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48:, under the painstakingly prosaic editorship of former BBC correspondent Edgar Letts, who, troubled by Shaw's copy, often was to be heard enquiring of the chief reporter, "Do you this can be possibly true?". Shaw went on to gain an honours degree in arts (with first-class honours in English Literature) at
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During a brief revival of touring in the East
Midlands 2000–2002 a recording was made of new material, a sequence of verse portraits by Shaw of great jazzmen set against a duo performance of a number associated with each. The duo consisted of Shaw on reeds and Angharad Griffiths on keyboard. In the
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Shaw has experimented in combining poetry with jazz role in the poetry&jazz project. He was the originator, director and poet, as well as performer of poems. He hired musicians, discussed the poems with them, and sketched the possible jazz responses but left the final musical detail to them. He
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commented, "His wry humour produces a refreshing antidote to the bleak treatment that region (The
Pennines) regularly provokes. He can include in his characteristic irony a sense of the predicament of suburban exile. His charmless eccentrics are treated with respect as well as irony."
230:– were designed as poster-poems by Rigby Graham and Roy Sandford. In 1981 the BBC commissioned a long poem. His reading of this was used as background to a BBC 2 television film about his work in its Pennine setting. His last published collection, in 2000, was
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A typical programme included straight jazz, poems on their own and, the major ingredient, poetry&jazz fusion. The package broadcast and played a variety of arts and jazz venues, touring
Britain extensively from 1972 to 1983, as
136:, new towns, community projects and academic institutions. From 1992 to 2011 his creative energies were diverted to playing jazz, spending long periods performing in France, Spain and the Irish Republic.
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Shaw toured
Britain, from the Isle of Wight to Pitlochry, giving "readings" of his poems, sometimes with jazz. He also reviewed, wrote for television and radio, contributed literary criticism and edited
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Born in
Coventry, he grew up in Wyken, where his father was a machine-setter at Morris Motors. As a child, he experienced twenty-five German raids in The Blitz in nine months. He was educated at
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Shaw's first poems were published in periodicals while a student at Leeds. However, becoming involved in the late fifties and early sixties, in anti-nuclear protest, with the
Committee of 100 and
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Shaw is also a jazz saxophonist, chiefly on tenor (with clarinet), sometimes alto and, unusually, c-melody. His approach to tone and harmony derived from the later, less influential style of
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wanted their improvisation, the defining characteristic of jazz, to interact with his "readings" in public performance. The jazzmen were drawn from leading modern jazz groups like those of
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as "distinguished" with "an attractive catholicity". His summary dismissal, without notice, followed his rejection of contributions from two members of the controlling
Literature Panel.
75:, on posting from which he reverted to private. His final year's service - at the Cavalry Barracks, York - was marked by offences "against military order and good discipline".
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285:(in The North and Scotland) attracting new followers to both forms. The most settled collaboration was the two years with the Dick Hawdon Quintet.
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1969, illustrated by Rigby Graham and published with the financial support of The Arts
Council of Great Britain,
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265:, who played a number of engagements with the poetry&jazz touring outfit in 1974, was a member of the
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308:. Subsequently it was used as part of a thesis presented at the University of York by Charleson.
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Poetry&Jazz on Record – The Dick Hawden (sic) Quintet with Pete Morgan and Robert Shaw
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Shaw compiled and edited, with a critical survey, the anthology of modern
British poetry,
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328:, Cambridge, University of Cambridge Press, 1970, chapter by Robert Shaw, pages 130–163
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For some years he then taught
English in schools and in adult education for the
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175:, 1988, marked a more direct, colloquial, even "reductive" approach to irony.
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29:(born 31 July 1933) is a British poet and pioneer of poetry and jazz fusion.
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82:. From 1964 to 1968 he combined being Head of English and Sixth Form at the
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1975, was complex and cerebral, with considerable use of ambiguity, but
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Electro-Acoustic Setting by Bill Charleson of 3 Poems by Robert Shaw
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Shaw's two years as a conscript in the Army included periods at the
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for the regional arts association. The magazine was reviewed by
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A representative performance (which received three stars in
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document, he did not resume literary work again until 1965.
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Eric Goarfoot, 8 November 1976, P&J Pulls in New Fans,
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Quartet which made the 1965 classic jazz album inspired by
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run by the Services' Intelligence arm, and, briefly, the
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where his wife, the studio-potter Anne Shaw, had set up
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Geoffrey Summerfield and Stephen Tunnicliffe, editors,
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Catullus: The Love-Hate Poems Translated by Robert Shaw
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21 June 1981, unsigned, volume 14, number 2, page 751
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People educated at King Henry VIII School, Coventry
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292:can be heard on The Yorkshire Arts Association LP,
191:) continued to be published by Alan Tarling's
388:Virgin Books with Maze UK, 1999, pages 384–5.
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132:His creative attachments included the USA's
363:Middlesex, Poet & Printer Press 1990
281:(in London, The South and Midlands) and
207:appeared from fugitive private presses.
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228:A North Country Lass Tells Her Sorrows
93:From 1968 to 1972 he was Lecturer at
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44:Shaw first trained as a reporter on
450:21st-century British male musicians
69:Joint Services School for Linguists
214:, and was himself anthologised in
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435:Alumni of the University of Leeds
386:The Virgin Encyclopedia of Jazz.
290:The Virgin Encyclopedia of Jazz)
146:Campaign for Nuclear Disarmament
80:Workers' Educational Association
73:Royal Military Academy Sandhurst
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177:The Times Literary Supplement
95:The University of Southampton
361:Titlles from a Poetry Press,
169:The Wrath Valley Anthology,
455:British male jazz musicians
337:Robert Shaw, editor, 1976,
157:Private Time, Public Time,
58:and as a freelance for the
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224:we are going to need poems
445:21st-century saxophonists
425:British male saxophonists
420:English jazz saxophonists
220:The House that Jack Built
283:Northern Poetry&Jazz
257:and the British band of
183:His major works (except
50:The University of Leeds
384:Colin Larkin, editor,
302:Leeds College of Music
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88:The University of York
61:Yorkshire Evening Post
39:King Henry VIII School
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460:Writers from Coventry
222:. Two of his poems –
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46:The Coventry Standard
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134:Northwest University
119:The Yorkshire Review
374:The Jazz Messenger.
326:English in Practice
279:New Poetry&Jazz
84:Leeds Modern School
440:English male poets
197:Poems from Haworth
193:Poet & Printer
165:Work in Progress,
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234:, in free verse.
212:Flash Point, 1964
173:Grindley's Bairns
155:His early work –
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259:Maynard Ferguson
218:and Pat Krett's
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271:Under Milk Wood
189:The Byron Press
150:Spies for Peace
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140:Poetry and jazz
103:Haworth Pottery
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247:Ronnie Scott
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55:Melody Maker
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22:Shaw in 2001
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405:1933 births
300:early 80's
267:Stan Tracey
261:. (Bassist
171:1981, with
399:Categories
312:References
263:Jeff Clyne
205:Masquerade
163:1972, and
123:Robert Nye
127:The Times
187:, from
161:Causes,
99:Haworth
203:, and
185:Causes
253:and
226:and
33:Life
273:.)
125:in
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