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Birmingham Jazz Alive & Well

In this modern musical world, dominated by electric gadgets that provide every assistance to music, singers, instrumentalists, and bands, it is good to know that REAL musicians, and music that has stood the test of time, is still enjoyed by people that have an appreciation, and love, of REAL music, that is spontaneous, happy and infectious.

Good music, well played, and whatever its genre, does not require half naked dancers, coloured lasers, electronic scenery effects, and thousands of pounds thrown at it, in order to sell a song, singer, or band.

Much of todays music and singers, but not all, is rather sadly, sold by the effects that surround it. Therefore it must be rather nice to sit down, in good surroundings, with a glass of your choice, and LISTEN to the band/singer, without intrusive gimmicks.

Well done Dennis, for supporting, and reviewing good music. As the motto of the Musician Union is: KEEP MUSIC LIVE. May we also keep it simple, enjoyable and fun.

Eddie
 
Courtesy of Reuters, some more sad news:-

Allen Toussaint, one of the legendary names of New Orleans music, has died in Madrid at the age of 77.

The piano master, known for jazz, R&B and blues and who wrote hits such as "Working in a Coalmine" and produced Patti LaBelle's famous cover of "Lady Marmalade", died of a heart attack on Monday evening after giving a concert at the Spanish capital's Teatro Lara, hospital officials said.

And someone filmed a number from his last concert in Madrid here:-

https://www.youtube.com/watch?v=HMCk-fW67K8&feature=youtu.be

Maurice
 
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I was sorry to hear that yesterday :-( he was a great musician.
I think I first heard of him in connection with the work he did with Lee Dorsey who I believe had been working for a number of years with limited success until he hooked up with Allen Toussaint.

RIP
 
More sheila (2).jpg Songstress Sheila Gives Phoenix the Fawkes Factor

Very few bands on the Uk circuit can match Phoenix in claiming their own travelling songstress... and SHEILA FAWKES is certainly a significant asset to them, not only for her enjoyable vocals but also for her lively personality and visible sense of fun.
Here, of course, is a band with plenty to offer even without the Fawkes factor. Having risen from the ashes of the former Heart of England Band, Phoenix have musicians who have, between them, 'been there done it' by performing with such past masters as Humphrey Lyttleton, Kenny Ball and Monty Sunshine.
Their programme tended to confirm this pedigree featuring such jazz classics as Beale Street Blues, Tight lIke This, Hush-A-Bye, Bourbon Street Blues and the like, with a genuine feel for those treasures that were spawned around a century ago in America's deep south and re-introduced during the UK's post war trad boom.
For sure they did a great job with Chimes Blues, a number that goes down in jazz folklore as the first solo recorded by Louis Armstrong in 1923 and one that immediately sent his reputation as a remarkable new talent soaring into the musical stratosphere. Pete Ainge did the trumpet duties here, and he's not bad either!
Pete also gave us a vocal on Tight Like This with melodic alto sax support by Mike Hayler who reminded us of Monty Sunshine's popular Hush-A-Bye with his mellow clarinet solo rendition.
All this quality, masculine musicianship was puncuated across the three sets with timely and welcome helpings of femininity by Sheila Fawkes (who, surely, must get ever-so-slightly bored with the wisecracks if ever on stage on Bonfire Night.) Her introductory vocal was St Louis Blues following during the evening by the likes of Lover Come Back to Me, Ten Cents a Dance, Cakewalkin' Babies and After You're Gone.
That Ten Cents a Dance number, based on a hostess in a ballroom offering herself as a dance partner, known as a 'taxi dancer', always seems to me to be 'I'm Just a Gigolo' after gender-change surgery. All good fun, and very entertaining for the audience of a hundred-plus listeners/dancers/or both.
 

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'It's not what you play, it's the way that you play'em!'

