1956 European Tour
The band poses in front of the Queen Elizabeth in Southampton.
For over two months in early 1956 the Kenton band hop-scotched across Europe, starting with a month in Great Britain followed by an almost equally long tour of Europe. Many days included two concerts, and the distances traveled between shows are dizzying. This was the Kenton band’s second tour of Europe, and his first in Great Britain. It came in between the recording of the albums “Contemporary Concepts” and “Cuban Fire.”
The 1956 European tour was a huge success, if not quite the Triumph of the earlier trip. In 1953 Stan had brought with him an undoubtedly A-star cast—Konitz, Sims, Candoli, Rosolino were men on the cutting edge of modern jazz, and June Christy a star in her own right. The ‘56 personnel was major league—Niehaus, Perkins, Noto, Fontana - but perhaps not all of quite the same stature, and of course, Christy was missing altogether. Ann Richards had traveled to Europe with her husband, but in a non-performing capacity.
This band also carried only four trombones and four saxes, but an additional tuba and two French horns, which many thought under-used or hard to hear, and would have preferred the conventional five-man sectional set-up.
A major difference was that this time the band was allowed to play in the UK, where Kenton was a major attraction. Everywhere he played, Stan was welcomed with warmth and affection, and big crowds gathered whenever he appeared in public. The atmosphere was certainly electric at the premiere concert in London’s circular Royal Albert Hall, on the afternoon of Sunday, March 11, 1956. The venue suffered from notoriously bad acoustics, but was doubtless chosen for its seating capacity of over 5,000, and despite cynics gloating about a few empty seats, the place was packed with expectant fans who greeted their hero with undisguised enthusiasm. The tour had started on a high note, but problems would soon develop that must have caused Kenton sleepless nights.
The English jazz establishment was almost uniformly opposed to all that Stan stood for, and no Kenton music escaped their scathing reviews. (An exception was the more open-minded Steve Race, writing in the weekly Melody Maker.) More importantly, English Decca had released Stan’s records generously, but by 1956 EMI owned Capitol. Their approach was much more parsimonious, and publicity for their major recording star could have been much more generous.
But it was personnel problems that caused the most upsets. No band could lose half its saxophone section overnight and emerge unscathed. In hindsight, Kenton should have sacked only known addict Spencer Sinatra, and retained Jack Nimitz, guilty only by association because the pair roomed together. But over-anxious to avoid the bad publicity of a drugs scandal at all costs, Stan ordered the double departure, leaving a gaping hole in a band that was already brass-heavy to begin with. A foreign tour with mostly two concerts nightly, was no place to break-in two untried English replacements. Audiences arrived expecting to hear an all-American orchestra, and sitting in the front row were two faces already familiar to many fans.
Then, on the eve of the band’s departure to mainland Europe, lead trumpet player Ed Leddy fell ill with pneumonia, doubtless caused by the tiring schedule and the cold, wet British weather. Kenton decided against a replacement, leaving only a 4-man section, but instead of appointing a new lead, Stan stood back while Sam Noto and Vinnie Tanno fought among themselves for supremacy. Noto emerged the victor, leaving Tanno resentful, and according to Phil Gilbert, the whole band suffered low morale as a result.
It must be said, none of this debacle is evident on the many recordings that have surfaced. In England the still-stuffy BBC declined to broadcast the band at all, and to my knowledge not a single UK concert was recorded. European radio networks were far more broad-minded, and many recorded complete concerts for future broadcasting, with subsequent (bootleg) releases on both LP and CD.
The repertoire contained some old chestnuts (Peanut Vendor, Love for Sale, Intermission Riff), more recent hits (Stompin’ at the Savoy, 23 Deg. N - 82 Deg. W, Swing House), as well as feature spots for the principal soloists - Yesterdays (Perkins), Stella by Starlight (Niehaus), Polka Dots and Moonbeams (Fontana), and one or two new pieces - mainly Holman’s Royal Blue. El Congo Valiente had stopped the shows at the first concerts, but had to be dropped because it was too hard for the new recruits to cope with.
