Top Ten Christmas Songs

1. All I want for Christmas Is You - Mariah Carey.

2. Wizzard - I Wish It Could Be Christmas Every Day (including the best lip-syncing ever videod!)

3. Let It Snow - Frank Sinatra

4. Rockin Around The Christmas Tree - Brenda Lee

5. Wham! - Last Christmas (the acting in this video is superb..!)

6. Cliff Richard - Saviours Day

7. Baby It's Cold Outside - sung by the incredible Dionne Warwick and Ray Charles (not Cerys Matthews who sings the words wrong in the studio and says "oops!")

8. Santa Claus is Coming To Town - Jackson 5

9. Have Yourself A Merry Little Christmas - James Taylor

10. The Christmas Song - Nat King Cole

A Belfast Treat

On 6th/7th November I had the pleasure of spending a weekend in Northern Ireland for a couple of gigs.  A friend who I used to play jazz with when we both lived in the North West of England - Dan Forshaw - moved to Belfast a couple of years ago and has been busy establishing some decent, regular jazz nights.

So the Saturday night was a jazz gig in Bert's Jazz Bar, at the Merchant Hotel.  Bert's does live jazz every night, and it's even got a veranda outside to which music is pumped, day and night.  Here I am the morning after, listening to some very sultry Sarah Vaughn.  (Unfortunately the camera couldn't cope here with the bright sunlight... apparently we had experienced one of the only Autumn weekends with sunshine since Dan had moved there!)

We were lucky enough to be put up in this (very 5*) hotel.  I'd never been in such a place.  Our small bags were carried without question by the charming William - who then proceeded to give us a guided tour of our room.  We couldn't have been looked after better.

The gig was enjoyable - great to play with new musicians - although in a hotel bar, it's unlikely that you'll get much of a listening audience.  However, we had a few requests and a few appreciative comments amongst the irregular applause.  I have to say, it was wonderful to do a gig and then crawl into bed less than 5 minutes later, in a room that is one of the most elegant I have ever been in!

Me and Dan

Sunday started with a 'full Irish' - deliiicious!  The dining room had high ceilings, columns, cherubs adorning the walls and everything else you could imagine of such a place.  We followed breakfast by a trip to the next gig - at SD Bell, a lovely little tea and coffee house in the Knock area of Belfast.  Each Sunday top-quality jazz and atmosphere is served, for no entry fee.

Overall a very enjoyable weekend, and hopefully at some point I'll be back.

Top Ten London Jazz Festival gigs

Each November, London hosts one of the major International jazz festivals.  It started off life in the 1970s as ‘Camden Jazz Week’ as part of the Camden Festival.  After about 20 years the Camden Festival disappeared, but the popular jazz week moved south of the river and grew into the thriving festival we know today.  Given that the festival runs for 10 days, I have picked one gig from each day to be included in this month’s Top Ten.

Top Ten London Jazz Festival gigs (in order of performance schedule)

1. Emma Smith | Friday 12^th November | Barbican Freestage | 6pm

I first met Emma about 4 years ago when she came to NYJO as an aspiring singer.  At that time I had the principal vocalist/vocal coach spot with the band.  In NYJO you are considered ‘youth’ until you are 25 and, although I wasn’t planning on leaving just yet, I knew my days were numbered.  Therefore I was always on the lookout for a replacement singer, and I was thrilled when Emma came along because I knew, even at 16, she would do the job brilliantly.

Emma is performing with her own quartet on the Barbican Freestage.  She’s one of the best singers I’ve ever heard, despite being only in her second year at college!

2. Gareth Lockrane | Saturday 13^th November | The Forge | 9pm

I first heard Gareth playing flute with NYJO (most of the musicians I know in this city have had some experience or other in NYJO) when I was about 17.  I was a flautist myself, but I heard notes from Gareth’s flute that I didn’t even realise were possible on the instrument!  Gareth now plays with a variety of different instruments – piccolo, alto and bass flutes – which bring a delicious flavour to his performances.

