Herbert went on to direct rock documentaries featuring Otis Redding and Jimi Hendrix, and won an award for his documentary about blind children, What Colour is the Wind?, at the Chicago International Film Festival. Henry Herbert's career was divided between directing popular television series and films and his duties as the 17th Earl of Pembroke, heir to one of the most famous and stately of English country houses.The 17th- and 18th-century grandeur of Wilton House, outside Salisbury, with its exquisite single- and double-cube rooms and its Palladian bridge over the River Nadder, seemed at odds with the ambitions of the young man who, when he succeeded to the title aged 29 in 1969, had been working in the film business for four years, starting out as "a glorified teaboy" on the 1965 film The Heroes of Telemark. Henry George Charles Alexander Herbert, film director and producer: born 19 May 1939; styled Lord Herbert 1960-69, succeeded 1969 as 17th Earl of Pembroke and 14th Earl of Montgomery; married 1966 Claire Pelly (one son, three daughters; marriage dissolved 1981), 1988 Miranda Oram (three daughters); died Wilton, Wiltshire 7 October 2003. He was often featured with the Seattle Repertory Orchestra and most of the city's prominent musicians had already been scheduled to take part in "A Concert for Don Lanphere" later this month.Steve Voce. Modest tours, that did not take account of his great talent, followed and he played to small audiences in Britain in 1985.He was generally credited with a virtual renaissance of jazz in the Seattle area and played regularly at a local night-club and at festivals throughout the district. He taught adults and youngsters, often taking payment in kind from dentists, accountants and roofing contractors.

"He was a candidate for sainthood around here," said Bud Young, a Seattle record-store owner and co-host with Lanphere for seven years of a radio jazz programme.Lanphere taught and brought on his own class of jazz players including, notably, the trumpeter Jon Pugh, with whose father Lanphere had worked in the big bands. Despite his abilities, he was never flashy and his work was always profound and most original - one of his more imaginative performances being a version of the Lord's Prayer played as a soprano saxophone solo. In 1969 Lanphere and his wife Midge became born-again Christians and he began playing again. "One of the major things," he said in 1998, was my conversion to Christianity, which was thoroughly unexpected by me. It was a life-changer because without it I would be dead by now.Over the last 30 years of his life he became a much-revered music teacher and, beginning in 1982, toured Europe and the United States and recorded several albums issued in Britain on the Hep label that marked him again as one of the great jazz musicians of his time. His ballad improvisations were exquisite and he lost none of his lightning speed on the various saxophones. The hole in their lives left by the end of addiction was vast and the fervour with which they adopted their faith was in proportion.

He played little in the subsequent decade, returning to run the family record store whenever he was able to.Several of the outstanding musicians who fell prey to drug addiction in the late Forties turned to religion to help them escape their habits. By 1957 he managed to return to the big bands and over the next two years worked for Herb Pomeroy, Billy May, Maynard Ferguson and Claude Thornhill. He returned to Woody Herman for a year in 1959 and stayed intermittently until 1961 when he was arrested for possession of marijuana. His work with Herman confirmed that, despite his huge problems, he remained a sensitive and gifted jazz player. He was jailed for the first of many times in 1951.When he was released, he returned to his home town of Wenatchee in Washington and worked in the family's music store. These included those of Jerry Wald, Woody Herman, Artie Shaw and Charlie Barnet; and Lanphere recorded with Artie Shaw's Gramercy Five in the final years of the clarinettist's career. It was incredible that, at his first recording session in November that year, he should find himself in a quintet with two of the fastest players in jazz, the bebop pioneers Fats Navarro, the trumpeter, and Max Roach, the drummer Linton Garner (Erroll's brother) was the pianist.