"This book deserves to reach a wider public - it's a lovingly detailed and scholarly piece of family history, a good story well told, but it's more than that...
Joe Fisher, author/screenplay writer, regarding
THE SECRET LIFE OF THE EARL ST. MAUR
Joseph Augustine Anthony Silmon-Monerri, BA(Hons), MCIL, Dip.Coimbra, Dip.RSA **1937-2016**
All or most of Mr Silmon-Monerri's book projects are long-term academic/reference/textbook material. Universities, libraries and colleges may benefit from the variety of topics available in publications by the Author. However, most topics covered are equally attractive to general readers.
The Series Title for Volumes 1 to 3 is: SECRETS OF THE ST. MAURS
Genealogy/History: Mohamed, Sarah and Families.
About the Author's Grandparents, and their ensuing branches.
Hello!, thank you for calling by. Your visit is important to us. I hope we can be of assistance. But first, a bit of background.
My name is Joe A A Silmon-Monerri. I am a retired linguist, lexicographer and Jazz multi-instrumentalist, 78, but quite active and reasonably fit. I was married, later divorced, I am the father of Joseph Alan, Edward Ferdinand and Jane Georgiana. I live in Manchester; my children live in different parts of the United Kingdom, but we all remain in touch very frequently.
At the end of 2012, I set up Silmon-Monerri Books when I realised that a book that I published through a print-on-demand publisher in the USA in August 2010, was getting nowhere. It had taken three decades to research, interview people and write my findings. The book was The Secret Life Of The Earl St. Maur (1835-1869) [strapline: Was He My Great-Grandfather?]. It is still visible online in many websites and Amazon.co.uk and Barnes & Noble, show some 5-star reviews. So, the book actually existed. Unfortunately, the publisher was not connected to a crucial database company (Nielsen Book Data). Therefore, it "virtually" never existed! When booksellers attempted to buy copies for their shelves, they were unable to reach the publisher in the conventional manner. The book was simply unpurchasable, unless potential buyers knew who to contact (i.e. which author? ISBN? publisher? and more important - which distributor?). With no point of reference, other than in my other, now terminated main website: thesecretlifeoftheearlstmaur.co.uk , with direct links to the publishers' website, to buy the book from them, my 30 years of toil had been in vain. I terminated the useless contract, resigned myself to having been well and truly scammed from afar, where I had no control, and started all over again.
In making a brand new start, and considering the fact that more books were in the pipeline, it seemed expedient to call the company Silmon-Monerri Books. This way, when I die - hopefully after achieving all my current goals - my children can be the beneficiaries of any proceeds. You will have no doubt noticed that the three books appear to come under different non-fiction genres. In fact, my fresh start requiring a complete restructuring of The Secret Life of the Earl St. Maur ... , I chose to split that very large (728-page) project into three volumes. The first of these - A Secret Son - is the biography of Edward Adolphus Ferdinand St. Maur (1835-1869) of the House of Seymour. The second volume is about this 19C earl's ancestors, and some who are not even related. This task that I began just before the Millennium dealt with a ten-century-old surname controversy. In The Origins of the Seymours in pre- and post-Conquest France and Britain, I solve the problem with documentary evidence unearthed from French and British sources. There is a volume 3; however, this is all about my Moroccan Grandfather's large family - because he was brought to Britain in 1868 by the above Earl St. Maur, as his personal 'servant'. Therefore, this volume would be more likely to be of interest only to our family or friends. This saves you, Dear Reader, buying a volume that might be of absolutely no interest to you.
The odd one out - The Manchester Jazz Scene (1919-1990s) - is something in which I became involved as a performer in my early 20s, playing in many local Jazz bands to build up an experience portfolio. This included working the local and provincial clubs and other Jazz venues, in famous British castles, on ships and the highly successful "Cavern", at the real one in Mathew Street, Liverpool, until certain quasi-insects - "you know who" - took over in a big way, and squashed things for the Jazz bands that had played there before they came on the scene. Of course, we must be happy for our fellow performers, but they didn't need us to wish them luck!!! They had plenty of that commodity. Yet, despite the Rock era, the Manchester Jazz scene stayed put!