3. Gretchen Parlato | Sunday 14^th November | Ronnie Scott’s | 8pm

I have previewed Gretchen’s gig at Ronnie Scott’s for the LondonJazz website – click here to read it.

4. Shez Raja (+ Peter Sarik + Emma Louise) | Monday 15^th November | The Pheasantry | 8pm

Shez Raja is a fantastic bass player and an all round nice guy!  His music is a mixture of funk and jazz, and his latest album – Mystic Radical – has a flavour of experimental jazz too.  The collective is joined by trumpeter Abram Wilson on this occasion.  “Expect exciting music that evokes all of the emotions - a mix of euphoric jazz, thundering funk, lyrical ballads and intoxicating grooves.”

5. Empirical | Tuesday 16^th November | Peter Parker’s Club | 8:30pm

Empirical were recently awarded the MOBO for jazz, beating off competition from Robert Glasper, Brad Mehldau, Phronesis and John McLaughlin.  They are the choice band for Hot Dog Jazz which runs monthly at Peter Parker’s Club.  After the first set, the stage is opened and Empirical will host a jam session.

6. Vocal Summit | Wednesday 17^th November | Spice of Life | 7:30pm

I’ve made in onto my own list again!!  I’m thrilled to have been invited to take part in this year’s vocal summit alongside distinguished vocalists Emilia Martensson and Fini Bearman.  I’ve previewed the gig for LondonJazz – click here to read it.

7. Jon Hendricks | Thursday 18^th November | Ronnie Scott’s | 7pm

I first saw Jon Hendricks perform at the Ronnie Scott’s 50^th birthday party about this time last year.  His voice was just as dextrous as ever and he performed some amazing scat.  This is the first of 3 nights he’s on at Ronnie’s.

8. Peter King and Henry Armburg-Jennings | Friday 19^th November | The Green Man | 7:45pm

The Green Man has opened its downstairs bar to a weekly jazz night, hosted by a collaboration between the Worshipful Company of Musicians and a group of Royal Academy of Music graduates.  Jazz legend King is joined by young trumpet star Armburg-Jennings for the final night of a 4-night performance run at The Green Man.  The other nights are Jim Mullen (Tues), Ronnie Scott remembered (Weds) and Bobby Wellins (Thurs).

9. Tina May | Saturday 20^th November | The Pheasantry | 8:30pm

Tina will be performing tonight with the Frank Harrison trio, to launch a new DVD.  Tina is a wonderful performer as well as singer, and always entertains with tales of jazz and song stories.  She has had a fascinating career thus far from musicals to touring, from French to festivals.  Read about her here: www.tinamay.com/biog

10. Ian Shaw and Lianne Carroll | Sunday 21^st November | The Hideaway  8pm

The Hideaway in Streatham is a great venue, having been running for a little over a year.  As you may guess, it’s hidden away, around the back of some shops off Streatham High Road, but once inside you’ll find it’s one of the best equipped jazz clubs in London – great atmosphere, good bar and food, excellent sound.

Ian and Lianne – both being singer pianists, and both extremely funny people not to mention phenomenal singers – have the ability to take you to musical heaven while making you feel like you’re their best friend.  This should be an amazing end to the London Jazz Festival.

Half-term holidaying and harmonies.

Half term used to be a time for sitting on a sofa, sleeping in, staying up late and trying to stop thinking about the children in my class.  Now it's a time for jetting around the country, visiting jazz clubs and catching up with family.

The week has started in Newcastle - for my return visit to The Cherry Tree.

Photo by Lance Liddle

I last was here in May, as part of a UK tour supported by Jazz Services.  I had brought my band up from London on that occasion, so this time I was a lone traveller ready to meet the local musicians - Paul Edis (piano), Mick Shoulder (bass) and Adam Sinclair (drums).  They were great - Paul was imaginative, listening and responding beautifully to my musical ideas; Mick was fast-fingered and fun and Adam created a wonderfully different timbre to a couple of ballads with soft sticks.  Ballads were a little bit lost on this audience - there was a large party of girls that staggered down the stairs at the end of the night a little worse for wear - but nevertheless we persisted!

