pillows and other surfaces at hand, thus Mark’s style is totally unique, but unlike many self taught players he has a very clear concept of his meticulous technique and can explain, slow down and demonstrate the type of playing and concept of time that has baffled drummers for years, but only after astonishing us by revealing that he plays everything he knows with just 7 rudiments, surely a comfort for young  players daunted by the prospect of learning endless stickings etc. 
Mark certainly is one of the most astonishing drummers on this planet with a mind boggling concept of time, creativity and speed that is bordering the super human. The late Tony Williams who was notoriously hard to impress was said to have stood behind the stage curtain when Mark was playing at one of the jazz festivals, riveted by Mark’s playing. Tony watched the rest of the performance. After this Tony and Mark became friends.
Dennis Chambers, another good friend of Mark’s, has been singing Mark’s praises for years on his own video and in print.  It is well documented in drum circles that most top players hold Mark in similar esteem.

Mark began his professional career touring and recording with saxophonist Courtney Pine. Mark has earnt an enviable reputation as one of the finest drummers the UK ever produced. Mark has worked with many artist ranging from rock guitarist Keith More to jazz greats such as: Julian Joseph, John McLaughlin and Kevin Eubanks.

Marks never ceases to amaze audiences with his awe-inspiring technique,  subtle feel and sheer inventiveness.

Elliott Henshaw 

was self-taught until 18 years old at which point he started studying with Steve Gilbert - an amazing drummer from Manchester - at Salford University. Whilst at there he began playing in small jazz groups and function bands, and also for the university big band. It was whilst playing for the latter that he was asked to join the Andy Prior Orchestra.  Whilst still at college he was touring the UK and playing on various TV/Radio shows with Andy Prior. At this time he twice won the Radio 2 Big Band drummer of the year award. ElliottI gained a lot of experience from working with Andy and made lots of contacts. During this time he was playing in as many difference ensembles as he could fit in - jazz groups, rock bands, orchestras and musicals etc. 
The Quintet band, formed in 2005 and is made up of some of the finest musicians.
Julian Cox, James Pusey, Matt Steele, Simon Willescroft  The idea is to play great melodies and grooves whilst allowing the musicians to stretch out and be creative. We play a mixture of originals and covers and take our influence from the likes of Chick Corea, Dave Grusin, Dave Weckl and David Sanborn.

Pete Cater Big Band

Stephen Keogh Born in Ireland, Stephen followed his studies there with private lessons in London and New York. He played as percussionist with the National Symphony Orchestra of Ireland, contemporary music ensembles and many visiting jazz artists including Sonny Fortune, Eddie Locklaw Davis, Jimmy Witherspoon, Pat La Barbera, Louis Stewart, and James Moody. A move to London in 1988 led to tours and recordings with many British and American jazz artists including Stan Tracey, Charles McPherson, Art Farmer, Jason Rebello, Jean Toussaint and Benny Carter. Since moving to Barcelona in 1990, Stephen has worked all over the world with many great musicians including Johnny Griffin, Lee Konitz, Phil Woods, Harrold Land, Peter King Quartet, Brad Mehldau, Mark Turner, Herb Ellis, Benny Golson and Steve Grossman. He a member of the European Jazz Piano Trio led by Bill Charlap, Peter King Quartet and co-leads the Urban Jazz Quintet and Urban Jazz Ensemble.

Chris Dagley  'Drummer' 1972-2010

Top UK session drummer Chris Dagley (here Aged 12) has performed with NYJO, Jamiroquai, Lalo Schifrin, Ella Fitzgerald, Eric Clapton, and Chaka Khan Fame Academy and BBC Big Band.
Comments on one of his drum clinics.
Essentially the clinic was structured around the fundamentals of being a professional musician. Topics included practicing efficiently, developing the internal clock, the importance of different styles, recommended reading and the business side of the music business, with Chris being remarkably frank about the highs and lows of being a professional musician.  This wasn’t just a talking clinic however. As Chris was keen to point out, “everything begins with your ability to consistently perform on your instrument”. Chris launched into examples from real life pop, heavy rock and jazz sessions with alarming ease (actual scores were also provided for the curious to flick through). And at no time did he seem like a jazz player playing rock or visa versa, playing each tune with bags of taste and a real mastery of the feels and sounds associated with each style. As well as playing session tunes, Chris played a series of serious rudimentary exercises at varied tempos and demonstrated their practical application to the kit in a musical environment. At one point he performed a disappearing trick with the click track when demonstrating how to nail a beat to a metronome. It is obvious to see why he is a player that is held in such high regard. Rather refreshingly, each playing example was well considered, and presented on the premise that the audience wished to learn something as well as be entertained. However, despite my earlier comments, for me the highlight of the clinic was Chris’s one opportunity to really let loose on the kit, playing a funk/fusion track specially written for the clinic by Richard Cottle. There’s plenty of Gadd and Weckl type licks on show and every lightning fill landed with uncanny precision on the beat.
This was a well presented, extremely informative and thoroughly enjoyable clinic. Personally I would have like to have seen a bit more of Chris’s playing as it is such a joy to hear such a tasteful player. I am positive that anybody who was not very familiar with Chris Dagley’s playing prior to the clinic will be actively seeking out for his work in the future.  Chris Dagley is one of the most popular drummers on the jazz and session scenes because of his solid, powerhouse groove and boundless energy. He also has astonishing solo chops and is famous for being able to read any piece of music at sight.