Things looked up on April 28 when Leddy was able to resume his position, though between April 28-30 the band had only three saxes (no baritone!), until the major artist Lucky Thompson was able to join in Paris on May 1. Lucky by name and nature, Thompson remained for the rest of the tour, and received free passage back to the States with the rest of the band as his reward. Despite the persistent personnel changes that must have given Kenton headaches, the tour had been a success on every level, as confirmed by drummer Mel Lewis: “The 1956 European tour was a huge success. We were exhausted by the end—in England alone we played around 60 concerts in 33 days, and I have never signed so many autographs in my life. But it was a fantastic experience—never before or since in my life have I seen so many people turn out to see a band play.”
— Michael Sparke
Kenton on stage
Lennie Niehaus (as)
Bill Perkins (ts)
* Spencer Sinatra (ts)
* Jack Nimitz (bs)
Don Rendell (ts) replaced Whittle after 4 April
Harry Klein (bs) replaced Nimitz after 2 April
Tommy Whittle (ts) 2-3 April
Hans Koller (bs) 27-28 April
Don Honeywell (bs) 10 April
Benny Green (bs) 11 April, evening
Lucky Thompson (bs) 1-9 May
Ed Leddy (became ill and missed 14-28 April; no sub)
Don Kelly (b-tb)
Stan Kenton (p)
Ralph Blaze (g)
Curtis Counce (b)
Mel Lewis (d)
Ed Leddy, Bill Perkins, Lee Katzman and Kent Larsen serenade the liner that just dropped them in England.
Listen to some of the European shows
Stockholm, Sweden, 16 April
Rosengarten, Mannheim, 23 April
Sporthalle, Berlin, 25 April
Ernst-Merck-Halle, Hamburg, 26 April
Historic Newsreel from Norway
"Kenton Lops Nimitz, Sinatra." Down Beat. 16 May 1956: 9.
“It was all because Spencer became very friendly with Ronnie Scott’s girlfriend, Joan, which quite naturally upset Ronnie, and there was also talk of other things going on as well, so Ronnie complained to Stan. You have to remember that we were the first American band to visit England in a long time, and Stan was scared to death about any adverse publicity. So he panicked, called a meeting and even though everyone spoke up for us, he said that Spencer and I would have to go…I was involved because I was hanging out with them.”
This was Jack Nimitz’s explanation in 1997. The truth was that Sinatra was using drugs and Nimitz was his roommate.
"Danish Strikes Cancel Kenton." Billboard. 5 May 1956: 20.
Kenton ‘Cool’ Say ‘Cats’ After Concert in London
LONDON — Britain’s cats agreed today that Stan Kenton was “well and truly cool.”
The tall American bandleader broke tradition and shattered eardrums yesterday in London’s big-domes Albert Hall in the first American band concert in Britain in 23 years.
Not since Cab Calloway left in 1933 has an American band played in Britain, or a British band in America. Unions on both sides of the Atlantic decided then that visiting bands took jobs away from local talent. They agreed to bring the tours to a halt.
Kenton broke tradition when he sauntered to a piano on the stage of the royal Albert Hall and struck a chord that shattered the musical curtain. British bandleader Ted heath will return the honors with a visit to the United States in April.
More than 7,000 jazz lovers ranging from the bearded intellectual set to the sleek-haired ‘teddy boys” who are similar to “zoot suiters” jammed into the ancient hall to hear American jazz in person.
His reception was magnificent and some of his tunes had the audience yelling with appreciation. The Daily Mirror said “At times the music was sas and smooth; at times it was savage, brassy, discordant, grotesque. But at all times it was vital and alive.”
Kenton himself said “It’s a thrill” and said he would play 50 concerts here.
"Kenton 'Cool' Say 'Cats' After Concert in London." Oxnard Press-Courier 12 March 1956: 2.
Homage to Kenton the King
Master of Progressive Jazz Offers Art for Everyman
By our own Reporter
Mr Stan Kenton, the self-acclaimed King of Modern Jazz, and certainly its oldest pretender, was greeted last night in Belle Vue. Manchester, by an immense crowd of his loyal subjects. It was the first performance in the North of a man whose musical style is both an art form and a social phenomenon and whose visit to this country is probably more important for more people than the coming tour of Soviet leaders.