The evening was reviewed by Lance Liddle - read his review here.

So that was Monday.

Tuesday = college reunion and relaxing with sister, niece and nephew.

Wednesday involved chilling out with another sister (there are 3 altogether: one identical twin and two elder), and singing at a new-ish jam session in Manchester at Indigo.  It's run weekly by Ed Kainyek - a terrific saxophonist that I met when I was living in Lancaster.

It is brilliant!  Packed to the rafters, bursting with students and older jazzers alike, and quality musician after quality musician getting up to jam.

On Thursday I made a short train journey to Wigan to sing with the Sounds 2000 big band at Wigan Cricket Club.  Run by Jim Ashcroft and formed in 2000 (hence the name), I've been invited to sing a few numbers as there is no regular singer with the band.

My first professional work was singing with NYJO, so I love the sound and exhilaration of singing with a big band - and I'd forgotten how much I miss it now that I mostly work with a quartet.

I'm announced in Wigan accent as "Sarah Helen Use" (reminiscent of Eliza Doolittle's elocution lessons about 'ertford, 'ereford and 'ampshire where 'urricanes 'ardly hever 'appen).

It's great stuff, but this gig is grossly unsupported considering the quality of music going on here.  Only 4 members of the band have full heads of hair - which includes 2 women (I've never sung with a band like this, having started out with NYJO, and subsequently performing with Military bands and and other big bands half full of the 'youth'), but it occurs to me that these are musicians that were learning their craft while the greats e.g. Sonny Rollins and Freddie Hubbard were doing their thing - so no reason why an older band shouldn't be a better band.

The quality of ensemble and the individual skill is excellent.  The band leader, Jim Ashcroft, is an advocate for little-known and well-arranged tunes, hence him selecting a handful of NYJO charts from my pad for me to sing.  The program is exciting, varied and current.  However, its excellence is not reflected in the disappointing patter that follows each tune from only a small number of hands.

I've unfortunately been involved in too many gigs where the band outnumbers the audience - more likely with a big band but still, so unfair.

An incredibly dynamic (not loud) band, Jim runs a tight ship performing the music he loves for only £2 entry including raffle.  The band rehearse here weekly and perform on the last Thursday each month.  If you're even a stone's throw away from Wigan, it's well worth checking out.

I was given a lift home to Manchester by the legend that is Ernie Garside - trumpeter with the band.  It was a hilarious journey with tales of Johnny Dankworth and playing with Maynard Ferguson, and as much effin' and blindin' as you can fit into 45 minutes.  A great way to end my enjoyable week of jazz.

North West weekend

Good jazz nights are hard to find.  So imagine when I'm on my way to a gig and the organiser tells me that the pub used to host a 'pop' night, then on request changed it to a jazz night so as to generate more revenue from a greater audience, I'm pleasantly surprised.

The pub in question is the Legh Arms - a charming and elegant watering hole on the outskirts of Macclesfield.  

I was there to join the Peter Johnson quartet, and they were wonderful!  Ed Harrison on bass, Steve More on piano and Ken Leigh on drums more than lived up to expectations, and made for an incredibly enjoyable evening of jazz.

Now I'm off to Kendal.

The good thing about travelling by train - as well as the fact that you don’t have to sit in traffic, and can wander around/drink tea/read a book during your journey - is that you get to take the scenic route.  The Manchester-Kendal line is no exception.  After Preston’s concrete blocks have passed, the path to Lancaster is the start of a magnificent journey into Scotland.  If you’re lucky you can see Blackpool Tower (if you really know where to look and it’s a clear day.  I missed the Tower on this particular occasion but I did happen to catch some skydivers doing their thing - although skydivers are quite hard to spot until they open their parachutes so I guess I was watching parachutists!)

The journey through Lancaster generated quite a bit of nostalgia as I used to go to college there.  It’s funny how time erases information that was once well-known - I struggled to remember the names of areas, and was disappointed to realise that I had even forgotten my last address there.  Nevertheless, Lancaster Castle/Prison loomed through the trees and Williamson’s Memorial stood proud overlooking the city.  On arriving in Kendal, I sampled a once-regular evening snack: chips, cheese and gravy.  Only in the North West!

