|Zoot Money's Big Roll Band|
Years: 1961 - 1967
Styles: Beat, Rhythm and Blues
Al Kirtley - Piano (in band: 1961 - 1962)
Mike “Monty” Montgomery - Bass Guitar (in band: 1961 - 1962)
Johnny Hammond - Drums (in band: 1961 - 1962)
Roger Collis - Guitar (in band: 1961 - 1963)
Zoot Money - Hammond organ, Piano, Vocals (in band: 1961 - 1967)
Pete Brooks - Drums (in band: 1962)
Johnny King - Bass Guitar (in band: 1962 - 1963)
Kevin Drake - Tenor saxophone (in band: 1962 - 1963)
Chris Fergie - Drums (in band: 1962 - 1963)
Nick Newall - Saxophone (in band: 1963 - 1966)
Andy Summers - Guitar (in band: 1963 - 1967)
Colin Allen - Drums (in band: 1963 - 1967)
Clive Burrows - Baritone saxophone (in band: 1964 - 1965)
Paul Williams - Bass Guitar, Vocals (in band: 1964 - 1967)
Johnny Almond - Saxophone (in band: 1965 - 1967)
Geoff Condon - Trumpet (in band: 1966 - 1967)
Money played in several local rock ‘n’ roll groups before forming the Big Roll Band in 1961. By 1963, the singer was fronting an all-new line-up featuring Andy Somers aka Andy Summers (guitar), Nick Newall (saxophone) and Colin Allen (drums), but he left the group for a temporary spot in Alexis Korner’s Blues Incorporated. Money remained in London when his tenure ended, and his band subsequently joined him there.
The Big Roll Band secured a residency at London’s prestigious Flamingo Club, and added two new members, Paul Williams (bass/vocals) and Clive Burrows (saxophone). In 1965, the band released its first album, "It Should’ve Been Me", a compendium of soul and R&B material that enhanced their growing reputation. A second album, "Zoot!", recorded live at Klook’s Kleek, introduced newcomer Johnny Almond, who replaced Burrows. This exciting set included a superb James Brown medley and confirmed the band’s undoubted strength.
However, a devil-may-care attitude undermined their potential, and only one of their excellent singles, "Big Time Operator" (1966), broached the UK Top 30. Money became famed as much for dropping his trousers onstage as for his undoubted vocal talent, and several of the line-up were notorious imbibers. Yet this lifestyle was reversed in 1967, when Money, Somers and Allen embraced the emergent ‘flower-power’ movement with Dantalian’s Chariot. However, by the following year Money had resumed his erstwhile direction with "Transition", a disappointing release which was pieced together from several sessions.
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