2018

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JANUARY

Review - Tuesday, 30th January, 2018

Jazz at OB's started the New Year with the delectable Catherine Lima, vocals, and Paul Higgs, keys, deputising for the absent Hilary Cameron, ably assisted by the resident duo, leader Dave Grant, kit, and Ted 'the hat' Simkins, bass.

To an enthusiastic audience, Catherine and Paul, played a very relaxed evening of jazz comprising tunes chosen of a mixture of reprised jazz standard songs from such notables as Peggy Lee,Sinatra, Blossom Dearie and Ellington along with some neglected ones, some of her own composition from her new album, 'Stories & Lies'. Paul , who produced the album, dovetailed with her admirably as she emulated several diverse singing styles.

A welcome return to both Catherine and Paul was shown by the audience.

John Constable

 

Catherine Lima, vocals

Photographs courtesy of

Brian Leith

Catherine, Paul, Dave and Ted

FEBRUARY

Review - 27th February, 2018

What a great shame the weather deterred jazz fans from attending a really exciting performance by the guitar duo of Andy Watson and Simon Hurley who played keeping the entire reduced audience as if entranced with their intriguing arrangements of a beautifully and varied programme with range of styles and tunes. They were ably accompanied by Ted Simkins on bass and Dave Grant, kit to create a fantastic entertaining evening.

Can't wait for their return to the Club.

Richard Marson

Andy Watson & Simon Hurley

Andy Watson & Simon Hurley, guitars,

 Dave Grant, kit and Ted Simkins, bass

Photographs courtesy of Brian Leith

MARCH

Review - 27th March, 2018

An evening with Derek Clenshaw and Cliff Mason with the programme Triumphant Trombones, accompanied by the resident trio of Hilary 'the boot' Cameron, keys, Ted 'the hat' Simkins, bass and Dave Grant, kit

Unfortunately, even with the lighter evenings our regular audience support was similar to last month, considerably reduced, and so many of our usuals missed an interesting selection of jazz standards.

With Derek taking the lead and Cliff backing him harmoniously, together with the resident backing trio, the audience warmed to a programme of tunes that included, Tangerine, Shiny Stockings, Nearness of You and my favourite Here's That Rainy Day a beautiful number for that lush trombone sound.

Richard Marson

Derek Clenshaw

Cliff Mason, Derek Clenshaw

& trio

Photographs courtesy of

Brian Leith

Cliff Mason

APRIL

Review -  Tuesday, 24th April, 2018

The gig began with the resident trio playing that great Latin favourite One Note Samba before dave introduced  guests for the evening, Al Nicholls, tenor Sax and Andy Dickens, trumpet & flugelhorn who went straight in with the tune 'Someday You'll Be Sorry' and as Andy quipped is often played when they are at a wedding party. Andy had a stream of witty patter to keep the audience amused before continuing with the tunes, 'All Alone with the Telephone', Gee Baby Ain't I Good to You', 'Lousiana Fairytale' and 'When I Grow to Old to Dream' which ended the first set. After overcoming technical difficulties with Hilary's keyboard that refused to utter a single tone until a replacement cable was found. Andy then the second set opened , instantly looking distinctly in the direction of Hilary's keyboard, with 'I've got a Feeling About You' that was followed by a 1930's song 'I Want a Little Girl'. My favourite number of the evening was then played, 'The Carnivals in Town' where the whole group got in to it and closely followed by Hoagy Carmichaels, 'Old Rocking Chair' with nicely phrased vocals by Andy before the upbeat tune, 'Tenor Madness' where Al let loose, 'Give Me a Kiss to Build a Dream On' and finally Charlie Shavers favourite among jazz fans 'Undecided' ended the evening. A really great evening of jazz with a well thought out programme of music and banter that was closely listened to by an unfortunately small audience who neverthe less enjoyed the great nusicianship from our two excellent guests

R.M.

Al Nicholls & Andy Dickens, 

& trio

 

Al & Andy  

 