Anyway, on with the jazz.  I was joined by local musicians John Woodhouse and Mike Reynolds, and we formed a piano, voice and saxophone combo.  We were performing at Burgundy’s Wine Bar - a popular and charming bar in the middle of town that specialises in real ale.  Despite there being a real ale called Sarah Hughes, I’m really not an aficionado so I stuck to the house white.  Burgundy’s regular weekly jazz night is usually a Thursday, so I’m grateful to manager Mike Pennington for allowing us to do a Saturday night special.

On Sunday I made the journey to Blackpool (I definitely spotted the Tower on this journey).  I had a lunchtime session with pianist Mike Taylor at Art Deco Cafe - a great little spot (excellent homemade soup) in the middle of Stanley Park.  High ceilings, attentive audience and great acoustics made for an incredibly enjoyable gig.  I’ll definitely be back there.

So, Blackpool against Manchester City was the talk of the afternoon and I decided to make my getaway before angry City/Tangerine fans descended on the station.  

This evening, I’m joining Harold Salisbury at the Mad Ferret in Preston.  It advertises itself as the premier music venue in Preston, and judging by the decor I’m inclined to believe it.   A sizeable stage, and walls adorned with pictures and posters of The Smiths, Nirvana and The Rat Pack, I have high hopes for the quality and popularity of this jam session.

It doesn’t disappoint - although I’m not sure why it’s advertised as a jam session, as it’s only the guys on stage playing.  I sing a couple of numbers - steering away from the fusion-based style of tunes that has made up the set thus far and doing - on Harold’s request - Garote de Ipanema.  It’s brought to a whole new level with effects pedals and various percussion instruments.  

Great fun!  Now for my train back to Manchester and the prospect of crawling into bed (mattress on living room floor) at 1am.  Oh, the life of a jazz singer!

Jersey Weekend

I wasn’t looking forward to a weekend of singing in Jersey - having lost my voice on Thursday evening I still hadn’t found it, and 3 gigs over the weekend wasn’t going to help!  

The first gig was at Roberto’s jazz bar in the Savoy Hotel, St Helier.  I had played there once before on my UK album tour in May this year, and had returned to see the bar fast becoming an official jazz venue - a stage area, plans to buy a piano, and black and white pictures of the jazz greats adorning the walls... and there was me!  A little picture amongst the Monks and the Ellas and the Coltranes. 

The following morning I found my way to the Merton Hotel, where the Jersey Big Band play every Sunday.  I was their special guest for the day which was a great privilege - they were a good band, and fronted by two very competent singers.  Voice not improving, I drank copious amounts of tea and tried not to talk to anybody during the breaks.  Luckily, they had an advantageous set design: sing one song, rest for two etc.  This certainly helped.  (I still had the ‘diva’ comment when someone said “Ooh, you don’t sound well,” and I said “No, I’ve lost my voice.”  How that’s a diva I’ll never know!)

Anna in foreground enjoying
a dance lesson.

Anyway, the songs sounded fine - they must have done because I sold out of the CDs I had taken - but I had lost all ability to sing in my head voice so had to belt out the tunes in my tiring chest voice.  Singing in this loud voice is tiring at the best of times, but coupled with the fact that I was having troubles anyway, I ended up totally exhausted.

The evening’s gig was a struggle.  Luckily I had identical twin sister Anna on hand to sing a few songs to give me a rest.

Overall a lovely weekend - good weather, good food and good company - but much more husky and definitely quieter than usual!

Cardiff Cafe Jazz, and the Hazards of being a Singer

Temperatures soaring, high fever... doesn’t sound much like Cardiff does it?!  No, it’s my body responding to the first three weeks back at school and a gruelling singing/teaching schedule.