The shocking death of drummer Chris Dagley at 38 has robbed British jazz of one of its most respected and best-liked performers. Bright, friendly and conscientious, he was a crisp, hard-swinging drummer who took pride in his work and never gave it less than 100 per cent. As a member of Ronnie Scott’s house band, the James Pearson Trio, he was one of the busiest musicians in London. He was killed on his way home from the club in the small hours, when his motorcycle crashed on the A40 dual carriageway near White City. There were no witnesses. 28/7/10

He leaves a wife and three young daughters making this a heartbreaking family tragedy in addition to the considerable loss to the music.




James Maddren   was born and brought up in Christ's Hospital School in Horsham, Sussex. When 11 he started school at Christ's Hospital and went on to play in several bands and orchestras. He left CH in summer 2005 and is currently studying jazz percussion at the Royal Academy of Music in London. James enjoys listening to and playing all kinds of music. He has plays with Marc Copland/Stan Sulzmann quartet, Phil Donkin, Gwilym Simcock, Kit Downes Trio, Martin Speake quartet, Phronesis, Jonathan Bratoeff quartet, Tangent, Andrea Vicari quintet, Quentin Collins, Claire Martin and many other musicians and bands across London and the U.K.

Drum Battle - Animal Versus Buddy Rich a fierce drum battle with Buddy Rich, which Animal, of course, won, eventually smashing a snare drum over Buddy's head.
Then, of course, the battle at the end with Animal; to play opposite Ronnie Verrell—one of my all-time favourite drummers, along with Kenny Clare—was a total gas to me. Buddy Rich

Animal / Verrell with Rita Moreno Singing - Fever
What Rita says in Spanish -
"Listen Buddy. All I wanna tell you is that you shouldn't do that. It's not nice, you understand? Look at me when I'm talking to you. This is my number, and if you bother me any more I'm gonna hit you so hard, it's gonna leave you stupid. Cool it.

Ronnie Verrell
Born 21/02/25  Died 11.30am, 22nd Feb 2002
Ronnie has enjoyed a varied career, touring with the famous Ted Heath Band and working with Jack Parnell's Orchestra on Sunday Night at the Palladium.  He even played drums for Animal in The Muppets Band.
Ronnie played in the band for the Frank Skinner Show! (UK) for many years and was a regular session man.
In November 2001, Ronnie fell down the stairs at his home. He crushed a vertebrae in his neck and hoped to have an operation on February 7th 2002, however when he was given the anaesthetic he had difficulty breathing and the operation was abandoned. Ronnie died of a chest infection in hospital at 11.30am 22.02.02. The day before was his 77th birthday. 
Ronnie worked with Ted Heath , Eddie Blair , Laurie Holloway , Sir Yehudi Menuhin , Bobby Pratt , Ken Kiddier , Johnny Hawksworth , Max Harris , Duncan Campbell , Lennie Bush , Ken Baldock , Don Lusher , John Fraser , Chris Karan , Bob Efford , Martin Taylor , Pierre Michelot , Wally Smith, Buddy Rich.

A favoured sticks man with the Walker Bros was the dapper ‘drummer’s drummer’, Ronnie Verrall. Something of a legend amongst session circles even then, Verrall would play on many of the Walker’s group and solo sessions, often stretching out on the floor between takes to ease his bad back.  Like many of the musicians used at these sessions, Verrall came from a Jazz background, and the techniques of such an education are used to great effect in the context of these ‘pop’ songs.  Verrall’s rolling Tom fills, especially on ‘In my room’, ‘Archangel’ and ‘People Get Ready’ would add an unexpected edginess to these tracks. The vivid fills sometimes seem as if they are just about to tumble out of time – they never do.  Players like Verrell are typical of the Jazz influence inherent in the Walker’s recordings, a flavour that would add another unique ingredient to an already quixotic mix.

Bill Bruford Drummer Bill Bruford is well ahead of this particular field. A founder member of Yes in the 1960s, he has straddled the divide between rock and jazz in a career which has taken him from the drum stool in King Crimson and Genesis to leading his own groups - Bruford from 1977 to 1981, and Earthworks since 1985. The current Earthworks album, A Part, And Yet Apart, is his most orthodox jazz outing yet, a spry collection of tunes played by an acoustic quartet comprised of Bruford, Steve Hamilton (piano), Mark Hodgson (bass) and Patrick Clahar (saxophone).