Photographs courtesy of

Brian Leith

MAY

No Report Available

No pictures available

JUNE

Review - Tuesday, 26th June, 2018
Dave Grant introduced the guests for the evening:- Tim Huskisson (clarinet, alto sax & amp; keyboard), and Jim Douglas (guitar) along with Ted Simkins and himself as leader. To set the evening off to a great start the group kicked off in swinging style with “All By Myself”, composed by Irving Berlin.
The next number was “Someday Sweetheart”, a nostalgic reminder for me, of Eddie Condon and his All Stars / Chicagoans recordings, in my teenage years. Not a true ‘Dixieland’ tune but a welcome jazz favourite, “Limehouse Blues”, written in 1920 and used in the 1924 London West End revue A to Z. Limehouse, in London’s East End was so named because the Royal Navy stored crates of limes there, (limes were used to combat scurvy on long voyages). At the time of the revue A to Z, Limehouse was the ‘Chinatown’ of London. Tim played melody on clarinet and this was followed by a guitar solo from Jim.
The next number was “A Broken Date” recorded by Gerry Brown’s Jazzmen in 1962. A clarinet solo (lament) I heard this played by a local jazz band some years ago, and was so taken with the melody that I acquired the 45rpm EP (vinyl) and played along with it. Jim took up his banjo for the next number, ”Sweet Georgia Brown”. Tim played the melody on clarinet and handed over to Jim for a rousing banjo solo, before Tim returned to the melody to finish, with drum breaks from Dave. Tim played the next number “June Night”, on alto saxophone and I have this on an Alex Welsh LP album, so knew the melody.
The next number was “Nuages” (Clouds) composed by the French Romany, Django Reinhardt who recorded at least thirteen versions of the tune, now a jazz standard and a mainstay of the gypsy swing repertoire. In 1940, Django made two recordings of Nuages, with a clarinet melody but was unhappy with the recordings, so added a second clarinet, creating a renowned arrangement. Jim introduced the melody, Django style, followed by Tim on keyboard. Tim played the melody on clarinet as per the 1940 recording. Magic!
Jim played an introduction to “Who’s Sorry Now”, written in 1923 by Ted Snyder, lyrics by Bert Kalmar and Harry Ruby and was featured in the 1946 Marx Brothers film, A Night in Casablanca. Tim played the familiar melody on clarinet, followed by a solo from Jim. Departing ‘Dixieland’ music once again, the next number was the Bossa Nova, “Carnival”, or more accuratel Manhã de Carnaval; (Morning of Carnival) composed by Luiz Bonfá, as the principal theme in the 1959 Portuguese-language film Orfeu Negro , Black Orpheus, Manhã de Carnaval 39; became one of the first Bossa Nova compositions to gain popularity outside Brazil, and became a jazz standard. Tim played keyboard throughout and Jim took a solo to conclude the first set.
The Second Set opened with “My Blue Heaven” written by Walter Donaldson with lyrics by George A. Whiting and was used in the Ziegfeld Follies of 1927. Tim played the melody on clarinet with Jim taking a guitar solo before handing back to Tim, to finish. Jim provided a clarinet ‘intro’ to the next number, ”Moonglow” a song also known as Moonglow and Love with music by Will Hudson and Irving Mills , and lyrics by Eddie DeLange . It was first recorded by Joe Venuti and his orchestra in 1933, with recordings by Cab Calloway, Benny Goodman and many other artists, to become a jazz standard.
Next came “I’m Putting All My Eggs In One Basket” written by Irving Berlin for the film Follow the Fleet , when Fred Astaire and Ginger Rogers had a huge hit with the 1936 song. The next number featured Jim Douglas playing solo, choosing the J. Fred Coots' and Sam Lewis' 1934 song, “For All We Know (we may never meet again)”, a song made popular by Nat King Cole, and also the Ray Conniff singers. Next came a classic blues composed by the American jazz clarinettist Charles Ellsworth (Pee Wee) Russell, “Pee Wee’s Blues”. I always found that Pee Wee’s clarinet playing had a
rather ‘thin, tinny sound, but Tim could not be accused of that, giving a masterful ‘full bodied’ rendition with an equally masterful solo from Jim. Isn’t it amazing that just by chance you discover some historic jazz, that, giving a masterful ‘full bodied’ rendition with an equally masterful solo from Jim.
Isn’t it amazing that just by chance you discover some historic jazz, that is right up your alley musically, but that you were totally unaware of. The next number is of that making. Tim introduced the traditionally guitar instrumental, “Spain”, but as played on clarinet by Irving Fazola’s and his Dixielanders. Tim played the familiar theme on clarinet, and naturally Jim took a guitar solo before handing back to Tim for a solo on keyboard.
The next number was, “Petite Fleur”, not strictly Dixieland, but composed by that great New Orleans individualist, Sidney Bechet who settled in France. In the UK the tune was recorded by Monty Sunshine, to much acclaim; although some say that he ‘jazzed it up’. Naturally Tim played this piece on clarinet, with a guitar solo from Jim in the middle. Wonderful stuff! A rousing rendition of, “Way Down Yonder In New Orleans”, followed. Originally a 1922 song, written by John Turner Layton , Jr. and lyrics by Henry Creamer . First performed at TheWinter Garden Theatre in New York in the 1922 Broadway musical production ‘Spice’,
Tim opened on clarinet, followed by a banjo solo from Jim. Tim played a solo on keyboard before returning to his clarinet, to finish the number for the penultimate number of the evening, the musicians played a Bossa Nova rendition of “Wherever There’s Love”, written by Jack Teagarden and Eddie Condon. Tim played the melody on clarinet with a central guitar solo from Jim. The musicians finished the evening with a New Orleans test piece for clarinettists, “High Society”, first performed by the New Orleans clarinettist Alphonse Picou and his original phrasing has been built on by successive musicians, culminating in an unbeatable version by Sidney Bechet, with the Jelly Roll Morton band. Tim played the theme on clarinet including a masterful rendition of the Picou style solo, to finish. In this, he was ably supported by Jim, Ted and Dave. To much enthusiastic applause this number completed the evenings entertainment.
Dave thanked the Audience for their support to the club stating the next gig is on Tuesday 31st July: - “Diva’s Recalled” with Sharon Scott & Dominic Ashworth. A really enjoyable evening of great jazz, not necessarily sticking rigidly to ‘Dixieland’, but with some wonderful tunes, performed by the exceptionally talented guests, who performed a thoughtful and varied programme, also ably supported by the resident musicians, Dave Grant, and “The man in the hat”, Ted Simkins.
John Constable

Tim Huskisson   

 

Photographs courtesy of

Brian Leith

 

 Jim Douglas, 

  