I’m in Cardiff for a gig at Cafe Jazz.  I have visited Cardiff once before on jazz business - to sing at Dempsey’s during my UK album tour in May.  And, yes, as my name would suggest I have relatives in South Wales.  My grandparents were from Llanelli and Blaengwynfi.

I am joined on stage by a trio booked by Jazz Productions Wales man Ian Poole - who had in fact booked himself on drums, but had to pull out at the last minute owing to a back injury.  Greg Evans ably stepped into his shoes; Ashley Long demonstrated the fastest fingers I have ever seen (how anyone manages to play sustained triplet quaver passages on a double bass to my rip-roaring tempo of That’s All is beyond me); Dave Cottle in for flu-ridden Dave Jones on piano.  

Unfortunately, I’ve spent the day not feeling well.  I had even taken the afternoon off work which is so unlike me - definitely poorly then!  I arrived in Cardiff feeling a little shivery, but nothing a white wine and excellent chicken dish couldn’t ease.  

The first set went well: it’s a pleasure to play ‘busking’ standards with such competent musicians who bring something new to each tune.

However, by the second tune of the second set things weren’t going so well.  I felt it necessary to announce to the crowd that I was losing my voice.  

At the end of the show, someone came up to me at the bar and offered me a drink.  “No thanks,” I croaked.  “Oh, you’ve really lost your voice!” he said.  “Singer always moan: oh, I’ve got a sore throat...etc.”  

I know the sort: ‘I’ve got a cold... I usually sound better than this... etc. etc. moan, moan, moan.  I’ve made a conscious decision not to moan to anybody when I’m feeling under the weather, as it just invites the response “Oh, you sound fine” when they’re really thinking, “Stop fishing for compliments.”  

It’s frustrating though, as if you’re feeling under the weather even slightly, this can totally affect the way your body - ie. your instrument - works.  When I sing it’s a thrilling experience.  When the adrenaline works in the right way, it makes me feel GREAT!  However, even the slightest niggle can throw all that off balance and make me feel frustratingly crap.  

So when a singer says to you “Oh, that was terrible - I’ve got a cold,” they’re not fishing for compliments - they probably didn’t enjoy it at all.  Take pity on them!

Sector 7

Emma Smith

To start October in style, my new band - Sector 7 - had its first
rehearsal.  As you may guess, Sector 7 is a seven-piece band,
and it features jazz trio with 4 singers.  I’m very excited about
where it may go.

The inspiration to set up this band came from watching a gig 
with Pete Churchill’s London Vocal Project.  For part of the 
set, the choir sang behind the Jessica Berry quartet, and I was so
overwhelmed by the sound of so many voices and the power that

Shakka Phillip

it added to the music that I thought it would be great to start a
similar project.  Setting up a choir, however, is a massive
logistical stress, and Pete's group already does it brilliantly.  
So the idea to create a jazz band with backing singers was born.

I’m joined behind the mic(s) by Emma Smith - London Jazz 

Sarah Ellen Hughes

Vocal Award nominee 2010, Kwabena Adjepong and 
Shakka Phillip.  This band was conceived as being my jazz 
quartet with backing singers, but I soon realised that I was 
working with 3 singers better than me!  They are terrifically 
talented, and the two boys have roots in soul music, so the 
group - while predominantly being a jazz group - is exploring 
repertoire from artists like Stevie Wonder and Erykah Badu 
to showcase the diversity in voices that we have as a foursome. 






We will be recording an EP later in the year, and touring the 
group in 2011.  Watch this space!

Kwabena Adjepong

Caption Competition

I have recently been given the photos that were taken at the Jazz Voices competition that I won in Lithuania earlier this year... Captions suggestions please!

1.

2.   

3.

4.

Applauding Live Music

"Audiences at the Proms are ignorant of the correct time to clap and need educating to avoid spoiling the music for others, according to a classical music expert."

Clapping live music is an interesting debate, and one that I found myself caught up in after a visit to the Royal Albert Hall for a Prom this year.  My brother-in-law was playing bass clarinet with the BBC Symphony Orchestra and members of our family had a very enjoyable evening in support of him, and in appreciation of an excellent program of classical music.  