Modern, or progressive, jazz is a totally different thing from the original Negro music (now called traditional) which started in New Orleans at the beginning of the century; the two factions look upon each other with a certain contempt and greatly resent the confusion which so often arises in the mind of the public. But they both unite against the use of the word “jazz” to describe the music played in ordinary dance halls, with its sedate rhythms and its background of coloured balloons.
After listening last night to Mr Kenton one can see the truth of his own self-criticism. “Actually, in modern music,” he has written “any attempt at explanation should only be made by competent psychiatrists as they are closest to understanding the functions of our inner selves.” One might suggest, without facetiousness, that the secret of this music’s appeal is hidden in a kind of mass schizophrenia, a theory that is supported by the very grouping of the orchestra.
The back row, with maraccas drums, a kind of gourd and a bass beats out a primitive African rhythm, like the throbbing of blood in over-excited veins. The middle row with its four trombones blares out the racking uproar of industry and internal combustion, while the saxophones in front add their mellow, sometimes plaintive notes of disordered poetry. As Mr Kenton says: “We In music to-day are capable of setting any scene or painting any descriptive picture musically.”
Modern jazz has nothing to do with the exuberant cake-walks and Charlestons of the Prohibition age. It is earnest and a little melancholy, particularly on this side of the Atlantic where, according to Mr Kenton, it “is treated as an art, a culture.” He compared his style of playing yesterday to modern classical playing and the comparison is just, for progressive jazz with its cacophony, diverse rhythms, and experimental chords bears the same relation to, say, Hindemith as the contrapuntal “traditional” music bears to Bach. People who like both jazz and classical music almost always divide into the same two schools.
Mr Kenton’s music ls not easy to dance to unless one knows it well enough to hear the prevailing rhythm, but it is excellent music to fidget to. Only occasionally last night did one hear the tap of feet on the wooden flooring as a strong theme was heard above the general hubbub, like a missel-thrush singing in a thunder-storm, but everywhere fingers and elbows twitched, hands fumbled for cigarettes, jaws moved in spring rhythm over chewing-gum.
Priests of Music
The technique o! Mr Kenton’s musicians is incomparably better than that of any English band, and they looked like dedicated. almost scholarly priests of music in their grey suits and sober black ties. The crowd, too, was restrained, although its enthusiasm broke at the end of each number (and sometimes after each solo) into great roars or exaltation. The man in front of me was so overcome by the notes of one trombonist that he had to refresh himself with a pull of whisky from the bottle under his coat, while the man beneath him registered his feeling in shouts of wild laughter. Oddly enough his ears were stuffed with cotton wool.
Mr Kenton claims with confidence that “no music written 100 years ago can honestly satisfy our emotional demands to-day”—a statement that makes one ponder. But strangely enough the position of the “progressive jazz-men (whose era began in the nineteen-forties) has been seriously threatened by the old traditionalists, in the United States no less than in this country. Among students, particularly, the King of Jazz is still Louis Armstrong, whose trumpet blasts are far more confident than the nervous subtleties of Mr Kenton. Last year’s progressives are this year’s reactionaries.
"Homage to Kenton the King." The Guardian 19 Apr. 1956: 4.
Ticket stub from Berlin
Advertisement for the performances in Southsea.
Ticket stub from the concert in Hull.
Melody Maker Headlines
“Kenton for Britain. Ted Heath for U.S. Concert Tour.” 15 October 1955
“Kenton Tour: First Dates Are Announced.” 31 December 1955
“Kenton Sell-Out. Extra London Show.” 14 January 1956
“Three Extra Kenton Concerts Fixed for London During April.” 21 January 1956
“Kenton Rehearsing Band for British Tour. Added a Tuba and Two French Horns.” 28 January 1956
“British Stars Signed As Two Quit Kenton.” 7 April 1956
“Kenton’s Impact (Truth Behind Stan’s Tour).” 7 April 1956
“Is the Band Up to ‘Dublin’ Standards?” 14 April 1956
“Kenton—Was Tour Too Tough?” 14 April 1956
“Whittle on Kenton.” 21 April 1956
“My American Journey; Ted Heath.” 19 May 1956
Souvenir record sold during the Great Britain tour.
