George Fisher and his Kit Kat Band
THE RHYTHM BAND
Mello 1

The Kit-Cat Club was one of the more lavish and exclusive of the clubs that sprang up in London’s West End after the First World War. These clubs were established to evade the licensing laws and allowed dancers to carry on into the night when the hotels and restaurants had all closed. It was owned by Mrs Kate Meyrick, who was in 1926 imprisoned for bribing a police officer. The decor of the club was lavish and according to the mood of the tune, the lighting in the club would change colour to lull or stimulate.
George Fisher (Fishberg) was an American pianist, who had recruited some of the top British dance band musicians of the day to play at the club. In just under a year, nearly 70 sides were recorded under different names for different labels. Until now, only a few of these sides have ever been re-issued.
George Fisher’s Kit-Cat band was not called the Rhythm Band for nothing. Whilst the band’s propulsive rhythm section provided a great beat for dancing, the advanced arrangements explored the possibilities of brass and reeds. It is likely that the band on the records made for HMV was essentially a studio group. The personnel on the other recordings may be more variable than the Rust/Forbes discography suggests, probably reflecting the composition of the band working in the club.
Although Rickety-Rackety Shack is a stock arrangement, most of the HMV recordings seem to be original arrangements written for this band.  Irving Brodsky of the California Ramblers supplied one arrangement, though a good proportion of the tunes are of British origin and many of arrangements are probably by the young Peter Yorke and at least one is by Lew Stone. For their day, they were both sophisticated and inventive and whilst they left little space for improvisation, the ensemble playing of this band was spectacular. Most of jazz on these sides is from Freddy Pit on trumpet, Les Norman and a teenage Harry Hines on reeds.
Seen in its historical context, this is first rate dance music from the mythical jazz age played by some of the best British musicians of the day. George Fisher’s band has been a well kept secret for many years. It can now be shared.

Freddy Pitt (trumpet)
Was from Selly Oak and was one of the leading British dance band trumpeters of the 1920’s. He recorded with the bands of Bert Ralton, Geoffrey Goodhart, Piccadilly Revels Band 1926-7, and Percival Mackey. He was still working in the 1950’s.

Harry Wild (trumpet)
Played at the Savoy before joining George Fisher. He had also recorded with Ambrose in 1927

Bill Morley (trombone)
Was previously member of Ambrose & his Mayfair Orchestra

Les Norman (clarinet, alto and baritone sax)
Was an excellent all round reed player who with his brother directed the studio bands for Goodson/Wordecho

Harry Hines (clarinet, alto and baritone sax) (1911-1971)
Recorded with Spike Hughes Ambrose and played for Ray Noble in the 1930's. Later became a band leader forming, in 1947, Dr. Crock and his Crackpots, playing zany music similar to Sid Millward and his Nitwits.

Pat Whelan (clarinet and tenor sax)
Recorded for Bert Firman in the early 1920s and also with Percival Mackey

Ken Warner (soprano, alto and tenor sax-violin)
Recorded extensively with Harry Hudson as well as with Percival Mackey and Jay Wilbur. He was also a multi-instrumentalist and arranger. In a broadcast in June 1932, he and Fred Hartley played seven instruments between them. He was a regular contributor to Rhythm Magazine, writing out hot choruses for different instruments.

Peter Yorke (piano -arranger)(1902-1966)
Was educated at Trinity College London and had worked previously with Percival Mackey's band. He subsequently became pianist and arranger for Jack Hylton in 1929, before forming his own dance band. He moved into light music forming the Peter Yorke Concert orchestra. He was a prolific composer, arranger and broadcaster and wrote many tines including Silks and Satins and the theme for Emergency Ward 10.

Nigel Newitt (banjo) (1900-79)
Studied as a violinist and took up the banjo in the early 1920’s. In 1924, he become friends with the U.S. Guitarist, Eddie Lang during his stay in London. He recorded with Geoffrey Goodhart, Debroy Somers, and later worked for Ambrose before reverting back to the violin and continuing a career in the West End theatre orchestras, working for Lew Stone.

Harry Evans (brass bass)
Recorded with the Savoy Havana Band in 1927

Bob Manning (drums)
Later played with Jack Payne

Bernard Miller (drums)
No information known