Biography
Harry Klein can claim the distinction of having contributed saxophone to the Beatles' White Album, though his presence on that landmark release is easy to overlook at first. He performed on clarinet for "Honey Pie" and tenor saxophone for "Savoy Truffle," while also taking part as one member of a four-saxophone section on the hit single "Lady Madonna." That track's instrumental break stands out for the way the horn players execute it collectively rather than as individuals, an effect made smoother by the long-standing professional ties among the participants. Ronnie Scott, the saxophonist and club proprietor central to British jazz circles, numbered among them.
Klein secured repeated studio opportunities in British pop during the 1960s and 1970s precisely because he had already entered that world through jazz. His contributions sometimes register more prominently than others, given the habitual reluctance of pop producers to raise the saxophone's volume in the mix unless the featured artist happens to be a saxophonist. He also appeared on recordings by the group Caravan and worked frequently with Georgie Fame, whose style encompassed blues, boogie-woogie, rock, and jazz across decades on the British circuit.
Earlier employment offered fewer financial rewards. In the late 1940s Klein played in trumpeter Nat Gonella's medium-sized band, an outfit later described as tremendously unsuccessful. He recalled receiving roughly thirteen pounds per engagement, a sum whose value was greater then yet still modest. Additional seasoning came from pianist Bill LeSage's ensemble, which required versatility across old-time dancing, community singing, standard dancing, and cocktail-lounge settings.
A sharper break arrived in 1956 when Stan Kenton, touring Europe, needed immediate replacements for two musicians who had abruptly left. Klein accepted the call and later recounted his opening night in an interview: "The music was absolutely impossible. It went by at such speed, page after page, absolutely black with dots." He met the demands, prompting Kenton to compose solos for him; several appear on the double album Live at the Royal Albert Hall. That release, whose provenance is questionable, was not actually recorded at the venue and lists another saxophonist among the personnel.
During the early 1950s Klein performed in both small and large ensembles led by British jazz trumpeter and bandleader Kenny Baker, distinct from the American bluegrass fiddler of identical name. Pianist Stan Tracey served as his colleague in those groups, and the partnership resumed in the mid-1960s when Tracey made his well-regarded big-band album. Klein's recorded history with Ronnie Scott extends beyond "Lady Madonna" as well. The pair joined a jazz unit engaged for the BBC-TV program 6 to 5 Special, only to be dismissed after several weeks on the grounds of being too jazzy.
Klein secured repeated studio opportunities in British pop during the 1960s and 1970s precisely because he had already entered that world through jazz. His contributions sometimes register more prominently than others, given the habitual reluctance of pop producers to raise the saxophone's volume in the mix unless the featured artist happens to be a saxophonist. He also appeared on recordings by the group Caravan and worked frequently with Georgie Fame, whose style encompassed blues, boogie-woogie, rock, and jazz across decades on the British circuit.
Earlier employment offered fewer financial rewards. In the late 1940s Klein played in trumpeter Nat Gonella's medium-sized band, an outfit later described as tremendously unsuccessful. He recalled receiving roughly thirteen pounds per engagement, a sum whose value was greater then yet still modest. Additional seasoning came from pianist Bill LeSage's ensemble, which required versatility across old-time dancing, community singing, standard dancing, and cocktail-lounge settings.
A sharper break arrived in 1956 when Stan Kenton, touring Europe, needed immediate replacements for two musicians who had abruptly left. Klein accepted the call and later recounted his opening night in an interview: "The music was absolutely impossible. It went by at such speed, page after page, absolutely black with dots." He met the demands, prompting Kenton to compose solos for him; several appear on the double album Live at the Royal Albert Hall. That release, whose provenance is questionable, was not actually recorded at the venue and lists another saxophonist among the personnel.
During the early 1950s Klein performed in both small and large ensembles led by British jazz trumpeter and bandleader Kenny Baker, distinct from the American bluegrass fiddler of identical name. Pianist Stan Tracey served as his colleague in those groups, and the partnership resumed in the mid-1960s when Tracey made his well-regarded big-band album. Klein's recorded history with Ronnie Scott extends beyond "Lady Madonna" as well. The pair joined a jazz unit engaged for the BBC-TV program 6 to 5 Special, only to be dismissed after several weeks on the grounds of being too jazzy.