[Dudley Moore, comedian and jazz musician, interviewed by Les Tomkins for 'Crescendo'.] Typescript of 'The Serious Side of Dudley Moore', with second part ('More Music and Moore'), gig review, and carbon of Tomkins letter to editor Victor Graham.

The interview was published in two numbers of 'Crescendo' ('The world's most authoritative music magazine', founded 1962). The first part, retitled 'Music & Moore | Les Tomkins interviews “The Genuine Dud”' – was the leading article (pp.18-19) of the July 1966 number of ), with Moore featuring on the cover. The second part was published in the following number, August 1966, pp.18-19 and 25. Four items, all in good condition, with light aging. ONE: Carbon typescript of first part of interview, with title (replaced on publication): 'The Serious Side of Dudley Moore | A Les Tomkins Interview'. 8pp, 4to. On leaves of blue and yellow paper. The typescript appears to correspond to the published version, other than a few minor stylistic changes and the correction of a few errors, such as 'Maudlen' to 'Magdalen'. TWO: Carbon typescript of second part of interview, titled 'More Music and Moore Part Two of the Les Tomkins interview with "The Genuine Dud"'. 8pp, 4to. With ink notes indicating that one short passage should be moved, and the correction of a typing error. THREE: Carbon of typed letter from 'Les' to 'Victor', i.e. Victor Graham, the magazine's editor. 1p, 12mo. In what is a covering note to Item One Tomkins writes: 'This is about half of it. The remainder is equally good. He talks about working with the bands of Vic Lewis and Johnny Dankworth, the hostility he encountered, his development as an accompanist; speaks of Tony Coe as “the perfect hornman for our Trio”; Peterson's accompaniments; his experience in the States; his high regard for Pete and Chris, detailing their qualities; the fun he had at the Establishment, and how he misses it; his plans for using jazz more extensively in films; Beyond the Fringe; humour in music; putting jazz across to a wider public; shyness of musicians; the ego of Miles Davis; his dislike of the atmosphere of listening to jazz; his desire to work with a big band of his own.' He ends by asking when the second half should be used. FOUR: Carbon typescript, titled 'ROUND & ABOUT'. 2pp, 4to. Mostly taken up with a gig review, beginning: 'Sonny Rollins, unavoidably detained, missed the first two days of his engagement. On the Monday, this resulted in a welcome one-night stand being played by the Dudley Moore Trio.' Comparing the gig with a previous engagement at Ronnie Scott's, the review comments on Moore's 'microphone prescence today' ('hilarity caused by the funny voices he is expected to adopt between tunes'), and his 'accomplished' and 'irresistibly groovy' piano playing. Moore 'brought off a "first" at the club - with his falsetto singing of an old English madrigal'. Two other reports: the first one a short item on Sonny Rollins' music for the film 'Alfie'; the second on Tubby Hayes being 'well in evidence on the London scene again', with details of his 'new quartet'. The material comes from an archive of typescripts by Tomkins of his Crescendo contributions, including interviews with Louis Armstrong, Sonny Rollins, Bud Freeman, Stan Tracey, Erroll Garner, Stan Kenton, Quincy Jones, Joe Turner, Tubby Hayes, Stan Getz.