JULY

Review : Tuesday, 31st July, 2018
This session is dedicated as ever, to swing music of the 30’s, 40’s and 50’s, ably reprised by this month’s guests and assisted by the resident trio of Hillary Cameron (keyboard;vocals), (The man in the hat), Ted Simkins, (‘Skeleton’ Bass), Dave Grant, (drums/leader)
Dave Grant Introduced The Resident Trio, minus Hillary Cameron, who was unfortunately stuck in traffic on the M25. Dave introduced the first of this month’s guests, Dominic Ashworth, Guitar who came to the rescue, playing solo with “Centerpiece”, a 1958 jazz standard love song composed by Harry (Sweets) Edison . and Jon Hendricks . Dominic followed this with a Bossa Nova, “Dreamer”, translated literally as;I Live Dreaming, a 1962 song composed by Antônio Carlos Jobim . Hillary duly arrived and set up Dominic and the trio played, “Bernie’s Tune”, a 1952 jazz standard composed by Bernie Miller , with lyrics added later by Jerry Leiber and Mike Stoller. It was popularised by saxophonist and composer Gerry Mulligan on the album of the same name.
Dave introduced the second guest, a regular performer at the club:- Sharon Scott, Vocals who
introduced her first number, aptly,I Love Being Here With, written by Peggy Lee and William Schluger and released on the album “Basin Street East”.
Sharon’s next song, “Close Your Eyes” a love song written in 1933 by American composer Bernice Pe,tkere featured in the film The Abominable Dr. Phibes (1971), during a murder scene, and in the 1996 BBC TV detective series The Mrs Bradley Mysteries, which starred Diana Rigg . Sharon sung the song deftly, with solos by Hillary and Dominic.
Sharon’s next number “Me Myself and I” a 1937 song written by Irving Gordon with lyrics by Allan Roberts and Alvin S. Kaufman was popularised by Billie Holiday.
Time for Sharon to take a rest and hand over to Dominic and the trio for an instrumental;
“The Jody Grind”, a Horace Silver composition from the 1967 album of the same name. Dominic led off with the main theme and solos were taken by Hillary and Ted, with drum breaks from Dave.
Hillary’s spot followed with “Perdido”, Spanish for ‘lost’, a jazz standard composed by Juan Tizol , of the Duke Ellington orchestra first recorded on December 3, 1941.
Sharon returned to sing In the Wee Small Hours, with just Dominic playing on guitar. The music for the song was written by David Mann with lyrics by Bob Hilliard. The song was first introduced as the title track of Frank Sinatra& melancholy album In the Wee Small Hours, in an arrangement by Nelson Riddle. Sharon sung the seldom heard verse followed by the melody. Dominic played an unaccompanied solo before handing back to Sharon to sing the melody, and close the number.
Next came the song, “Feeling Good”, written by Anthony Newley and Leslie Bricusse for the musical The Roar of the Greasepaint – The Smell of the Crowd , and first performed on stage,
by Guyanese -British singer and actor Cy Grant , on the opening night on 3 August 1964; Elaine Paige played the part of one of the in the chorus. The show, directed by Newley, was taken to the US by theatre producer, David Merrick who I opened it on 16 May 1965 at the Shubert Theatre in New York City , where the role of the Negro, who sings;Feeling Good,
was taken by Gilbert Price . Nina Simone recorded Feeling Good for her 1965 album I Put a Spell on You and Sharon handled the poignant lyrics masterfully; with Hillary taking an equally poignant solo. “Feeling Good concluded the first set.
After the interval trio played “They Can’t Take That Away From Me”.  1937 song  by George Gershwin and lyrics by Ira Gershwin and introduced by Fred Astaire in the 1937 film Shall We Dance .
Dominic joined the trio to play Só Danço Samba a Bossa nova song composed in 1962 by Antônio Carlos Jobim , with lyrics by Vinicius de Moraes . English lyrics were later written by Norman Gimbel . Só Danço Samba has also been known as Jazz Samba and I Only Dance Samba, an English translation of the original Portuguese title. Dominic played an intro’ and led the trio with the melody. Sharon returned to the microphone, as Hillary played an introduction to “Every Day I Have The Blues”, a blues tune that has been performed in a variety of styles. Sharon gave a convincing rendition of the song.
Now it was Sharon’s turn to sing a Bossa nova song composed by Antônio Carlos Jobim and chose “Wave”. Recorded as an instrumental on his 1967 album of the same name , the lyrics in English were written by Jobim himself, later that year and were used on the 1970 album Sinatra where Sharon sang the English lyrics to the infectious melody.
Time for a ballad from Sharon. Dominic played an intro’ for Sharon to sing “But Beautiful”, a 1947 song written by Jimmy Van Heusen , and lyrics by Johnny Burke. The song featured in the movie Road to Rio (1947), introduced by Bing Crosby and also associated with his leading lady Dorothy Lamour .
A Billy Joel composition “New York State of Mind” followed, a song initially appearing on his 1976 album Turnstiles but was never a hit song, and never released as a single, but became a firm favourite that Joel played regularly in concert. In 1977 Barbra Streisand made a recording of the song, and in 2014, Joel and Streisand sang it together on the album.
Next came a song that has become identified with Sharon, featured on her CD: “Over The Rainbow” a ballad, music by Harold Arlen, lyrics by Yip Harburg, written for the film, The Wizard of Oz , sung by Judy Garland , in her starring role as Dorothy and becoming one of the most enduring standards of the 20th century. Sharon sang the verse accompanied by Dominic and followed with the main theme, in the same vein. A very obvious favourite of many in the audience.
Time for Sharon to take a rest and hand back to Dominic and the trio for an instrumental rendition of Georgia on My Mind, a 1930 song written by Hoagy Carmichael and Stuart Gorrell and has often been associated with Ray Charles , a native of the U.S. state of Georgia, who recorded it for his 1960 album The Genius Hits the Road . Dominic played the familiar theme excellently.
Sharon returned, to sing “(Get Your Kicks on) Route 66, a popular rhythm and blues standard , composed in 1946 by American songwriter Bobby Troup with the song using twelve-bar blues arrangement, and the lyrics follows the path of U.S. Route 66 , which traverses the western two-thirds of the U.S., from Chicago , to Los Angeles , The song has become a standard and has been recorded by numerous artists but the version recorded by Perry Como in 1959 ( the album Como Swings ) is more lyrically complete, including the seldom-heard second verse, and also the introductory verse. Hillary played an intro’, and with contributions from all it was very apparent that Sharon and the whole group had much fun with this number, as did the audience.
Sharon followed with her final song of the evening; appropriately entitled That’s All”. This a 1952 song written by Alan Brandt and Bob Haymes . The first recording, by Nat King Cole in 1953, achieved some popularity, but It was Bobby Darin’s version in his 1959 album.
All, that introduced it to a wider audience as Sharon sang the song plaintively, and Hillary and Dominic took solos, bringing the evening’s entertainment to a close, seemingly all too soon.
Dave Grant thanked the audience for their loyalty to the club, and thanked the guest musicians Sharon and Dominic, paying particular tribute to Sharon Scott, who sang her heart out with so many evocative songs, but not forgetting Hillary Cameron and Ted Simkins for their support in providing yet another wonderful evening of great jazz music.
John Constable

