This page is dedicated to my father Colin Bowden who sadly passed away in August 2021. He has a big fan base around the world, and if you search his name on for example YouTube you will finds lots and lots of videos of him playing with many of the big names within New Orleans style jazz. But there is no dedicated web site for Colin, and this is my effort to commemorate his life and work.
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A short bio (from the Colchester Jazz Club web site)
Colin was born in Hampstead Heath, London in 1932. He remembers at the age of 10 seeing through a village hall window a drummer performing live and feeling that he had discovered ‘Eldorado’! Some years later, after conscription service with the R.A.F., he renewed an old drum kit, which he had bought for £5 from a workmate who was clearing out an attic. It was late 1952, Colin was collecting Spike Jones records until he heard ‘Oh, Didn’t He Ramble?’ and that 78 r.p.m. disc by ‘Jelly Roll’ Morton put him firmly on the jazz trail. Over the years main influences have been Baby Dodds, ‘Big Sid’ Catlett and Art Blakey, along with the others. Colin spent his formative years playing New Orleans style jazz with Ken Colyer’s band (Ken Colyer’s Jazzmen). He is generally regarded as one of the finest New Orleans drummer in Europe.
Another bio (from “Who’s who in British Jazz” by John Chilton, Cassell 1997)
Started playing drums after RAF service (1950-1952). Sat in with Steve Lane’s band, then joined Cy Laurie. With Jeremy French’s Band, with Trevor Williams and with Sonny Morris before joining Ken Colyer in September 1955.
Left Colyer in June 1961 to work with Alan Elsdon for six months. With Ken Sims from early 1962 until joining Doug Richford from August 1962 until 1963 (including tour of Denmark).
Temporarily left full time music but gigged with many bands. Led own trio in Seven Kings, Essex and played in Mike Daniels’ Band (1966). Moved out of London and worked with Barry Palser from 1967. With the new Crane River Jazz Band intermittently from 1972 through the 1980s (including tour of Germany).
Occasionally with Ken Colyer in the 1970s and played gigs with Sammy Rimington (1977) and with Lord Arsenal (Allan Bradley).
During the 1980s and 1990s freelanced with many musicians including Cy Laurie, Eggy Ley, Sonny Morris, Phil Mason, etc. Extensive international touring with Chris Barber in 1994.
Many freelance sessions throughout his career, including recordings with Humphrey Lyttelton and Alex Welsh.
Note: This bio was included in the Discography written by Gerard Biedeman 2017 where over 200 known recording with Colin on drums is listed.
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On why Colin isn’t listed as member of Chris Barber’s band on the web site https://www.chrisbarber.net/
By Dr Robert Hunt, musical director at ChrisBarber.net
“Sadly, Colin was never an actual member of any of Chris Barber’s bands. He is often mistaken for his namesake, Ron Bowden who was Chris’ drummer at the beginning, and who played on all the “hits” from the 50s. Ron went on to join Kenny Ball who was better known in England thanks to his regular TV appearances on the Morecambe and Wise show and Saturday Night at the Mill (Pebble Mill).
Colin did, however, take part in Barber’s numerous “Jubilee Concerts” between 1990 and 1994. For these shows Chris re-formed his original 6-piece band, which played the first half of each show, wearing distinctive white jackets. The then current “Jazz and Blues Band” played the 2nd half, in their usual black jackets.
The original drummer for this revived 6-piece band was Ron Bowden, but as the shows continued to be staged much longer than originally intended, Ron had to quit, due to his commitments with Kenny Ball.
His replacement was Colin – and this explains why there is so much confusion about Colin and Ron in fandom.
Barber was very happy with Colin’s drumming, and even after the other “originals” – Lonnie Donegan (banjo) and Jim Bray (bass) – had left due to other commitments, Colin and Monty Sunshine (clarinet) were kept on. Donegan and Bray were replaced by Johnnie McCallum and Vic Pitt from the Jazz and Blues Band, who just had to wear the white jackets in order to appear “original”. Eventually even Monty was replaced by the Jazz and Blues band’s John Defferary, meaning Colin was the only guy on stage who wasn’t actually also in the current band.
Barber’s fondness for Colin’s drumming was reflected in the later “Symphonic Concerts” wherein the then current Big Chris Barber Band joined forces with a full symphony orchestra (various different ones, depending where the concerts took place) to play specially composed pieces by Richard Hill (including “A New Orleans Overture” “Basieland” and the “Concerto for Jazz Trombone”) as well as a number of orchestral versions of numbers from the band’s usual repertoire, such as “Black and Tan Fantasy”, “Immigration Blues” and “Ice Cream” these being arranged by myself. These concerts necessitated the creation of an authentic New Orleans marching band, along the lines of that seen at the start on the Bond film “Live and Let Die” (1973)
Such bands obviously cannot use a regular kit drummer, since they have to be mobile – so two drummers (one playing snare, the other bass drum with a cymbal attached) are employed.
Colin was often the 2nd drummer on these concerts. I’m afraid I did not keep a record of which ones he was on… but I remember him being there on several occasions. He had never played in front of a full symphony orchestra before, and found the experience both exhilarating and somewhat scary!”
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