It's true - quite often an audience at a classical concert doesn't really know when to clap, and in between movements of  Chopin's 2nd Piano Concerto and Roussel's Symphony No. 3, I could feel the tension as people's hand moved closer together, waiting to see if someone else would initiate applause.  Annoyingly, we were sitting next to a group of young people whose main objective seemed to be to toy with the clapping habits of this anxious audience.  A movement came to an end; the conductor rested his arms; pages of music were turned; throats were cleared.  Suddenly a clean and crisp *CLAP* came from the seats next to ours which set off a Mexican ripple of applause around the hall.  Hilarious, apparently.

I can understand the difficult in knowing when to clap - and is there a right or wrong place to do it?  Certainly in jazz, the whole performance is interspersed with applause as the audience shows appreciation of individual musician's skill.  However, this is usually in response to a solo which is improvised - so you are effectively applauding the on-the-spot composition as well as the playing skills of the musician.  This wouldn't be the case in a classical concert, as the composer has laid down absolutely which notes are to be played and when - and the effect of a piece is in its entirety, not in its individual movements.  

Clapping at the Proms has initiated quite a few interesting discussions.  Jonathan Lennie, the classical editor of Time Out magazine, contributed this to the discussion "You don't have to reward the performers halfway through, this isn't opera, they do not expect it and most often resent the intrusion." [Telegraph Online]  I would be willing to bet that not a single person who was clapping between movements did it to show their appreciation of the music that had just happened - rather to break the embarrassment of silence, or to hide any embarrassment of 'not knowing when to clap.'  I am with the school of thought that it's incorrect to clap in the middle of pieces, but can understand that the Proms - a world-renowned concert series - attracts many listeners who aren't necessarily classical music aficionados.  Much better that people are actually attending the Proms and appreciating the music, than leaving the decision of when to clap to a smaller audience.

I would say that it's easier to know when to clap at jazz gig - for a start, it's rarely in a totally silent atmosphere that you would be listening to jazz, so the worry of breaking the silence doesn't exist so much.  Quite often the band leader will point to, or even announce, the soloist during the tune so inviting applause.  In fact, I've done gigs where I've felt surprised and a little uncomfortable when someone in my band has done a solo and not been applauded.  I have found myself thinking 'Doesn't this audience know anything about jazz?!'

I do find myself getting frustrated at classical concerts when the time between movements is interspersed with nervous applause.  Perhaps it's the nervousness that gets to me; if it were rapturous applause I may not mind so much.  

It's hard to know where the debate will end.  Proms director Roger Wright contributed to the above article by saying "Mozart rather enjoyed audiences clapping and Brahms was rather disappointed when they didn't clap between movements."  

Who knows what the accepted norm will be in another 100 years time?

Top Ten Anagrams

It's hard to make a list of the top 10 jazz musicians of all time in the world... ever!  So I have taken Jamie Cullum's suggestions from his recent top 10 list - The 10 best jazz musicians The Observer Sunday 23 May 2010 - and created a word puzzle.  


The names are now anagrams; the photos are random (well, they're the right people just in the wrong order)




Correct answers on a postcard please!  




1. Unlike moonshot


2.  Let lurking


3.  Tiny nasal worms


4.  Angelic knot


5.  You swim, I'll alarm


6.  Rather jet kit


7.  Conal horn jet


8.  Saved, I slim

9.  Oh, bare chicken


10.  Lush screaming

August Round-Up

It's been a good August, although perhaps not as hot as we would have liked!