I'm still active as a multi-instrumentalist. Nevertheless, that project, plus three 'rolls of honour' (covering musicians/vocalists, Jazz bands and Jazz clubs) throughout almost eight decades, are collectively aimed at reminding people that at some time in the past, and for many decades, there was a thriving Jazz community in Manchester, UK. A Jazz history of the local Jazz scene already exists - Keeper of the Flame - by Bill Birch. Yet, although it is excellently written and generously and very tastefully illustrated, it only deals with the Modern Jazz and Bebop scene, and only covers 1944-1972. My book includes that period too, but covers all styles of Jazz, and all periods (some eighty years) of the local Jazz scene. The object of the exercise was to ensure that no local individual musician, band, club, venue or promoter could ever be forgotten, as it was (even before the very beginning of the early 1940s Revival) the local musicians, with their incredible talents, who brought the scene alive for the first time. Bebop and the London and foreign visitors came later, but the latter seemed to have attracted all of the credit, when it was the locals who started it all off.
When all the work in progress is complete and published, I hope that you will look in again .
Best wishes. Joe S-M
Whilst your visit is most welcome, please bear in mind that it took the Author many years to research all the work advertised here. It, would therefore, be much appreciated if you would remember that:
The Manchester Jazz Scene (1919-1990s) is all about Jazz in Manchester, UK, and about ALL performers and styles. There were thousands of performers over nine decades!
While attempting to keep biographical and genealogical genres separate from Jazz, by using this page, the Author wished to redress the problem that several generations of Jazz musicians, vocalists and dancers, in the City that was very much the Mecca of Jazz in Britain, have been forgotten by individual authors and the celebrity-centred Media, when it was the old veterans and their innate talents that formed the very fabric of the local Jazz scene. Without the contribution of such stalwart performers, there would have been nothing to write about .
The following is in the words of the Author: "It is, of course, perfectly understandable that an author should home in on a particular period out of the whole timescale of a given local Jazz scene. My friend and colleague Bill Birch has written an excellent book - Keeper of the Flame - that covers only the Bebop and Modern Jazz aspects during a particularly significant and vibrant period (1944-c.1974). Jack Swinnerton (a hard-working yet unpaid 'Jazz Organiser') wrote about the Manchester Sports Guild and his involvement during a period when he was highly instrumental in arranging visits by mostly American and London Jazz giants. That series of articles by Jack was published in Jazz Times and Just Jazz, as serialised features. They also appear on Fred Burnett's highly informative and fabulous NW British Jazz website, http://jazznorthwest.co.uk/msg1.htm that links us Jazzers together all over the world,
Both works are commendable for the periods and genres covered. Both are specific timescales; therefore, it is not expected that they will cover the whole gamut of the lifespan of the Manchester Jazz scene. I can find no fault in either work, as I know now what their targets were. I had once misinterpreted Jack Swinnerton's series, thinking that he had ignored the pioneers and later performers. However, I later found out that his timescale was only brief and applied after all the "early-birds" had been active. Because the gargantuan and impressive works by these two excellent Jazz historians only cover a limited section of Jazz in the City, it is necessary - for the sake of thousands of local performers who gave their all over the rest of the nine decades - to go back to the foundations of our Jazz scene and a little beyond the cut-off period. I trust that my eventual Jazz history of the Scene will provide the full chronology and that no one will be forgotten. That said, may I urge interested readers not to miss the above essential and outstanding contributions by Bill Birch and Jack Swinnerton. Happy reading! "
Joe A A Silmon-Monerri.
Silmon-Monerri Books was established in Manchester, United Kingdom, in 2012, by Mr Joseph A A Silmon-Monerri, BA(Hons), MCIL, Dip.RSA, Dip.Coimbra. He is the copyright holder of all items in this website, and all books written by him. (© 1979- 2016).
The Author's band "Joe Silmon's Dixielanders" --- level with the letter 'e' of the vertical 'Cavern Pub' sign, appeared some 12 or 13 times at The Cavern between 1961 and '63.
The picture and article above are from "Weekend Magazine", issue 3766, May 4-10, 1977, when the Author regained the World record for the second time around, for flute-playing 'underwater', in the control-room of HM Submarine "GRAMPUS" at HMS Dolphin, Gosport, Hampshire, UK. His 48-hour record was beaten 9 years later, in 1986, by a team of six flautists (not one!) playing in relays. Their record: 60 hours. Was that fair? - and not even underwater!