 Dominic Ashworth 

   

Dominic Ashworth & Sharon Scott 

& trio

Photographs courtesy of

Brian Leith

Sharon Scott 

AUGUST

 

Review; Tuesday, 28th August, 2018

‘Old New and Blue’ a gig dedicated as ever, to swing music of the 30’s, 40’s and 50’s.
Dave Grant introduced The Resident Trio, without Hillary Cameron, unavailable for this gig, but Gabriel Keen, keys, stood in as a keen (pun intended) and able substitute. Dave introduced this month’s guests, John Withers, vibraphone and Neale Ridding, flute. Gabriel Keen, unfortunately stuck in traffic on the M25 arriving at end of first set, so John, Neale and the trio (minus the keyboard) ‘kicked off’ with“There Will Never Be Another You” followed by a Bossa Nova, “Meditation”, a 1962 composition by Antônio Carlos Jobim. John introduced the next number, “Bluesology”, a M.J.Q. (Modern Jazz Quartet) a 1956 composition by Milt Jackson. Later a British R&B band of that name, Bluesology, inspired by MJQ title with a prominent member of the group being, Reg Dwight, later to be known as (E.J.) you know who! The melody of Bluesology is very similar to the ‘Beatles’ song, “Can’t buy me Love”, which is attributed to Paul McCartney; Hmmn, ?? I wonder. John’s wonderful rendition left no doubt of the jazz origins of the piece as Neale took an improvised solo. The next number, “Here’s That Rainy Day”; published in 1953 by Jimmy Van Heusen lyrics Johnny Burkeand became a favourite of jazz instrumentalists, when introduced by Dolores Gray in the musical Carnival in Flanders, and aired most notably by Frank Sinatra and Ella Fitzgerald. Neale played a beautiful solo on the theme and completed the number cheekily, by playing the melody “Singing in the Rain”. The next number “Weaver of Dreams”, composed by Victor Young and Jack Elliott has many notable recordings by Nat King Cole, Johnny Mathis and Carmen McRae. John played the melody and then handed over to Neale who returned to the melody, whilst John provided rhythmic support with tambourine and cabasa to complete the number. Hoorah was heard when Gabriel Keen arrived, set up his keyboard, ensemble now complete played, “Pick Yourself Up and Start All Over Again”, composed in 1936 by Jerome Kern, lyrics by Dorothy Fields. which has a verse and a chorus, as well as a third section, often omitted in recordings. The song, written for the film Swing Time (1936), was introduced by Fred Astaire and Ginger Rogers. John, Neale and Gabriel all took solos to provide a lively instrumental version of the song to conclude the first set.

The second set began with Gabriel Keen showing his musical talents as he played a masterful version of “Satin Doll” and his late arrival was thus forgiven. "Satin Doll" is a jazz standard written in 1953 by Duke Ellington and Billy Strayhorn was already an instrumental hit before lyrics were added by Johnny Mercer. According to Richard Pryor, the piece was written for a famous black stripper with the same name and Ellington used "Satin Doll" as his closing number at most of his concerts. Gabriel’s solo spot was followed by “Blue Bossa” an instrumental jazz composition by Kenny Dorham. A blend of hard bop and Bossa Nova, the tune was possibly influenced by Dorham's visit to the Rio de Janeiro Jazz Festival in 1961 and has since become a jazz standard. Neale began with the melody before handing over to Gabriel. Then came the tune "Line for Lyons”, composed by Gerry Mulligan as an early tribute to the prominent west coast disc jockey, Jimmy Lyons (who was also a co-founder of the Monterey Jazz Festival). First recorded by Mulligan in 1952, at the Black Hawk in San Francisco, where he led his quartet with Chet Baker and developed a fondness for this composition and recorded it on a number of sessions. Chet Baker and Paul Desmond, both of whom recorded the song with Mulligan, added it to their repertoire’s. Neale led with the melody before handing over to John who improvised freely. John, (an accomplished timpanist) was invited to take over Dave’s drumming role for the next number. “Autumn Leaves”, (“Les Feuilles Mortes”), written originally, by the French-Hungarian composer Joseph Kosma for the ballet Le Rendez-vous, performed in Paris at the end of WWII. With its mournful minor-key melody, Les Feuilles Mortes, together with the English lyrics version by Johnny Mercer, became one of the most popular songs in the world. Kosma revived it for Marcel Carné’s 1946 film Les Portes de la Nuit (The Gates of the Night); with heartbreaking lyrics by the film’s scriptwriter, poet Jacques Prévert, where it was sung by Yves Montand. Neale led with the familiar melody until John (on drums) increased the tempo and solos were taken by Gabriel and Ted. Neale took time out for the next number, "Who Can I Turn To (When Nobody Needs Me)", a 1964 song by Leslie Bricusse and Anthony Newley for the musical The Roar of the Greasepaint – The Smell of the Crowd. The musical struggled in the U.K. in 1964, and then made a tour of the United States later that year with Tony Bennett, recording “Who Can I Turn To” when it became a hit, and the musical arrived on Broadway for a successful run. John led with the melody, and Gabriel and Ted took solos, then John and Gabriel alternated with solos including drum breaks from Dave. Neale returned to the group for the next number, ”Corcovado” (known in English as "Quiet Nights of Quiet Stars") a Bossa Nova by Antônio Carlos Jobim in 1960 with English lyric added later by Gene Lees. Corcovado, a mountain in Rio de Janeiro is within the city limits and visible from great distances. It is known worldwide for the 38-metre high statue of Jesus, entitled Cristo Redentor or "Christ the Redeemer", on the top. Neale led with the melody and then John took over. Gabriel took a solo and Neale returned to the melody to finish the number. The next number, ”On Green Dolphin Street”, a 1947 composition by Bronisław Kaper lyrics by Ned Washington for the film Green Dolphin Street [based on a 1944 novel of the same name by Elizabeth Goudge], and went on to become a jazz standard after being recorded by Miles Davis in 1958. Neale led with melody and then John took over with Gabriel and Ted taking solos. The final number, "How High the Moon" lyrics by Nancy Hamilton, music by Morgan Lewis was first featured in the 1940 Broadway revue, Two for the Show, John kicked off with the classic Lionel Hampton riff, before launching into the familiar melody. Sadly this brought the evening’s swinging entertainment to a close, seemingly all too soon.
Dave Grant thanked the audience for their loyalty to the club, and thanked the guest musicians, John Withers, Neale Ridding and Gabriel Keen, not forgetting Ted Simkins, for providing yet another wonderful evening of great jazz music.
John C.