"You can't beat the old songs.." is a favourite catch-phrase of we vintage romantics and, though possibly mocked by younger generations, is actually a tried and tested truth as illustrated by Kevin Grenfell and his Jazz Giants to an appreciative audience of Sutton Coldfield Trad Jazz Club Wednesday Nighters.
Here was a programme package clearly designed to be entertaining not only to the purist listeners and the dancers but to those simply wanting a cheerful, tuneful low cost night out. And it worked wonderfully. Jazz, some say, is not what you play but the way that you play it. This makes, say, Girl of My Dreams as a authentic a jazz number as Memphis Blues or Muskrat Ramble.
Former army bandsman Kevin is a genuine all-rounder with his talents as wise-cracking MC, innovative trumpet/trombonist and jazzy vocal style all of his own, a character who sets the tone of a fun evening and never lets go. As well as Girl of My Dreams, he played and vocalised such jazz/mainstream favourites as All of Me, Some Day You'll Be Sorry, Chinatown, Hello Dolly and more.
He and fellow trombonist Richard Leach have a nice jokey and relaxed on-stage rapport and, like Grenfell, Leach is an entertaining all-rounder. Among his highlights here were his I Wanna Little Girl vocal, his mwa-mwa trombone solo on I Can't Give You Anything but Love and two trombone , slide-by-slide rendition of Mean to Me (Dedicated, Kevin said, to his ex-wife!).
All this and leading reeds man Matt Palmer making up a front line of marvellous musical artistry. Matt filled the dance floor with his tribute to that legendry band leader and clarinet maestro Artie Shaw playing the movingly romantic Deep Purple, first with clarinet and then tenor sax, suitibly supported by Malcolm Hogarth (piano), Graham Smith (drums) and Jim Swinnerton (bass).
That 'engine room' behind the front line also backed Grenfell to perfection when he gave us an excellent impersonation of Humphrey Lyttleton's 1956 hit parade recording of Bad Penny Blues. Spine-tingly good. And to top it all we had a surprise guest appearance in the form of exciting young drummer Julian 'Baby Jools' Aldridge. He was with us on a night off and 'borrowed' Grahaman Smith's chair for a while to display his amazing dexterity and timing in Washington & Lee Swing. "I HATE talent" said an admiring Graham on re-claiming his chair. He shouldn't. He has plenty of his own.





 
With over 10,000 views, this jazz column has grabbed a lot of attention on the BHF website. it is due to the wonderful reviews of shawcross, and his excellent writing.

These reviews also give us hope, because I notice that shawcross has now reviewed quite a few bands that appear at the Sutton Coldfield Jazz Club. It is good to know that they are still many musicians that play 'steam instruments', are able to offer enjoyment to many people, not just through their music, and their instrument, but also have the ability to offer fine, and funny lines in audience chatter.


In listening to rock music for many years, the only 'live' funny line from a rock musician, that I can recall during a show, was John Lennons famous Royal Variety Show quip.


As usual, Dennis....thanks
 
..Oh! gosh, Norfolk Brummie....thanks! A bit lumpy-in-the-throaty that ( as Stanley Unwin would have said). Re-funny remarks, the band leader Kevin Grenfell trotted out the old chestnut that dancing is a vertical expression of horizontal desire...it did make me wonder whether some old fashioned passions are simmering below the surface on Wednesday nights...I do hope not in our case. We've just welcomed our 22nd descendant (another g/g/c, 2 week old Penny.). Don't need any more off-springs. Thanks again for the compliment, though. Never too old to have our ego stroked, if nothing else...
 
norfolk brummie said:
With over 10,000 views, this jazz column has grabbed a lot of attention on the BHF website.
Click to expand...
Congratulations Eddie. You also have had 834 posts and many contributors. A thread I started over a year ago "Chess matches in Birmingham" has only had 3 posts but an enormous 2903 views. Not sure what conclusion I draw from that? Dave.
 
farmerdave said:
Congratulations Eddie. You also have had 834 posts and many contributors. A thread I started over a year ago "Chess matches in Birmingham" has only had 3 posts but an enormous 2903 views. Not sure what conclusion I draw from that? Dave.
Click to expand...


Not sure either, Dave!!
 
NEW ORLEANS HEAT HOTTER THAN EVER
It wasn't only the glittering pre-Xmas fairy lights that added to the party atmosphere pervading the splendid and well-populated Walmley Club for our latest Wednesday night gig. The band, (surely among UK's finest?) stoked up the tempo and the temperature, too.

