Thanks are due to all those who have given me information about Ray's life and the classic banjo, especially his family and friends. Part Three looks at some of the historical issues, including the slave origins of the banjo, and the political context of 19th century banjo music.Part Two traces some of the history of classic banjo music in Britain and the Bristol area.I will also look at the music he played, the musicians he played with, and his repertoire. Part One of this article is an account of Ray's life in Bristol from his birth in 1922 to his early death in 1987.But it could be argued that Ray's music was more 'connected' to the local community than much of the 'folk revival' or, in its later years, the more formal banjo club movement. Much of his popular repertoire is of the kind often easily dismissed by those of us weaned on 1960s rock and later 'folk revival' music. Unlike some other classic banjo players, he did not appear to need the notation in performance. He learnt most of his other repertoire by ear,however, especially old music hall and 'community' songs of the early 20th century. The label 'traditional' musician does not fit easily with him, perhaps because he learnt his classic banjo music from notation. He was a musician for all occasions, and delighted folk club audiences in the 1970s and '80s, very few of whom had ever heard a classic banjo piece before they had heard Ray.
Clogging dancing near cobden full#
And he had a full bag of tricks in banjo technique, especially harmonics. As many who knew Ray commented to me, however, he 'could play anything'. Ray told John Maher in a 1975 interview that he learnt Whistling Rufus from a BMG magazine. He was taught classic banjo style by Harold Sharp, learning tunes from banjo magazines and manuscripts, some dating from the 19th century.One tune, Shaeffer's Jig (a Clifford Essex arrangement) for example, was originally published in Banjo World in 1895. When he played with Erik Ilott and with the Moran Brothers, he accompanied traditional tunes and songs, and learnt hornpipes and the occasional jig. He accompanied the Swingers on contemporary pop songs and dance music. For the Swingers dance band and for pub sing songs, he had a long list of familiar material. His repertoire reflected the context in which he played. Ray Andrews played for much of his life in working class clubs, pubs, family occasions and community events. Ray had a physically demanding working life as a fitter-welder and often after a full day, starting early in the morning, he would go straight out to play until last orders had been called.
He played in theatres in the last days of 'variety', singalongs in pubs, folk clubs, festivals, with the Bristol Banjo, Mandolin and Guitar Orchestra, concert parties, and for dance bands. He could play classical arrangements, pop songs of the day, traditional Irish music, as well as accompanying singers. Although Ray's first love was the English ' classic' banjo, he was at home in a variety of musical styles in the popular idiom. Whatever the occasion, he communicated sheer enjoyment and personal warmth to the listener.
Īnyone who heard Bristolian Ray Andrews (1922-1987) playing finger-style classic banjo knew they were in the presence of a special talent. As usual, photo credits can be seen by hovering the cursor over the picture. As a service to those who may not wish to buy the record, or who might find the small print hard to read, we have reproduced the relevant contents of the CD booklet here. Musical Traditions' fourth CD release of 2001: Ray Andrews: Classic English Banjo (MTCD314), is now available. Ray Andrews Article MT083 Ray Andrews Classic English Banjo
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