Tributes to Tony Kinsey (1927-2025)

Tony Kinsey, who died earlier this month, was a member of the Way Out West collective of musicians in South West London, founded in 2004. Five musicians and friends who are fellow members of the collective – Chris Biscoe, Pete Hurt, Emily Saunders, Gary Willcox and Kate Williams – share their memories of working with him, of conversations and visits, and of the concert of his music which the group organized in January 2024. With photos from his scrapbook.

Chris Biscoe: Tony Kinsey was the last representative of a remarkably talented generation of innovators who introduced and consolidated post-war jazz and bebop in the UK.

Way Out West, the group of musicians promoting jazz in west London, was especially fortunate to count two of these figures in its membership. Eddie Harvey, the slightly older of the two, made the transition from the 1940s New Orleans revival into the modern jazz scene. Tony Kinsey sprang, fully formed it seemed, into the modern jazz scene, playing with the Johnny Dankworth Seven when only twenty years old.

Through the 1950s and ‘60s he led many small groups, including the quartet with which Joe Harriott made some his first recordings, and groups with Ronnie Ross, Bill Le Sage and Peter King. One of the photos I have seen at Tony’s house was from his residency at the Flamingo Club, and shows Duke Ellington stars Paul Gonsalves, Jimmy Hamilton and Jimmy Woode sitting in with the quartet. This was also the period in which Tony toured with such jazz legends as Billie Holiday and Ella Fitzgerald.

Peter King was the soloist with the quartets which Tony presented for Way Out West, followed by Sammy Mayne and a rare contemporary appearance by Tony Coe on alto sax. Tony often featured his own very melodic compositions, which, to my ear, had a surprising English quality. The fact that he was a prolific songwriter, writing his own lyrics, may be the clue to this quality in his writing. At the same time, his compositions, particularly for big band, are very definitely in a modern jazz vein.

Starting in the 1950s, Tony developed his writing for big band, and also created contemporary non-jazz compositions, particularly for string quartet. The big band writing became increasingly important and resulted in several suites, including Anatomy of a Jazz Festival, The Thames Suite, and The Embroidery Suite. I was fortunate to be invited to play baritone sax on the premier of the Embroidery Suite, and on the 2016 live recording. Demonstrating incredible stamina, Tony assembled the band, provided all the music, rehearsed, directed and played in the band during its only rehearsal on the afternoon of the concert, and played flawlessly throughout the two hour concert.

Tony had a stroke during the late 2010s, from which he recovered very well, but he struggled to meet his own exacting standards, and didn’t perform again. He remained as interested in and dedicated to jazz as ever, and continued to write. In 2024, with support from Way Out West, we played a big band concert premiering a new composition, and once again featuring The Embroidery Suite. On a cold January day, Tony sat through the entire rehearsal, occasionally coming over with suggestions, particularly to raise the tempo on a couple of pieces. (Tony loved fast tempos, and had the hands, feet and brain to play with remarkable relaxation at tempos many struggle with). He then attended the concert and sat in the front wearing one of the most elegant suits I’ve ever seen.

RIP Tony Kinsey

Pete Hurt: I first met Tony through Way Out West, and struck up a friendship with him. I occasionally went round to his house where he would talk about his life, and play recordings he’d done with various bands big and small. He told one story about the time he was touring with Billie Holiday at a venue with a particularly dodgy PA system. After a few attempts to sing with the mic cutting out, she stormed off the stage, leaving the backing trio to their own devices. He also showed me a scrapbook he’d put together, documenting the period in the ’50s and ’60s when he was a well-known ‘face’ and would get regular mentions in the press and on the radio.

I managed to play with Tony a few times with various Way Out West groups, but as the years rolled on Tony experienced various medical problems and became increasingly frail. His last big event just over a year ago, with which WOW was involved, was a concert of his big band music in Hampton, not far from where he lived. Tony was insistent that he was going to play drums with the band, but he hadn’t played for some time and was physically not up to it in the end. He came to the rehearsal and made suggestions about our playing. The evening was a fitting tribute to him.

He lived a long and busy life, and was a well-regarded and respected musician and man. He’ll be missed.

Emily Saunders: Tony Kinsey was a phenomenal musician, drummer, composer, and great friend to me. Over the years we had countless conversations, alongside countless garden chats during the pandemic, reminiscing about live music and his musical career performing with golden stars of jazz including Ella Fitgrerald, Sarah Vaughan, Ronnie Scott’s band, along with his friendship with Buddy Rich, and Tony’s love of composing for big bands, as well as TV and film, including the BBC over decades, for example the theme tune for the BBC kids TV programme Willo the Wisp. Throughout our friendship he’d always ask me about my composing and singing work, he loved my stuff which meant the world to me. He was so incredibly supportive. I’ll always be hugely grateful to Tony and will miss him dearly.

Gary Willcox: I first became aware of Tony Kinsey when I was a young boy, living with my family and learning the drums. He lived a mile up the road from us and my Dad’s involvement in music, and the musical life of the area, brought him into contact with Tony.

At one time I’d lost direction in my drum studies and had enough of lessons. At my Dad’s request, Tony came over and listened to me play, and gave some generous appraisal and advice.

Later, my Dad promoted a concert by Tony’s Big Band which contained many jazz legends from the ’50s and ’60s: Jimmy Deuchar, Hank Shaw, Pete King.

More recently I was thumbing through the liner notes of a Joe Harriott box set, and noticed Tony was playing drums on many of the tracks, illustrating how prevalent Tony was in what’s often looked back on as a ‘Golden Era’ in UK Jazz.

Tony also mentioned how he’d been to New York in the 1940s and 1950s, on the cruise liners. He went many times, 30 or 40 times, he couldn’t remember exactly. He said on these trips he’d seen Charlie Parker’s band with Miles Davis and Max Roach, and later with Red Rodney and Roy Haynes, several times. These last details caused me to stare into the distance in a misty-eyed fantasy, and I realised what a connection Tony had, and in fact was, to an essential era of jazz music.

Last year, Way Out West put on a concert of Tony’s music, and the skills as a composer and arranger which enabled him to expand his career into film and television were very apparent. 

Tony was the last of his post-war generation – Ronnie Scott, Tubby Hayes, Joe Harriott, Johnny Dankworth, et al – all now fabled in history.

Kate Williams: It was a privilege to play in a concert in late January 2024 in which an augmented Way Out West performed Tony Kinsey’s Embroidery Suite, and a new piece for big band. Despite illness in his later years, he continued to write and arrange music. Tony played an active part in the afternoon rehearsal that day, and both his astuteness and energy were formidable (for a person of any age, let alone one in their 90s!).

In addition to Tony’s great musicianship, I will always remember his lucidity, dry wit and warmth. He will be greatly missed. RIP Tony Kinsey.