Clark Tracey
Clark Tracey was born in London, in 1961. He grew up in a jazz environment as the son of Stan Tracey, the UK's leading jazz pianist, and from an early age took to the piano and vibraphones. At 13 he started playing the drums and gigged until he turned professional in 1978 by joining his father's various ensembles. In that context he has toured and recorded extensively.   In 1981 he formed the first of his own groups with Django Bates, Iain Ballamy and Andrew Cleyndert. Later groups included Guy Barker, Jamie Talbot, Nigel Hitchcock, Dave O'Higgins, Mark Nightingale, Mornington Lockett, Julian Arguelles, Gerard Presencer, Alec Dankworth and Steve Melling. He currently runs a quintet with luminaries from the new generation (Mark Armstrong, Simon Allen, Zoe Rahman & Peter Billington) and a trio with Gareth Williams and Arnie Somogyi.

As a composer he has received commissions for his quintet, an octet shared with pianist Dave Newton, "Continental Drift" (an 11 piece band co-composed with Stan Tracey commissioned by The Arts Council), and arrangements for the Berkshire Youth Jazz Orchestra and the Appleby Festival big band. He has also written string quartet arrangements for his own group, Claire Martin, Tina May and the folk group Filska.

As a freelance drummer Clark has had 25 years' experience playing alongside some of the most important artists in jazz at home and abroad (see list below), appearing on over 80 albums and touring in around 50 countries. He has been awarded "Best Drums" title three times in the British jazz awards and received endorsements from Zildjian Cymbals in 1998 and Vic Firth Sticks and Remo Drumheads in 1999.

Clark also teaches privately and at school and has given masterclasses at Leeds College of Music, Royal Academy of Music, Musicians' Institute, Bracknell jazz weekends and festivals as well as overseas workshops.

Sebastian Rochford, Aberdonian whose massive hair looks as if someone has plugged him into the mains, has a musical background that explains much of the group Polar Bear's eclectic sound. "I first started playing drums along to Prince and Grace Jones records," he says. "Then I got into Iron Maiden, Metallica and John Bonham of Led Zeppelin." Only later did he discover jazz, and subsequently shared a teacher with orchestral percussionist Evelyn Glennie. "A lot of heavy metal drumming is highly technical and fast," he says. "But what I love is music that doesn't compromise, whether that's Tom Jobim or Pig Destroyer."  Roachford has little time for jazz purists: "From the start jazz was a mixture of musics - New Orleans was a giant melting pot. I tend to like bands who are vague as to what their genre is." Plenty of critics have felt this new wave of jazz so distinctive that it ought to have its own label, (candidates include post-jazz and "skronk"), but Roachford is wary of pigeonholing. "I admire artists like Radiohead or Miles Davies, who have made very different records. In the end it's just their music, which they have stamped their identity on, and which people tell each other about. There's a precious freedom to manoeuvre that we'd hate to lose."

Mike Smith started playing Drums at the age of 9. He joined a Youth Big Band in the Oxford area when he was around 11 (which was co run by his father).  At 13 he started attending rehearsals for the National Youth Jazz Orchestra and at the age of 15 became the regular drummer. He stayed with the Orchestra for 5 years, during that time he worked with many great soloists and singers from the UK and the USA, namely, John Dankworth,, Cleo Lane, John Williams (the guitarist), Shorty Rogers to name but a few.

In 1987 Mike Joined the BBC Big Band and BBC Radio Orchestra. He was with the BBC up until 1997 and during that time he had the great honour of working with some world class composers/arrangers, soloists and singers; most notably, Robert Farnon, Angela Morley, Ronnie Hazlehurst, George Shearing, Georgie Fame, Madeline Bell, Bobby Shew and many others

Keith Michael Keith - before leaving UK in 1981, played jazz in and around London with a number of players, including Lol Coxhill, Simon Picard and Veryan Weston. based in Amsterdam, spent several years involved in theatre, modern dance and mixed media performance groups & projects. Touring in Europe and Australia. Moved to Asia in '87; in India played with several groups / projects, incl. "East-West", w/Sarod master Usmahn Kahn. Zen Samba, w/Alryio Lima (Weather Report): in Thailand, Korea and Japan, playing with numerous players incl. Randy Cannon, Dave Sills, Dan Phillips, Ed Jones, Damon Brown, Toku, Aoyagi Makoto, Yosuke Onuma, Shinji Nakamura, Paul Jackson, Harvey Thompson, Kuwana Masahiro, Kojima Yoshinobu. Baba Takayoshi, Philip Strange. Keith has returned to the UK shres for a spell.
Catch Keith at the Space Below on Wednesdays in Soho.

Graeme Culham

Drums on the Web

The Chiltern Hundreds Jazz Festival - yes it is possible - given Arts Grants and Corporate support.  There are sufficient venues both in the Town Centres and the surrounding Villages to create a Major Annual Event (even Bicester can organise one) - If you are interested then declare here in what capacity you are prepared to assist.  The Chiltern Hundreds Jazz Festival Support

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Last modified: 18/02/2012