As indicated here previously New Orleans Heat have undergone enforced 'front lane' changes in the last 12 months but they are succeeding in making the transition without any visible, or audible, lowering of standards.On this occasion they had 'borrowed' pony-tailed, newer-generation trumpeter Wil Robinson from Washington Whirligig, deputising for Richard Church, while John Scantlebury was back in the reeds spot. And what a wonderful contribution they made to an evening that I, for one, didn't want to end.
What struck me forcibly was how, for some numbers, the surrounds can actually seem a tad too splendid. Stormy Monday, for example, conjured up mental images of a seedy, smoky honky-tonk in the famous (notorious?) Storeyville district of pre-WW1 New Orleans!
Scantlebury, who looks rather more like the old fashioned bank manager than a lowdown, red-hot blues singer, contrived to deliver the vocal in appropriate, dig-deep George Melly style, while Robinson gave him growling, muted trumpet support and leader Barry Grummett added the boogie piano backing.
Later there was similar treatment given to Jambalaya and Kid Thomas Boogie leading up to a rousing end to two-and-a-half hours of escapism from all the horrors portrayed on today's news front with Bye Bye Baby, Bye Bye that would surely have stirred the spirits of any generation of party goers, not only we silvery-haired section?
There was plenty for the gentler, more romantic-style dancers, too, including Some of These Days (dreamy alto sax solo by Scantlebury), Careless Love (vocal Scantlebury), Breeze (vocal Robinson) and also for the pure jazz devotees with the likes of Avalon, Chimes Blues. At The Jazz Band Ball, and Dippermouth Blues during which Dave Vickers' trombone was always a prominent feature.

end

 
GOLDEN OLDIE GEORGE STILL PULLING'EM IN...

Back when the so-called Trad Jazz Revival was in full swing in the mid-1950s, a young clarinet player named Geoge Huxley was starting to make a name for himself in the clubs and bars in and around Birmingham.
Over the years that 'name' that he was making for himself became a widely respected reputation in the UK and abroad as a high-quality maestro on virtually all reeds instruments (once being described by Humphrey Lyttleton, no less, as 'Birmingham's answer to Sydney Bechet'.)
More then 60 years have ticked away since Huxley began his career but he's still here charming his admirers, of which there are many, as evidenced by the near full-house of Sutton Coldfield Trad Jazz Club Wednesday Nighters that he and his All Stars attracted to the sparkly, Christmassy Walmley Club.
For this particular observer, Huxley's greatest gifts are captured in the purity of tone and melodic appeal of his soprano sax playing, captured here with his solo version of Song of Songs, a lovely old ballad that I'd never heard him play before.
There were plenty more romantic numbers for the dancers to smooch to including Dream a Little Dream With Me, Wrap your Troubles in Dreams, Mood Indigo and I Can't Give You Anything But Love while the more upbeat numbers featured such jazz/swing standards as That Da Da Strain, Saratoga Swing, Way Down in Honky Tonk Town, Whispering Rufus and Dippermouth Blues.
Huxley shares the front line with another veteran, trumpeter Gordon Whitworth, and trombonist Ron Hills both of whom also make vocal contributions in the great team effort of their ensemble work and solos.
The band's rendering of another classic, St Louis Blues, reminded us of the value of a piano in the line-up as John Penn boogie-woogied away on the keys and then took the stage for himself and rhythm section, namely Barry Norman (drums) and John Fellows (bass) for a 1900 ragtime number originally played by the pioneering Scott Joplin, called Swipesy Cakewalk.
"This is an absolutely wonderful jazz club," said Huxley as he and his band signed of with Home and the enchanting sound of the song's opening line "When shadows fall..." It's remarkable, really, to consider that he and his All Stars have attracted two of the highest attendances of recent times... sixty-odd years after his first public appearances!
 
JAZZAHOLICS 'An intoxicating brew'
Recently I enjoyed seeing the multi-acclaimed Digby Fairweather - top small band in the British Jazz Awards for the last nine or ten years - at a Jazz week-end in Torquay and jolly good they were, too. They could be regarded as setting the standard for 5/6/7-piece bands around UK clubs and festivals.