Kenton signs autographs in London outside of a record store. Can you spot him?
In this blowup Kenton can be seen pleasing his fans.
On the morning of 13 March Kenton visited Keith Prowse Record Shop at the junction of Rupert and Coventry Streets in London.
Jazz Journal – April 1956
If only because this was the first American orchestra to be permitted to play in this country for over twenty years, the first Stan Kenton concert at the Albert Hall was an historic occasion.
Although it had been reported that the hall was completely sold out months before the concert, there were numbers of empty seats all over the house, and tickets were being offered for sale at half price by the “boys” outside. This in itself put us in a good humour, and we took our seats almost prepared to like anything—we hate the ticket racket and are always hugely amused when it goes astray and the scalpers get caught. But to return to the concert.
With the precision of a well trained army band the Kenton orchestra took the stage by numbers. First. with thumbs in line with their seams and their instruments at ease came the trumpet section; then the trombones plus tuba; to be followed by the saxophones. the French horns and almost apologetically, the rhythm section. Quietly attired in dove grey suitings, with the most un-American plain black ties. the band sat quiescent, awaiting the pleasure of the maestro himself.
From the outset it was apparent that the audience was ninety per cent a Kenton audience. Like the band they were quiet. very well behaved and most unemotional. They applauded all the well known Kenton standards, they clapped his new compositions, but at no time during the whole afternoon did they raise a single whistle or lose their cool composure.
The band fitted into the picture perfectly. Ultra-rehearsed they did their stuff like Guards on parade—accurately, neatly and without excitement. For effect they rely almost entirely on arrangements, plus well drilled and impressive showmanship. The trombone team were the stronger of the brass sections and were inclined to overblow the rest of the band. but this may have been the fault of the infamous “Albert-echo’' which can play the strangest pranks with an orchestra of this size. The reason for the inclusion of French horns and tuba was never made clear to us for they were practically inaudible and added little to the ban’s performance. On the whole the solos were impressive. Both tenor saxophonists Bill Perkins and Spencer Sinatra showed great talent, the former in particular demonstrating that he at least knew the meaning of the verb to swing. Trombonist Carl Fontana and the saxophonist Lennie Niehaus were also noticeable. The latter gave evidence of great musicianship and a tremendous wealth of ideas. He could have exhibited more warmth in his playing and more swing, but he plays in the cool idiom therefore must be judged as a modernist.
Curtis Counce's bass playing was quite outstanding. Even in the Albert Hall he managed to cut through ensembles, and with drummer Mel Lewis he formed a formidable rhythm team to aid the soloists. Yet even so the band as a whole are completely lacking in rhythmic propulsion. In comparison with the bands of Basie or Ellington the Kenton orchestra does not swing. Its strength lies in the dexterous arrangements; its smart showmanship and its talented array of soloists.
It is predicted that the orchestra will have a very successful tour, for in their leader they have a man of most pleasing personality, both on and off the stage. As a rhythmic unit they bring exactly nothing to jazz, but as players of modern progressive arrangements, drilled to complete faultlessness, they are bound to attract a large following from those newly interested in modern music.
Traill, Sinclair. "Kenton—The Concert." Jazz Journal. April 1956: 1, 33.
Stan The Man
By Brian Nichols
The big event of this month was most definitely the arrival of Stan Kenton and His Orchestra. With Louis Armstrong and the All Stars coming to Britain hot on the Kenton heels, we are in for a busy time in the immediate future. Agent Harold Davison, who smooth-talked the Americans into an exchange of Armstrong and Kenton for Ted Heath and Freddy Randall, deserves all our praise. Just what the American reaction is going to be we’d hate to think, but from our point of view it’s just fine.