I made my first visit to the Princess of Wales, Chalcot Road in Primrose Hill.  There is jazz every Sunday with the Pete Chapman Trio + guests.  A very enjoyable gig followed by a very good roast.  (Incidentally, the Princess of Wales is the site for the latest Banksy (or is it a fake?) and I forgot to go down and take a look!  I guess I'll have to return for some more jazz)


On Monday 16th, I was invited to attend the 2010 London Jazz awards, to report on the evening in my role as a contributor to the LondonJazz publication.  It was a wonderful evening, and you can find the report here: http://londonjazz.blogspot.com/2010/08/london-jazz-awards-winners.html

My quartet's August gig was at the Bull's Head in Barnes.  A wonderful venue, and well-attended (which can be unusual for a weeknight here), it was great to be playing again with the band.  We haven't performed all together since mid-June when we were on tour, so it was fantastic to get an hour or two of playing together.  The gig was recorded by UK Jazz Radio, and will be broadcast on Sunday 12th September at 8pm.  Visit www.ukjazzradio.com to listen.

And finally, August saw the birth of my new jazz group Sector 7.  A jazz trio fronted by 4 vocalists, we're still in the rehearsing stages as yet, but it will be going places soon.  Watch this space.  It's going to be filled magnificently.

Jazz @ Le Petit Parisien

Sunday evening sees the quaint French bistro Le Petit Parisien transformed into the most happening jazz hub in South East London.  Booked by the same organisation that books Jazz Live @ The Crypt - Camberwell's answer to Chelsea's 606 Club - it's no surprise that the jazz is always of the highest standard.  


The night is labelled ‘On The Up’ – perhaps a reference to the continuing regeneration plans of Camberwell and the surrounding areas.  Regular musicians include vibraphonist Jim Hart, drummer Pete Cater and flautist supreme Gareth Lockrane.  


That the gig can happen weekly, and for no entrance fee, is testament to the organisation and hard work of Simon Fernsby – regular guitarist here, and MD of the On The Up house band. 

It’s well worth a visit.

September line-up:

5          Tommaso Starace Quartet

12        Marama Café Band

19        Bob Martin with the On The Up House band

26        Tony Kofi with the On The Up House band

Sunday evenings 7:30pm  |  Free entry  |  16 Grove Lane, Camberwell SE5 8SY

   

London Jazz Awards 2010

It was an enormous privilege to be attending the London Jazz Awards last evening, at Pizza Express Jazz Club.  A whole host of people were there - of course the calibre of musician on the shortlist meant that there was a melange of talent present. The evening began with wine and pizza (and continued with wine and wine).  About half of the club had been emptied of its tables, leaving room for mingling and chatting - making for an unusual and great atmosphere.

It wasn't only the London Jazz Awards that were presented last night, but also the London New Poetry award.  The shortlisters were announced, and then the winner - Carrie Etter for her work The Tethers - read something from her winning entry.  It was truly wonderful.  I don't know much about poetry (even though some parallels can be drawn with singing jazz) but the words were so deliciously woven that I found myself - to my surprise - moved and captivated. http://carrieetter.blogspot.com/

There was a great feeling of community between two societies that don't often mix, but have shared experiences and interests.  Even so, the jazz community was certainly more vocal!  The shortlist was announced, to degrees of applause for each candidate.  It was the job of London Fringe director Greg Tallent (what a wonderful name!) to announce the nominees.  Unfortunately for him, his list was incomplete, and he wasn't familiar with all the names.  With true camaraderie, corrections and missing candidates were offered and applauded suitably.

Helen Mayhew stepped up to the stage to present the jazz awards.  The instrumental award went to John Turville, particularly in reference to his album Midas.  The vocal award was split between two singers - apparently the judges had such a hard time separating these two, that it was decided there should be two vocal awards this year.  They were Cleveland Watkis, and Norma Winstone.  As a singer myself, I am thrilled that two singers were recognised in such an award ceremony, despite the fact that there was already a separate category for vocalists.  

It's often very difficult to decide on who is a better singer, or who is your favourite, because even though the instrument is the same, the way two people sing can be worlds apart from each other - in effect, two totally different instruments.  It's only a shame that not everyone could be awarded last night, because each jazz musician who was nominated brings something particular, individual and special to this diverse UK jazz scene.