That fact struck me again and again while relishing every moment of the Jazzaholic's latest gig for we Wednesday Nighters among the Xmas fairy lights of the splendid Walmley Club. Believe me, the team of musicians that Jools has gathered around him can compete on pretty equal terms with the Digby Six. In fact, while confessing to be musically illiterate myself,` and not qualified to make technical judgments, given the choice between the two I would go for for the Jazzaholics, an intoxicating brew, on sheer entertainment value.
They get a head start immediately with the hirsute, trilby-hatted Mike Owen who would get my vote as the country's most versatile trombonist and all-round jazz man of those I've seen, while Denny Ilett is up there with the elite trumpeters (again in my musically uneducated view). At SCTJC we tend to take the likes of reeds man Matt Palmer and banjo/guitarist Brian Mellor for granted because we see them so frequently...but what we can easily forget is that, because they are so hard-working in playing their instruments so much in a full programme of gigs we also see them getting better and better!
Maybe the band's schedule of appearing together so regularly has honed in their collective talents in pursuit of excellence. I've never seen bassist 'Lord' Jim Swinnerton so animated with is plicking, plucking and plonking while blending so rhythmically with mesmerising drummer Baby Jools, a pseudonym he maybe gets from Baby Dodds drummer of Louis Armstrong's Hot Five.
Their three sets included more highights then I can list here, including: dreamy guitar and tenor sax in I Can't Give You Anything But Love, Mike's vocal in Exactly Like You (he made up some of those lyrics, surely?), the banjo intro in Some of These Days, that deep-throated, growling trombone in Careless Love Blues, the honking tenor in the Louis Prima hit, Buona Sera, a great favourite in the British post-war trad boom...OH! heck, I loved it all.
On sad note this date was originally pencilled in for the Rich Bennett band now, sadly, no more. I can't think of a more suitable band to fill that void.
 
February 17: [FONT=Calibri, sans-serif]MYSTO'SHOT LIPS 'Reminders of party-time singalongs...'[/FONT]


[FONT=Calibri, sans-serif]Swedish band, butthis was no smorgasbord of Scandinavian musical dishes...full Englishbreakfast and a trip to McDonald's more like.[/FONT]
[FONT=Calibri, sans-serif]While billingthemselves as playing 'revivalist jazz 'at its best with memories ofChris Barber and Ken Colyer, (and we'll all vote for that!), theyactually played a high percentage of our favourite old, tunes,Dixieland style, with what could have been singalong vocals.
Visions of Gracie Fields, for instance, when they played us out with[/FONT][FONT=Calibri, sans-serif]Wish Me Luck as you Waveme Goodbye...' while, [/FONT][FONT=Calibri, sans-serif]beforethat they had given us : [/FONT][FONT=Calibri, sans-serif]Inthe Shade of the Old Apple Tree, I can't Give You Anything but Love,When I Grow Too Old to Dream, Any Time (you're feeling lonely...),When You're Smiling..C'est Magnifique, etcetera.[/FONT]
[FONT=Calibri, sans-serif]All very tuneful and,speaking personally, a lovely reminder of WW2 Xmas party singalongsor bravado in the Anderson shelter during the blitz. My guess isthat when Hot Lips saw the size of the dance floor they adapted theirprogramme appropriately and it worked as they constantly filled itwith their tempting rhythms.[/FONT]
[FONT=Calibri, sans-serif]Lest I create thewrong impression, their programme was not all singing and dancing,good though that was. There was in inspirational version of thespiritual [/FONT][FONT=Calibri, sans-serif]Lily of theValley, [/FONT][FONT=Calibri, sans-serif]a clever exampleof drums and alto sax 'talking to each other' in [/FONT][FONT=Calibri, sans-serif]Avalon,[/FONT][FONT=Calibri, sans-serif]a spot-on muted trumpetin [/FONT][FONT=Calibri, sans-serif]Careless Love,[/FONT][FONT=Calibri, sans-serif]a foot-tapping samba drumbeat backing to [/FONT][FONT=Calibri, sans-serif]WhileWe Danced at the Mardi Gras [/FONT][FONT=Calibri, sans-serif]andFats Walller classic, [/FONT][FONT=Calibri, sans-serif]Black& Blue[/FONT][FONT=Calibri, sans-serif].[/FONT][FONT=Calibri, sans-serif][/FONT][FONT=Calibri, sans-serif]Band leader PiderAvall, slim as a sapling and legs like drumsticks, provided thevisible energy with his staccato trombone solos and enthusiastic bodylanguage while baseball-capped drummer Fredrick Hamren weaved in andout of the audio action, neat-and-tidily, with his sparse looking kitof one bass drum, one kettle drum, one single cymbal and hi-hat.Travelling light?Or true to jazz's roots? No idea, but it worked.
[/FONT]
 
Shawcross,

Your Walmley Club certainly seem to be spreading the net wide with the visit of a Swedish band, and I have to admit that I would not have thought that country to be a source of traditional jazz from what I have heard from there in recent years. 1969 since I was last there, and a fairly rushed business visit at that that left no time to sample the local jazz.But full marks to SCTJC for promoting a foreign band, and once again, a good write-up from your goodself.