The Press reception for Stan Kenton was a gala affair—held in relays at the Society Restaurant in Jermyn Street. We arrived at about 6 o’clock. and. as we entered the foyer we noticed a tall grey haired and rather distinguished looking man walking downstairs with an extremely attractive woman. We recognised Stan Kenton and assumed that the woman was his wife. Ann Richards. This was in fact the case, and we can appreciate why any band leader would hasten to marry a vocalist who looked like that. We didn’t see much of either of them after this, for Kenton was surrounded by editors, agents and other members of the hierarchy and Ann was the centre of a small knot of writers looking for the human interest angle:
“Is it true that you’ve given up singing permanently, Miss Richards?”
“What does it feel like to be married to a famous band leader like Mr. Kenton?”
All this was carried on in the centre of a fair sized reception room under the steaming glare of six or more arc lamps, which were continuously being augmented for the benefit of the photographers. Forced by the danger of suffocation to move to the outskirts of the mob, we discovered that all the interesting things were going on in the fringe area. For one thing. the outer regions of the bar were less crowded, and for another, we discovered a table groaning with caviare for our refreshment.
In the shadows of one corner of the room we discovered Mike Butcher, Tony Hall and Edgar Jackson bending the ears of some American styled gentlemen. This looked promising and we discovered that they had obtained a monopoly on the conversation rights to Lennie Niehaus. Bill Perkins and Ralph Blaze: the only members of the band to have come to the reception. Lennie Niehaus looked a little plumper than his photograph on the cover of the Vogue LP would lead one to suspect, but he and the other two talked a whole lot of sense. If these three are a fair sample of the standard of courtesy and intelligence in this Kenton band, we can be doubly enthusiastic in welcoming them as our first legalised visiting American band for 20 years.
Nicholls, Brian. "A Jazzman's Diary—Stan the Man." Jazz Journal. April 1956: 28.
It seems hard to believe that I have at last heard a real live American band playing to a British audience, and almost harder to believe that the man I spent the last two evenings with is Lennie Niehaus—the same extraordinary alto saxophonist I wrote about in this magazine almost a year ago.
Sunday’s concert has been reviewed elsewhere in this magazine. But what of the men who make the music? How do they person ally feel about their visit to Britain, and what do they talk about? Well, they are inquisitive about our coinage, our history, our social problems, our taxis, and quite obviously, our jazz.
Lennie Niehaus, bigger and broader than his photographs suggest is inseparable from his colleague Bill Perkins. Lennie has been named as the logical successor to Charlie Parker, and his playing certainly merits a good deal of thought and study. At college, he majored in theory and composition, and received his Batchelor of Arts degree. He has written legitimate compositions for violin and clarinet quartets, and shocked his family when he decided to centre his attentions on the alto saxophone.
Bill Perkins is one of the newer names in modern jazz—a tenor saxist in the Getz-Sims tradition. He has been with Kenton for over a year now, and was featured extensively on the recent “Kenton Showcase” LP. Much of his work has been on the West Coast, and he has recorded with Shorty Rogers, Jimmy Giuffre, and others of the Pacific coast “clique.”
Guitarist Ralph Blaze has been with Kenton on and off since 1950. He left for a spell in 1953 to open his own club, but rejoined Stan when the present band was formed. He is a very underrated musician as his very tasteful ad lib accompaniments to Lennie and Bill in their solo spots go to prove.
Bill, Lennie and Ralph were all very impressed by Alan Clare’s piano work at the Studio Club, but they were surprised when so few people applauded. Ralph took a keen interest in the guitar playing of Len Sykora and Ike Issaacs, with the apt comment: “Very French, with a lot of Django touches.”
At the Studio 51 club, all three were very enthusiastic over trumpeter Dizzy Reece and tenorist Don Rendell. They echoed the thoughts of so many jazz writers when they said that Dizzy had a wonderful “feel” for jazz. Bearded lead trumpet Ed Leddy, was equally impressed, and joined the others in the opinion that although the club premises were far from ideal, the music was great. In America, they told me, there is very little dancing in clubs and the listener never has to strain his ears to hear the music.
Sunday morning in the Royal Albert Hall band room produced the usual last minute worries, but if any of the band were nervous, then they certainly didn’t show it. Between changing into his uniform, drummer Mel Lewis found time to tell me of a great new album he cut with Kenton under the title of “Contemporary Concepts.” Apparently, Mel has been on a lot of record sessions in the past few years and was surprised to learn that little of his work has been released over here.