Johnny Withers, vibes

 

Neale Ridding, flute

Photographs courtesy of

Brian Leith

Gabriel Keen, Keys

 

SEPTEMBER

Review:Tuesday, 25th September, 2018.

Dave Grant Introduced The Resident Trio as they ‘kicked off’ the evening with Hillary playing, “Days of Wine and Roses”; a 1962 Henry Mancini tune from sad film of the same name.
Dave then introduced this month’s guests, Jeff Williams who introduced (with some humour) his long term cohort Pete Cooper (Trumpet, Flugelhorn).
Jeff's first number, ”In a Mellow Tone”, a 1939 jazz standard composed by Duke Ellington , lyrics by Milt Gabler was based on the 1917 standard Rose Room by Art  Hickman and Harry Williams , which Ellington himself had recorded in 1932. Jeff and Pete led off with Pete using a Harmon mute to provide the familiar Ellington sounding melody. Jeff attempted to make an apology to (I guess), the ladies present, for the lyrics (that no one wasgoing to sing), as he introduced the next number ”Girl Talk”, a song composed by Neal Hefti, lyrics by Bobby Troup for the 1965 film Harlow, a biographical film about Jean Harlow, starring Carroll Baker, described by Michael Feinstein as the last great male chauvinistic song written. Pete played flugelhorn to accompany Jeff with the main theme and played a solo using a ‘sink plunger’ mute.
The next number 'Keester Parade' is a song by Johnny Mandel, first recorded and released by Woody Herman’s bass trumpeter, Cy Touff, in 1956 with Harry ‘Sweets‘ Edison being one of the trumpeters in the Octet. Hillary played an introduction and Jeff and Pete played the blues riff before reverting to the theme to finish. A composition by Duke Ellington followed 'Don't Get Around Much Anymore," a jazz standard originally called "Never No Lament”, first recorded by Duke Ellington’s Orchestra on May 4, 1940 with Bob Russell's lyrics being added in 1942. Jeff and Pete played the familiar melody, and Pete played the middle eight bars to cue Jeff to sing the lyrics, that concluded the first set and the musicians took a well earned break.
To ‘kick off’ the second set, Hillary played "How High the Moon", a jazz standard , lyrics by Nancy Hamilton , music by Morgan Lewis first featured in the 1940 Broadway revue Two for the Show . The song was a rare, serious moment, in an otherwise humorous revue. Hillary played the tune with a Samba rhythm and Ted took a solo, thereafter Hillary continued the theme, with Bongo drum breaks from Dave. Jeff and Pete rejoined the trio to play: Li’l Darlin’, a 1957 jazz standard, composed by trumpeter Neal Hefti for the Count Basie Orchestra a favourite of numerous instrumentalists, lyrics added later by Jon Hendricks. The Basie arrangement, without lyrics, was often used as the closing theme for The Tonight Show, Starring Johnny Carson .
Unexpectedly, the ensemble started an up tempo rendition (as composition was originally written), and then Jeff asked the audience if they preferred it that way. The audience didn’t; so they continued with the tempo as recorded by Count Basie.
A Duke Ellington composition, a ballad followed; “What Am I Here for” recorded early 1942, initially had the title Ethiopian Nation. Now not a lot of people know that!
Next number neither originating from Ellington or Basie was "Lover Man" (Oh, Where Can You Be? ) a 1941 by Jimmy Davis , Roger Ramirez, and James Sherman and particularly associated with Billie Holiday , for whom it was written. Pete, Flugelhorn, started with the melody, before Jeff took a long solo before handing over to Hillary, who played a very thoughtful and moving solo.
Back to Count Basie, for jazz legend, Freddie Green composition, “Down For Double” who was the guitarist in the Count Basie Orchestra for many years writing several songs for the band. Jeff and Pete played the main theme together and then Jeff took a solo. An Ellington composition was chosen for the last number; the 1934 [In My] Solitude” with lyrics added later by Eddie DeLange and Irving Mills. The ensemble played the theme in Bossa Nova style with Jeff taking the lead.

Dave Grant thanked the audience for supporting the Club and thanked the guests, Jeff Williams and Pete Cooper, for some really great jazz, not forgetting Hillary Cameron and Ted Simkins for their support in yet another wonderful evening of jazz.
Footnote: - Isn’t it remarkable how many great instrumental melodies were written in the 30’s, 40's and 50’s for great bands or orchestras, and then lyrics were subsequently added. Cole Porter, George
Gershwin and others like them managed to write catchy melodies with clever lyrics too. Today there are very few, purely instrumental, melodies written, but practically all popular music consists of repetitive lyrics with poor melody lines, electronically enhanced!