I was flipping through photographs of jazz musicians on one of the photography forums an hour or so ago, and came across a nice one of tenor sax player Don Rendell, only to learn that he had died at the age of 89 in London on 20th October 2015, just a few days before I noted the death of pianist Allen Toussaint in Madrid. How I missed that I simply don't know, and I had to quickly turn these pages to make sure I had, but sure enough I had.

I last worked with him at the Parkstone Jazz Club in about 1976, some 40 years ago - how time flies! Here's how I remember him and at about the right time too....
rendell.jpg

Maurice
 
Thanks shawcross for the 'Sweden comes to Sutton' jazz review. The fame of your lovely jazz club is spreading, so that cannot be too bad.

Reading between the lines of your review, it appears that the Swedish approach to traditional jazz is slightly different to what you would normally expect. Nothing wrong with that. If it is good music, and well played, then variety is the spice of life.

One small point. Writing as a drummer, I believe that the 'kettle drum' would be his tom tom! Not a criticism, just an observation. Keep the reviews coming, and continue to enjoy your foot tapping music. Good back therapy.

Eddie
 
sospiri said:
I was flipping through photographs of jazz musicians on one of the photography forums an hour or so ago, and came across a nice one of tenor sax player Don Rendell, only to learn that he had died at the age of 89 in London on 20th October 2015, just a few days before I noted the death of pianist Allen Toussaint in Madrid. How I missed that I simply don't know, and I had to quickly turn these pages to make sure I had, but sure enough I had.

I last worked with him at the Parkstone Jazz Club in about 1976, some 40 years ago - how time flies! Here's how I remember him and at about the right time too....
View attachment 102960

Maurice
Click to expand...

Maurice, I had no idea that Don Rendell had joined that saxophone section in the sky. Thanks for the news item. Very sad. I worked with Don a couple of times at the old Bournebrook Hotel Jazz Club, in Selly Oak, and the Aston Cross Jazz Club. That would have been in the 1950's. I worked with him again, in Nottingham at a jazz club, and that would have been in the late 60's, early 70's. A fine solo jazz tenor player, but also a very good big band player. Don worked a lot with the Ted Heath Big Band, and other bands.

Eddie
 
Eddie,

There were obituaries in The Guardian and the Telegraph as well, so I've no idea how I missed them. My main keyboard forum is American based, but we do have a few Briti and European members, But I don't think that Don was well known in the States, just as they put up deaths of people I have never heard of. But he had a good innings and only a select few make it to that age.

What worries me is that whilst there are some excellent players coming up, they are not getting the opportunity to be heard as were the players of 40 ir 50 years ago. They're also tending to rely almost exclusively on original material and audiences do like to hear stuff with which they are familiar. I'm sure that Shawcross and yourself have made this same point. You simply can't fill venues otherwise. Of course, a few originals can be inserted from time to time - it helps to freshen things up a bit - but when I pick up a CD and I don't know any of the tunes on it, I'm not inclined to sit and listen to it all the way through unless I know the band very well.

Maurice
 
George Huxley's All Stars: A master class in reeds by an enduring talent

There can be few words or phrases left in the parlance of jazz to describe evergreen Huxley's six-decade love affair with jazz in general, and reeds instruments in particular.
Lacking, as I do, the necessary musical knowledge to make such judgements, I've no idea whether his technique has aged along with all ourphysical attributes in those 60-odd years. All I will say is that his soprano sax rendering of Indian Summer sounded as pure to my untrained ears as did Sydney Bechet's version when he first made it back in the mists of time.
Add to that George's mellow, rounded clarinet on MoodIndigo and solos with that classy-looking ivory-white alto sax of his in TinRoof Blues, Pete Kelly's Blues and You can Depend on Me and (in my humble view, anyway) you have been listening to a masterclass.
Other highlights were trombonist Ron Hills's In a Sentimental Mood, that romantic, haunting Duke Ellington composition that never fails tomake me wish that I could still do a lap or three around the dance floor, in that old-fashioned way of my youth, cheek-to-cheek, of course, girls. Hills gave us some pleasant little vocals, too, including The best Things in Life are Free (yeah,right...).
As for the upbeat parts of the programme I have to mention DarkTown Strutter's Ball, a genuine Dixieland classic that few bands seem to play now. My personal memories of it go back to jiving (as we all did then) at dance halls around Brum from The Tower to the West End, via the Casino, the Springfield, Moseley and Balsall Heath Institute and Stoney Lane Barracks.
Other features of Huxley's All Stars that I liked was John Penn's tinkling piano, Barry Norman's clickety-clack drumstick work and John Fellows's precision plucking of the giant violin, better known as a double bass, to keep the rhythm flowing nicely.
And so the enduring GH just goes on, and on...
 
