Likeable rogue on guitar

Astonishing, the human stories which lie behind the neat gold lettering on a gramophone label. “Never heard of him,” I thought of Vic Lewis, placing this 1946 shellac disc on the turntable. Lowered the needle. And, wow. Lovely jazz guitar in front of a tight band. But not just tight, there’s real feeling in this. That extra “something” – indefinable but unmissable.

So, who is this Vic Lewis? An Englishman, he was born in 1919. Inspired by American recordings, he became one of the pioneers of jazz guitar in Britain. He visited America and at different times played with the cream: Count Basie, Louis Armstrong, Django Reinhardt, Stéphane Grappelli, George Shearing. At least, he claimed to have played with them, and this was mostly true. Vic Lewis was, you see, not the most reliable witness.

Vic Lewis

He served in the RAF during the war, and it was there that he met the other musicians on this record. He was successful as a band leader and arranger after the war.

When rock’n’roll arrived, he shifted into management. He worked with Brian Epstein, and was involved in the careers of Cilla Black, Elton John and The Beatles. Like most managers, he was a bit of a spiv. His business dealings were not always honourable; his word, not always his bond. But people liked him: he might cheat you, but he was also generous with his time, his talents, his connections and his money.

And he never lost his love for jazz. And that shines through on this recording. “That’s a Plenty” is an up-tempo stomper, with a Dixie feel; “Singin’ the Blues” more mellow. Something special about them both, I reckon. Just listen!

That’s a Plenty