A jam session ensued, during which John took to the stage along with Norma and Cleveland, finishing Blue Monk with an epic last note that they clearly didn't want to end!  Other nominees including Nia Lynn, Fini Bearman, Derek Nash, Gary Husband, Patrick Bettison performed, as did panel members Barry Green, Asaf Sirkis and Mark Hodgson.  An enormous treat.  A notable performance was an improvised duet between Gary Husband (drums) and Jazzcotech dancer Perry Louis (feet).  Unfortunately the carpetted stage meant that it didn't quite have the impact it should have.

I want to make a personal mention of one of the nominees - Emma Smith.  Emma was my 'student' at NYJO (when I was the principal vocalist and vocal coach, Emma came to my workshops each week and began singing with the band at various gigs.)  I am so proud to know that she was nominated this year, as she is by far the youngest of all the candidates both in years, and experience on the London jazz scene.  I remember when she first came to NYJO... I was 24 (meaning that apparently I had only one year left of being a 'youth'), and although I wasn't planning on leaving the band, I knew the time was near when I would have to start considering my replacement.  As soon as she opened her mouth to sing I knew I could leave the band without worrying about who would be able to take on the job.

July round-up

July started with a sleepy train ride home from Sheffield after our last gig of the Jazz Services tour (read all about my exploits over the last 3 days of the tour on my previous blog by clicking here.)

Then back to the reality of teaching... 
No time to go home - I rushed straight to a school for a recorder concert, squeaks aplenty.  Eventually at 18:30 I finished my day's work and could sit down on my sofa - which I'd been wanting to do for 2 months! - and do nothing - again, something I'd been waiting to do for a long time.


July 4th saw the start of a beautiful relationship.  I appeared as a guest singer with the Hot Orange big band and we had such a great gig that they asked me back to appear with them whenever I can - a terrific pleasure.  I have some big band arrangements in the pipeline, so I'm hoping to try them out with this band.  
(On the same note, I'm working again with Mark Armstrong's big band on September 25th in High Wycombe - well worth a trip - and I'll be showcasing my very own big band at Ruislip Manor in December.)  The next Hot Orange gig is in Whitechapel on Sunday 22nd August.


So you must have noticed this article by now:? (I know the caption says 'and trio' but you just have to imagine the other two musicians!)


On July 10th, my quartet appeared at Marlborough Jazz Festival.  We had a short set just after lunch, which was part of UK Jazz Radio's "Women in Jazz" feature.  The other women were Verona Chard and Linley Weir (they played their sets after mine.)


Hopefully we'll be back next year.


I couldn't get a lift to Marlborough because my entire band had to set off to different places afterwards, so I decided to take the train.  The nearest station is Swindon - a mere 13 miles, so I merrily set off with my bike in tow, imagining an enjoyable 1 hour cycle ride at the other end.  Unfortunately, google maps hadn't chosen the best route for me, so - despite the road being pretty much a straight line from Swindon to Marlborough - I had an epic hill which made my bike feel twice as heavy as normal, then the downhill appeared to be a dirt track for approximately 4 miles.  Now, 4 miles usually takes me about 20 minutes - and that's with London traffic lights.  After 35 minutes I was still bumping and jumping along this track which could only have been made by a tractor in wetter conditions, then baked over the last few good-weather weeks.  Argh!  It was already soundcheck time and I was in the middle of nowhere with a great big yellow trail stretching into the distance in front of me.  No choice but to keep going.  Eventually I found a diversion through some woodland and somehow made it onto the road - and miraculously I was on the outskirts of Marlborough.  Brake pads in questionable condition.


So after the gig, I continued my journey to Andover, where I was staying the night with friends.  Only another 22 miles!  So basically, I had cycled 35 miles in one day and done a gig in the middle.  That breaths new life into the song Workin Hard!


As well as all this, I spent a lovely day in my home town of Hitchin at the Rhythms of the World festival, and had a very enjoyable gig at the Archduke.  Jazz at the Archduke is well-worth supporting.  It's the best quality jazz you'll get for free anywhere in London, and I'd go as far as to say the entire country.  A stylish setting, excellent food, and free music with some of London's best musicians.  I'm next appearing there with my duo for the early set on a Saturday evening - check my website listings for exact dates.