Yet another musical death with the passing of Keith Emerson at his Los Angeles home at the age of 71. This year is certainly not a good year for musicians.

Maurice
 
I first saw Emerson, Lake & Palmer (E.L.P), just after their huge success at the Isle of Wight Festival. I think it was 1970. There is no question about it, they were a fine group of very good musicians. Keith Emerson has achieved much the years, and deserves the accolades of his fellow musicians. So sorry to see more fine musical talent pass on. 2016 is proving to be a disastrous year for our profession.

Birmingham's own Carl Palmer has already spoken of the loss of Keith, and knowing Carl as I do, he will be devastated by this news.

Eddie
 
And still they continue to fall by the wayside with the death of Sir Peter Maxwell Davies, Master of the Queen's Music since 2004 at the age of 81. Whilst there is no connection as far as I am aware between Sir Peter and jazz or even Birmingham, this seemed an appropriate thread to which to add news of his death. He was far from being an Establishment figure, but his full obituary can be found here:-

https://www.telegraph.co.uk/news/obituaries/12159467/Sir-Peter-Maxwell-Davies-composer-obituary.html

Maurice
 
KIERA...WHAT A TALENT! CHECK FOR YOURSELF. CLICK BELOW

https://youtu.be/vEDB4RyJyI0
The above link connects to a You Tube. latest 'original ' song called 'Foolish' by Walmley teenager Kiera, a lovely local young lady who has the talent, training and desire to make it as professional singer, given the necessary opportunities. Currently she is at Manchester University studying Russian and Politics, so its no 'all eggs in one basket' approach by her.
Kiera says she is passionate about jazz singing, and aims to make it as a career along with song writing.
My view is that she has what it takes to achieve just that, but I'm no authority!. Click on the above and have a look and a listen for yourself./
 
Shawcross,

Thanks for this and there are many more of her on YouTube. Nice voice and her phrasing is quite good and, of course, she's a good looker.. Having heard the original, my next move was to see what she did with an established song, so being of the oldie age group that I am, I chose Cry Me a River. Again, good considering she only had a single guitar backing in a not very good environment.

If she's going to get anywhere she needs an experienced manager with some good connections and they need to decide where she's going to fit into taday's very competitive music scene. And it is not going to be very easy to be serious about both music and Russian & politics at the same time. I probably don't need to tell her that however good she is as a musician, she's far more likely to make money from Russian and politics!

For a few years we had here a young and very glamourous Polish concert pianist with an excellent voice who was taken under the wing of a pianist friend of mine who took her to London as he had many connections there. She came second in a European singing contest some months later and decided to stay in Germany. Last thing I heard was she was still gigging around the clubs there, but she's not managed to make the big break there neither has she got a big bank balance! But she's undoubtedly enjoying what she's doing.

Maurice
 
Hi Shawcross, Yes Kiera has a nice voice. It will be interesting to hear her in the future when she has gained more experience and her voice has matured. I saw Trumpeter Mike Cotton with Brian White and Jonathan Vinten Piano(the "Guardian" jazz record of 2015)last night. I remember seeing Mike in the 1970s when he was also playing with the KINKS. Have you noticed how musicians like all types of music, and of course, will play anything to make a living. It is only fans who pigeonhole.
 
..sorry I'm a bit late with this, Our Kid...been otherwise engaged....our jazz club website and other promotional work I do for them takes up more time that I expected but loving doing it...I agree with all you say about Kiera...she's sensible to have a university education alongside her singing.

She has recently launched a cover version of an Adele number....click here for a look and listen if you like....she's certainly helping herself, that for sure....
https://www.youtube.com/watch?v=XfUO8KgcIV0
 
I'm sorry and who cares anyway, but is Kiera or Adele or indeed Bob jazz? A brilliant song whichever genre.
 
Edgy said:
I'm sorry and who cares anyway, but is Kiera or Adele or indeed Bob jazz? A brilliant song whichever genre.
Click to expand...

And having been away from here for a while, I notice that many posts are about Jazz Dead and Unwell rather than Alive and Well. Lets hear about the new comers to the jazz world. Eg Symphony Hall free events on Fridays. Anyone go to them?
 
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