John C

Jeff Williams, trombone

 

Photographs courtesy of

Brian Leith

 

Pete Cooper, trumpet

flugelhorn

OCTOBER

Review:

Tuesday, 30th October, 2018
Dave Grant Introduced The Resident Trio and they ‘kicked off’ the evening, with Hillary playing “Blue Monk”, written by Thelonious Monk, which has become one of his most enduring tunes. First recorded in 1952 for the album Thelonious Monk Trio, it is a B flat blues and is similar to the jazz tune "Pastel Blue". Hillary dealt with the tune deftly as befits this catchy melody.
Dave introduced Dominic Ashworth and Julian Marc Stringle, this month’s guests, when the latter referred to today being Halloween, and admitted being a Hammer House Horror addict, and his affinity with Boris Karloff, relating a ghoulish story of how he is related to Boris Karloff! He then launched into an infectious version of “Rosetta”, composed by pianist/bandleader Earl “Fatha” Hines, first recorded in 1933, with lyrics written by his arranger Henri Woode. Some have speculated that Charlie Parker’s “Yardbird Suite” (1940) was based on Hines’ “Rosetta”. Artie Shaw influenced Julian’s choice of the next number, ”Poinciana”, written in 1936 by Nat Simon with lyrics by Buddy Bernier is based on a Cuban folk tune "La canción del árbol" "The song of the tree” with the Poinciana tree itself, was introduced to Cuba from Madagascar. Poinciana is also the title of an album by jazz pianist Ahmad Jamal, mostly recorded at the Spotlite Club in Washington, DC in 1958 and originally released in 1963. Julian related a ‘potted’ history of some of Artie Shaw’s eight marriages, and the unexplained episode when, at the age of forty, he packed his clarinet away, never to play it again! Dominic reminded Julian of their intro riff and Julian lead off with this lovely melody until Hillary took over, improvising freely. It was then Julian’s turn to take an improvised solo in which he managed to introduce the ‘March of the Siamese Children’. The next number was "The Man I Love”, music by George Gershwin and lyrics by his brother Ira, as part of the 1924 score for the Gershwin government satire Lady, Be Good, when the tune "The Girl I Love", was deleted from the show, and from both the 1927 anti-war satire Strike Up the Band, (where it first appeared as "The Man I Love"), and the 1928 Ziegfeld hit Rosalie after tryouts. As with many standards of the era, it has become more famous as an independent popular song, than any from a Broadway musical.
A ‘bluesy’ version of “What’s New?” followed a 1939 song was composed by Bob Haggart, with lyrics by Johnny Burke, originally an instrumental entitled "I'm Free", written in 1938, when Haggart was a member of the Bob Crosby Orchestra. The tune showcased the talents of trumpeter and band-mate, Billy Butterfield. Julian led with the melody, and this was followed by a wonderfully feeling solo from Hillary.
Dominic and Julian played the verse to the song “I’ve Found a New Baby”, by Jack Palmer and Spencer Williams, introduced by Clarence Williams' Blue Five in 1926, as Julian took the main theme and then continued with a solo followed by a really clever solo from Hillary.
This concluded the first set and the musicians took a well earned break, whilst Dave and Joyce reminded us of the pre Christmas Jazz & Buffet event (£15) on Tuesday 27th November. The second set began with Julian making references to clarinettist Eddie Daniels and his You Tube advice on how to play the clarinet glissando at the start of George Gershwin’s ‘crossover classic’, “Rhapsody in Blue”. A special arrangement of the rhapsody, written by Dominic followed, as Julian and Dominic wowed the audience with it. This has become a ‘party piece’ for the pair and it is intended to issue it soon on a DVD. I had heard this played by the Duo before, but this version, I believe, was the best ever, finely honed to perfection! The next number featured Hillary playing the Bossa nova, "Desafinado," a Portuguese word (usually rendered into English as "Out of Tune", or as "Off Key”),composed by Antônio Carlos Jobim, with lyrics (in Portuguese) by Newton Mendonça. The English language lyrics were written by Jon Hendricks and "Jessie Cavanaugh" (a pseudonym). Another English lyric, more closely based on the original Portuguese lyric (but not a translation) was written by Gene Lees. Hillary’s interpretation was delightful and well received. Julian then selected his tenor sax’ to play ‘Lullaby of the Leaves’, composed by Bernice Petkere and lyricist Joe Young, featured in the 1932 Broadway revue, Chamberlain Brown’s Scrap Book, which soon became a favourite of jazz musicians, notably because of its female composer, a rarity, especially in the jazz world. It was time for Dominic’s solo spot, choosing “Nuages” (Clouds). Django Reinhardt favourite composition, starting off unaccompanied with the trio joining in on the second chorus. All in all, a lovely rendition of this wonderful melody by Dominic, the guitar maestro. The next number was "Emily" composed by Johnny Mandel, lyrics by Johnny Mercer, the title song to the 1964 film The Americanisation of Emily and has since been recorded by numerous artists, notably Bill Evans and Tony Bennett. clarinet. A tune requested by Dave followed: - "Triste" (Sad in English) is a Bossa nova composed in 1966 by Antônio Carlos Jobim, who also wrote lyrics for it in both English and Portuguese. No doubt Dave had been impressed (as was I), by Julian’s and Ken Peplowski’s rendition of the melody on their ‘Clarinet Maestros’ CD. Julian’s next number paid tribute to Benny Goodman of his version of "They Can't Take That Away from Me", a 1937 composed by George Gershwin, lyrics by Ira Gershwin, introduced by Fred Astaire in the 1937 film Shall We Dance.
Julian played tribute to the resident trio, Dave, Hillary and Ted, and to Dominic, before announcing the final tune of the evening: - "I Got Rhythm", composed by George Gershwin, lyrics Ira Gershwin, for the musical Girl Crazy, published in 1930, it became a jazz standard. Its chord progression, known as the "rhythm changes", is the foundation for many other popular jazz tunes, such as Charlie Parker's and Dizzy Gillespie's bebop standard "Anthropology (Thrivin' on a Riff)". Solos taken by Hillary, Julian and Dominic and Julian returned to the main theme including “Anthropology”, to conclude the evening’s entertainment.
Dave Grant paid tribute to, Dominic Ashworth and Julian Marc Stringle, and thanked the audience for their loyalty to the club, not forgetting the stalwarts, Hillary Cameron and Ted Simkins for their support in providing yet another wonderful evening of great jazz music. Footnote: The music of the Gershwin brothers figured predominantly in this evenings performance and to great effect. This was definitely the best audience turnout since the club moved to O.B.s in January 2017. Thanks are due to the musicians of course, but also to the organisation provided by Dave and Joyce and Richard and all that have helped to make the club a success including the loyal members of the audience.

