Paul Crawford seen during the funeral procession in "Live & Let Die"
Paul Robbins Crawford was born on the 16th of February, 1925, in Atmore, Escambia, Alabama.
He was an American musician, musical arranger and historian, best known for his long standing affiliation with the jazz scene of New Orleans.
Crawford studied the classical trombone at the Eastman School of Music in Rochester, New York, before studying further at the University of Alabama. Following his service in the United States Navy during World War II, he moved to New Orleans in 1951 to continue his professional music career, moving into the city’s famed French Quarter in order to integrate himself into the local community. Being already proficient in the Dixieland style of jazz, Paul quickly earned a reputation as a talented musician and began performing at venues around the city. Some of his earliest performances were at the New Orleans Jazz Club, where he shared the stage with the likes of bandleader Paul ‘Doc’ Evans, Sharkey Bonano and Leonard Ferguson, the latter of which Paul co-founded the band ‘The Crawford-Ferguson Night Owls’. The group included several talented artists such as Dr. Edmond Souchon (guitar, banjo & vocals), Len Ferguson (drums), Sherwood Mangiapane (bass), Hank Kmen (clarinet), Jack Bachman (trumpet) and ‘Chink’ Martin Sr. (tuba). They released several records in the 1960’s including their debut album on New Orleans Originals Records. Paul had also been previously recorded with the Lakefront Loungers in 1957.
A key moment in his career came in 1964 when he was granted his first opportunity to perform at the famed Preservation Hall by it’s owner and talent coordinator Allan Jaffe. Paul joined the illustrious line-up which included trumpet Ernest ‘Punch’ Miller, Paul Barbarin, Waldren ‘Frog’ Joseph, Louis Nelson and Emmanuel Sayles. By 1968, Paul was a founding member of the New Orleans Ragtime Orchestra and also joined the iconic Olympia Brass Band, releasing his first record with them that year on MPS Records. He remained with group for many years and joined them on multiple European tours, even appearing with them on the big screen in the James Bond blockbuster “Live & Let Die” in 1973.
Throughout his extensive career as a performer, Crawford achieved over 40 credited releases with numerous bands including the Olympia Brass Band, the New Orleans Ragtime Orchestra, Percy Humphrey and his Crescent City Joymakers, Pud Brown, Preservation Hall and Danny Barker. He was not only proficient in the trombone but also with the baritone horn, which he would occasionally play with his bands during parades and festivals.
In addition to his skills as a performer, he was a dedicated jazz historian and became a curator with the Hogan Jazz Archive at Tulane University during the 1960’s. He was responsible for resurrecting a number of classic compositions, as well as conducting numerous interviews and assisting to develop a pictorial history of jazz.
Paul Crawford sadly passed away on the 31st of July, 1996, aged 71.
In "Live & Let Die", the iconic Olympia Brass Band were a real life band, who led funerals in the city of New Orleans.
Trombonist Paul Crawford can be seen clearly in both funeral processions, directly behind the Grand Marshal, Matthew 'Fats' Houston.
The item displayed below is the LP 'Jazz At Preservation Hall' from 1963.
It was signed by multiple members of the band including Paul Crawford, who was not listed on this particular album but was likely asked to autograph it at a later date due to his performances at Preservation Hall.
To date, this is one of the only examples of Paul Crawford's autograph that has been seen on any material, making him extremely rare for jazz and James Bond collectors alike.
The Bond Archives is the first source to showcase Paul in "Live & Let Die".
Paul was not present during the first day of filming with the Olympia Brass Band on the 26th of October, 1972. Fortunately for him, no footage from that day was used in the final version of the film. Only scenes shot on the 9th of November were used.
During the 1950's, there were strict laws in place that prohibited white musicians from performing with black musicians. These laws were eventually abolished in the following decade, which granted Paul the opportunity to work alongside some of the greatest names in jazz.
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