Trumpet player Sam Noto was a little worried about the infamous Albert Hall acoustics. Before the show, he ventured: “Perhaps the audience will absorb a lot of sound,” but during the interval he lightly complained, “we’re all blowing hard, but nothing is happening!” From the short time I was able to talk to the rest of the band I learnt from Vinnie Tano that he had played trumpet with Tommy Dorsey, Ray Anthony and had had a long spell with Lionel Hampton; that French horn player Irving Rosenthall had spent most of his playing career with the Hollywood symphony orchestra, but that he was a jazzman at heart; and that Curtis Counce—who received a tumultuous ovation at both the Albert Hall and Gaumont State concerts—is tickled to death to be with the Kenton band and was quite “knocked-out “ by the reception he had received.
As for Stan Kenton himself, he was quite unable to find words to describe the way he felt about being in Britain. “It’s just wonderful! “ he said. “We’ve waited so long for this and we are going to do everything we can to make this tour a success. It’s a hard tour but we’re going to enjoy every minute of it.”
This blonde, genial giant of a man is almost a living symbol of the music he plays. Big, strong, impressive and purposeful, his lean 6ft. 4in. frame dominates the stage, but he is lavish in his praise of his musicians at all times, and they on the other hand were all keen to tell you that Stan Kenton is in every way the best band leader in the world to work for.
Goodwin, Keith. "Kenton—The Band." Jazz Journal. April 1956: 1, 33.
Taking direction from the maestro.
Jack Nimitz, Lennie Niehaus, Bill Perkins and Spencer Sinatra play as Kenton looks on.
Kenton enjoys the sound of his band during a performance.
Ralph Blaze and Curtis Counce.
Band departs aboard Queen Elizabeth, New York City
Concert held aboard the ship in downstairs boiler room, Atlantic Ocean
Afternoon: SK interview on BBC-TV “World of Jazz” and AFN radio “On the Scene”
Evening: Cocktail party given by Capitol Records at Society Restaurant, London
SK interview on “Radio Luxembourg” with host Geoffrey Everett
Guest appearances on ATV’s “On the Town” at the Embassy Club and BBC-TV’s “Talk of Many Things”
7:30pm: SK guests on BBC-TV show “In Town Tonight”
2pm: Concert – Royal Albert Hall, London
7:30pm: Concert – Gaumont State Cinema, Kilburn, London
SK guests on BBC-TV “Off the Record” and “The Richard Allen Show”
Evening: Concert – Astoria Ballroom, Nottingham
Kenton signs autographs at Keith Prowse Record Shop, London
6pm: Concert – Cresta Ballroom, Luton, Bedfordshire
8:30pm: Concert – Cresta Ballroom, Luton, Bedfordshire
6:30pm: Concert – Savoy Ballroom, Southsea, Hampshire
9pm: Concert – Savoy Ballroom, Southsea, Hampshire
Concert – St. Andrew’s Hall, Norwich, Norfolk
Concert – De Montfort Hall, Leicester
6:15pm: Concert – Rialto Cinema, York, Yorkshire
8:35pm: Concert – Rialto Cinema, York, Yorkshire
1:30pm: Concert – Odeon Cinema, Liverpool, Lancashire
7pm: Concert – Kings Hall, Belle Vue, Manchester, Lancashire
6:30pm: Concert – City Hall, Newcastle-Upon-Tyne, Durham
8:40pm: Concert – City Hall, Newcastle-Upon-Tyne, Durham
6:30pm: Concert – City Hall, Sheffield, Yorkshire
8:50pm: Concert – City Hall, Sheffield, Yorkshire
Concert – Public Hall, Preston, Lancashire
Concert – King’s Hall, Derby, Derbyshire
Concert – Odeon Cinema, Southend-On-Sea, Essex
4:15: Concert – Kings Hall, Belle Vue, Manchester, Lancashire