John Constable

Dominic Ashworth

Ensemble

Photographs courtesy of Brian Leith

Julian Marc Stringle

NOVEMBER

Review :- Tuesday 27th November 2018.
This pre-Christmas session was a mixture of traditional and mainstream jazz, played by this month’s guests, Carlton Jazz, comprising of Leader Dave Grant, kit, Paul Higgs, trumpet, Tim Huskisson, keys, Martin Nickless, clarinet, Derek Clenshaw, trombone and ‘the man with a hat’, Ted Simkins, bass. The opening number; ‘Avalon’, a 1920 song by Al Jolson, Buddy DeSylva and Vincent Rose referencing Avalon, California. Introduced by Jolson and interpolated in the musicals Sinbad and Bombo. The song was possibly written by Rose, but Jolson's popularity as a performer allowed him to claim composer co-credit. Originally, only Rose and Jolson were credited; DeSylva's name was added later. Paul announced the next number; ‘Up A Lazy River’, a 1930’s tune by Hoagy Carmichael and Sidney Arodin. The melody by Arodin, arranged and words modified by Carmichael is considered a jazz standard recorded by many artists. Paul led (using a sink plunger mute, Cootie Williams style). Dave then introduced Carol Braithwaite to sing ‘Sweet Georgia Brown’, a jazz standard composed in 1925 by Ben Bernie and Maceo Pinkard, with lyrics by Kenneth Casey. Carol sang this familiar tune with gusto. Solos were taken by Martin, Derek and followed by most inventive solos from Paul and Tim. Carol announced the next number; ‘Careless Love’, a traditional song, with several popular blues versions. The lyrics vary, but usually speak of the heartbreak brought on by "careless love" became one of the best known pieces in the repertory of the Buddy Bolden band in New Orleans, at start of the 20th century; and has remained a jazz and blues standard. Carol sang this evocative song with feeling with just Tim on keyboard to begin. Solos were then taken by Tim and Ted. Carol sang the final verse with the ensemble to close the number Paul announced the next number; ‘When You’re Smiling’, a song written by Larry Shay, Mark Fisher and Joe Goodwin in 1928, and an early recording was by Louis Armstrong in 1929. Paul invited the audience to sing if they were so inclined, and led the ensemble with a swinging rendition of the song to which the audience did participated.To continue in similar vein, Paul introduced the next number, ‘I’ve Found A New Baby’ written by Jack Palmer and Spencer Williams, and was introduced by Clarence Williams' Blue Five in 1926 and has become a jazz standard. Tim played a great ‘stride piano’ solo followed by solos from Ted and Dave with Paul leading the ensemble to finish the number. Carol returned to sing a little known ‘Fats’ Waller recording that had been requested by Dave; ‘A Porters Love Song to a Chambermaid’ originally written by Andy Razaf and James P. Johnson and had four verses, unlike the ‘Fats’ Waller recorded version of ten verses. Carol sang the catchy melody using the original verses, and this was followed by a wonderful solo from Tim and was followed by a new verse composed and sang by Carol, after which Paul led the ensemble to a swinging finish. Carol continued with; ‘I Wish I Could Shimmy Like My Sister Kate’, an up-tempo 1919 jazz dance song, attributed to Clarence Williams. This tune was one such song credited to Williams but were actually purchased in the course of his publishing business and were not actually his work. It is believed to be based on a bawdy tune by Louis Armstrong, about Kate Townsend, a murdered brothel madam, transcribed from a version performed by Anna Jones and Fats Waller. The lyrics of the song are the words of Kate's sister, singing about Kate's impressive dancing skill, and wish to be able to emulate it. Tim played an intro’ and Carol sang the verse before continuing with the main song with the ensemble. The ensemble closed the first set with, ‘Perdido’, a jazz standard composed by Juan Tizol recorded in 1941 by Duke Ellington. However, it is the 1942 recording by the Ellington orchestra, (of which Tizol was a member), that is regarded as the original recording. "Perdido" lyrics were not usually sung with the Ellington band, the exception being with Ella Fitzgerald on her 1957 album Ella Fitzgerald Sings the Duke Ellington Songbook. "Perdido" in Spanish means lost, but also sloppy or indecent, but the song refers to Perdido Street in New Orleans. The musicians took a well earned break and the audience took their preferred refreshments from the bar, or joined an orderly queue for the magnificent Buffet, and awaited the drawing of the raffle.
