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11 Jan

Reginald Pursglove (1902 -1982)

By  Robert Walton
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Reginald Pursglove (1902 -1982)
By Robert Walton

When violinists come up for discussion, we tend to think of great classical soloists like Benedetti, Bell, Chang, Heifetz, Menuhin, Oistrakh, Perlman and Vengerov. These top players in a class of their own have made their names in the glare of publicity playing the world’s most famous concertos.

But what about the thousands of fiddlers who occupy symphony orchestras and recording sessions who remain comparatively unknown? In many ways it was these musicians who were the lifeblood of the business. Without them, the industry would have collapsed. Lots of these players filled the need for specialization in which the instrument covered a much wider range of music. This is true today as it was then.

In the dance band world, strings became an integral part of their sound. Even just one violin proved effective in the hands of the right person. In the UK in the 1920s and 30s one of the most in demand soloists was Reginald Pursglove whose violin nestled comfortably in many of the bands which included Carroll Gibbons, Ray Starita and Ray Noble. Reg produced a vibrato so beautiful that it literally took your breath away. In addition he was a brilliant sight reader and a superb technician. Whenever there is a documentary or programme on television covering the years before World War 2, keep a sharp eye out for the leading band of the era, the great Bert Ambrose Orchestra. You might well spot Reginald Pursglove on the left adding his sound to the proceedings. But don’t hang about. You have to be quick!

When I came to Britain in the 1960s, Pursglove’s own group the Albany Strings played several of my tunes on the BBC Light Programme. Years later in the 1970s when I was conducting the London Pops Orchestra at Pye Studios, Reginald happened to be in the string section. What a reunion that was! Incidentally sitting next to him was Jack Rothstein.

Well, after my connections with Reg, it’s time to actually hear what he sounded like. 1944 was the year he recorded Raymond Scott’s In An 18th Century Drawing Room with his own orchestra. He certainly had a distinctive style.

As a young man he studied at the Guildhall School of Music after which he went straight into the music hall and brass band work. The brass work proved good preparation for the dance bands. With all that experience over the years he became one of the busiest session men in town.

Catch him on Google or Guild GLCD 5128 and you’ll see what I mean!

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Read 194 times Last modified on Tuesday, 11 January 2022 12:12

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