Harold McNair

Harold McNair (5 November 1931 – 7 March 1971) was a Jamaican-born saxophonist and flautist. Early life McNair was born in Kingston, Jamaica. He attended the Alpha Boys School under the tutelage of Vincent Tulloch, while playing with Joe Harriott (a lifelong friend who considered McNair his de facto younger brother), Wilton "Bogey" Gaynair, and Baba Motta's band. He spent the first decade of his musical career in The Bahamas, where he used the name "Little G" for recordings and live performances. His early Bahamian recordings were mostly in Caribbean musical styles rather than jazz, in which he sang and played both alto and tenor saxophone. He also played a calypso singer in the film Island Women (1958). In 1960, he recorded his first album, a mixture of jazz and calypso numbers entitled Bahama Bash. It was around this time that he began playing the flute, which would eventually become his signature instrument. Initially he had some lessons in New York, but he was largely self-taught. He departed for Europe later in 1960. In Europe Like many other Caribbean jazz musicians of the 1950s and 1960s (e.g., Joe Harriott, Dizzy Reece and Harry Beckett), McNair moved to Britain. However, before arriving in London, he toured Europe with Quincy Jones and worked on film and TV scores in Paris. Once in London, he quickly gained a reputation as a formidable player on flute, alto and tenor saxophone, leading to a regular gig at Ronnie Scott's Jazz Club. His playing drew the admiration of bass player Charles Mingus, who was in London to shoot the motion picture All Night Long (1961). McNair was part of a quartet Mingus formed to rehearse with during his stay in Britain. However, the band never performed in front of a paying audience, due to a ban imposed by the Musicians' Union on US musicians in British nightclubs. A recording of the band exists, playing the earliest recorded version of the Mingus composition "Peggy's Blue Skylight". The Musician's Union ban was lifted later in 1961, leading to a residency by US tenor saxophonist Zoot Sims at Ronnie Scott's club. Ironically, McNair's own quartet were also on the bill, resulting in two of his performances with Phil Seamen on drums being issued. Around the same time, he also recorded with the drummer Tony Crombie and the percussionist Jack Costanzo.