8pm: Concert – Empire Theatre, Manchester, Lancashire
6:30: Concert – Green’s Playhouse, Glasgow, Scotland
8:45: Concert – Green’s Playhouse, Glasgow, Scotland
6:30: Concert – Green’s Playhouse, Glasgow, Scotland
8:45: Concert – Green’s Playhouse, Glasgow, Scotland
6:20: Concert – City Hall, Hull, Yorkshire
8:45: Concert – City Hall, Hull, Yorkshire
6:20: Concert – Dome Theatre, Brighton, Sussex
6pm: Concert – Davis Theatre, Croydon, Surrey
8:30pm: Concert – Davis Theatre, Croydon, Surrey
2pm: Concert – Coronation Ballroom, Ramsgate, Kent
8:30pm: Concert – Coronation Ballroom, Ramsgate, Kent
2pm: Concert – Royal Albert Hall, London
7:30: Concert – Regal Cinema, Edmonton, London
6:30: Concert – Town Hall, Torquay, Devon
8:30: Concert – Town Hall, Torquay, Devon
First performance with the British subs
6:15: Concert – Colston Hall, Bristol, Somerset
8:20: Concert – Colston Hall, Bristol, Somerset
Concert – Sofia Gardens Pavilion, Cardiff, Glamorgan
6:25: Concert – Victoria Hall, Hanley, Stoke-on-the-Trent, Staffordshire
8:50: Concert – Victoria Hall, Hanley, Stoke-on-the-Trent, Staffordshire
Afternoon: ATV show, Birmingham, Warwickshire
6:15pm: Concert – Town Hall, Birmingham, Warwickshire
8:45pm: Concert – Town Hall, Birmingham, Warwickshire
Afternoon: Concert – Trocadero Cinema, London
8pm: Concert – Royal Albert Hall, London
Concert – Winter Gardens, Bournemouth, Hampshire
Afternoon: SK on BBC radio “Desert Island Discs” with host Roy Plomley
Evening: Concert – Civic Hall, Wolverhampton, Staffordshire
Concert – Town Hall, Bolton, Lancashire
Concert – Town Hall, Bolton, Lancashire
6:20: Concert – Royal Albert Hall, London
9:15: Concert – Royal Albert Hall, London
Concert – Oslo, Norway
Concert – Boras, Sweden
Concert – Concert House, Stockholm, Sweden
Concert – Vaxjo, Sweden
Copenhagen and Aarhus, Denmark concerts on 18 & 19 April canceled due to Danish General Strike. The band re-booked in West Germany.
Concert – West Germany ?
Concert – West Germany ?
6:15: Concert – Konzerthaus, Vienna, Austria
9:15: Concert – Konzerthaus, Vienna, Austria
5:30: Concert – Congress-Saal (Deutches Museum), Munich, Germany
8:30: Concert – Congress-Saal (Deutches Museum), Munich, Germany
Concert – Rosengarten, Mannheim, Germany
7pm: Concert – Universum Film Theatre, Stuttgart, Germany
9pm: Concert – Universum Film Theatre, Stuttgart, Germany
7pm: Concert – Sporthalle, Berlin, Germany
8:30pm: Concert – Sporthalle, Berlin, Germany
Concert – Ernst-Merck-Hall, Hamburg, Germany
7pm: Concert – Messegelende, Frankfurt/Main, Germany
9:30pm: Concert – Messegelende, Frankfurt/Main, Germany
8pm: Concert – Kurhaus, Scheveningen, The Hague, The Netherlands
Midnight: Concert – Concertgebeow, Amsterdam, The Netherlands
3pm: Concert – Brussels, Belgium
9pm: Concert – Leige, Belgium
Salle Playel – 2 concerts cancelled
Concert – Alhambra Theatre, Paris, France
Concert – Mustermeese, Basel, Switzerland
Concert – Victoria Hall, Geneva, Switzerland
Concert – Berne, Switzerland
Concert – Kongresshaus, Zurich, Switzerland
Concert – Teatro Nuovo, Milan, Italy
Concert – Teatro Nuovo, Milan, Italy
Depart for the US on the Queen Elizabeth, Cherbourg, France
Arrival, New York City
Queen Elizabeth incoming passenger list for the port of Southampton, the band’s arrival point overseas, 8 March.
Queen Elizabeth incoming passenger list for the port of New York, the band’s return home, 15 March.