The second set began with ‘Tangerine’, a 1941 with music by Victor Schertzinger and lyrics by Johnny Mercer, and was introduced to a broad audience in the 1942 Paramount Pictures, The Fleet's In, directed by Schertzinger just before his death. The song portrays a fictitious South American woman with universally recognized allure. One Steve Galler, (The man with the Golden Banjo), was summoned from the audience. Steve chose to play, ‘Back Home Again in Indiana’ composed in 1917, by James F. Hanley with lyrics by Ballard MacDonald. Although it is not the state song of Indiana (namely, "On the Banks of the Wabash, Far Away"), it is perhaps the best-known song that pays tribute to the Hoosier state. (Hoosier: - Resident of Indiana State). The ensemble kicked off, and Steve sang the lyrics (that echo all of the attributes referred to in the State Song). Martin took a solo and this was followed by a wonderful banjo solo from Steve, who then repeated the lyrics with the ensemble to finish the number. Steve resumed with songs from the Disney film ‘Jungle Book’, singing the Phil Harris (Balu the Bear) song, ‘The Bare Necessities’ of Life’, and ‘I Wan’na Be Like You’ (The Monkey Song). Audience participation was invited, and accepted. with Steve, singing the lyrics, and playing banjo, with most of the audience in tow. Carol returned to sing, ‘Georgia On My Mind’ a 1930 song by Hoagy Carmichael and Stuart Gorrell and in 1930, in New York City, Carmichael recorded "Georgia on My Mind" with Bix Beiderbecke on cornet, Eddie Lang on guitar, and Charles Winters on double bass that was part of Beiderbecke's last recording session. The song, often associated with Ray Charles, born in the U.S. State. recorded it his 1960 album The Genius Hits the Road. In 1979, the State of Georgia designated it the official state song. Carol sang the verse with feeling, accompanied by Tim; the ensemble joined in with the melody. Sharon Scott was invited to sing, and she chose ‘(Get Your Kicks on) Route 66’, a popular rhythm and twelve-bar blues standard, composed in 1946 by songwriter Bobby Troup. The lyrics follow the path of U.S. Route 66, which traversed the western two-thirds of the U.S. from Chicago, Illinois, to Los Angeles, California. Also known as the Will Rogers Highway, the Main Street of America or the Mother Road, it was one of the original highways in the U.S. Highway System established in 1926. It became one of the most famous roads in the United States, originally ran from Chicago, Illinois, through Missouri, Kansas, Oklahoma, Texas, New Mexico, and Arizona before ending in Santa Monica, California, near Los Angeles, covering a total of 2,448 miles (3,940 km). Sharon sang this with the full ensemble, and followed on with the song, ‘All of Me’ a jazz standard written by Gerald Marks and Seymour Simons in 1931, first performed by Belle Baker over the radio, and recorded in 1931 by Ruth Etting. Solos taken by Martin and Derek. Sharon followed this by singing with the full ensemble, ‘Pennies From Heaven’, a 1936 song, by Arthur Johnston, lyrics by Johnny Burke. Tim took a solo, and then Sharon reverted to singing ‘All of Me’ with the ensemble to finish the number. Carol returned to sing a medley of Christmas songs supported by the ensemble, namely: - ‘Rockin’ Around the Christmas Tree’, ‘Walking In A Winter Wonderland’, and ‘Jingle Bells’. Authors / Composers were: - Johnny Marks in 1958; Felix Bernard and lyricist Richard B. Smith in 1934 and,. James Lord Pierpont in 1850. ‘Jingle Bells’ is one of the best-known and commonly sung American songs in the world. First published in 1857 under the title ‘One Horse Open Sleigh’ was intended for Thanksgiving, not Christmas. According to the Medford Historical Society, (where the song was written) it was inspired by the town's popular sleigh races during the 19th century. Carol admitted that she was not a great fan of Christmas songs, except for the one she was about to sing, ‘Have Yourself a Merry Little Christmas", written by Hugh Martin and Ralph Blane and introduced by Judy Garland in the 1944 MGM musical, Meet Me in St. Louis. Tim played a keyboard introduction using the Fender Rhodes voice. The ensemble then played the melody until Carol joined in with the lyrics that she has much affection for, accompanied by Tim (still using the Fender Rhodes voice to great effect). Somehow the number morphed back to ‘Jingle Bells’ to finish. That took us to the final number, ‘Take the ’A’ Train’, composed by Billy Strayhorn, a member of the Duke Ellington orchestra. and the melody became the signature tune of the orchestra.
Solos were taken by Paul, Martin, Derek, Tim and Ted, with drum breaks from Dave. Thus the evening’s entertainment, and indeed that of the year of 2018, was concluded. With Tim playing “Silent Night” softly in the background, Dave Grant paid tribute to the guest artists, Carol Braithwaite, Sharon Scott, Paul Higgs, Tim Huskisson, Martin Nickless, Derek Clenshaw, and Steve Galler. (Dave and Joyce were old friends of Steve; they had met up recently, on a cruise). Dave thanked the audience for their loyalty to the club, not forgetting the trio stalwarts, Hilary Cameron and Ted Simkins for their support throughout the year. This was yet another wonderful evening of jazz music, enhanced by an early helping of Christmas spirit and minced pies from the excellent buffet arranged by Joyce and the aid of the wife of Manager Bill Barker. Next event is scheduled for Tuesday 29th January 2019; with Catherine Lima (vocals). Footnote: This was yet another magnificent audience turnout. Thanks are due to the musicians of course, but also to the organisation provided by Dave and Joyce and Richard and all that have helped to make the club a success, including the loyal members of the audience. Christmas sessions have been mainly Traditional Jazz events in the past, but this, and last year’s line up, have been the most successful. (I did miss the masterful playing of Martin Nickless on soprano saxophone this year though).

John Constable

 

Photograph courtesy of Brian Leith

 

 


 

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