Isomatic UK Weblog. Peter and Selina Burton's news, covering our personal interests, e. You can eat and drink in the restaurant at any time or ask for it to be served in the St Leonards Suite (where the band plays) from 6. PM when the doors open. Monday 1. 9th December 2. Alan Pickering's Spirit of New Orleans at the Bournemouth Traditional Jazz Club, starting at 8. PM. Jazz starts at 7: 3. PM. Monday 9th January 2. John Maddocks' Jazz Men at the Bournemouth Traditional Jazz Club, starting at 8. The September 11 attacks (also referred to as 9/11) were a series of four coordinated terrorist attacks by the Islamic terrorist group al-Qaeda on the United States. PM. Jazz starts at 7: 3. PM. Friday 1. 3th January; Tim Eyles' Gentlemen of Jazz at the Salisbury Jazz Club, . There is a bar, raffle, large car park and hot food is available until 8. PM. You can eat and drink in the restaurant at any time or ask for it to be served in the St Leonards Suite (where the band plays) from 6. PM when the doors open. Monday 2. 3rd January 2. Alan Pickering's Spirit of New Orleans with guest John Maddocks on reeds at the Bournemouth Traditional Jazz Club, starting at 8. PM. Jazz starts at 7: 3. PM. Sunday 2. 9th January; John Maddocks' Jazz Men at the St Leonards Hotel, 1. Sandra MacBeth - Conjugal Scene (Teuchstar) Listening to the soulful folk hue of Go Out with its percussive guitar rhythms and to the banjo and accordion accompanied. Ringwood Road, St Leonards, Dorset, BH2. NP. You can eat and drink in the restaurant at any time or ask for it to be served in the St Leonards Suite (where the bar opens around 7 PM and the band plays from 7. PM). Joe Croll asked her to assist him with the raffle saying to her (with microphone in hand) . Something along the lines of . I gently explained that many people underestimate Selina's age by 2. Some favourite numbers were: 1) Bei Mir Bistu Shein, (Yiddish: . The score for the song transcribed the Yiddish title as 'Bay mir bistu sheyn'. It also appeared with a Germanized title 'Bei Mir Bist Du Sch.
On seeing the response, Cahn got his employer to buy the rights so he (together with Saul Chaplin) could rewrite the song with English language lyrics and rhythms more typical of swing music. Secunda and Jacobs sold the publishing rights to the song for a mere US$3. Cahn then convinced the still unknown Andrews Sisters to perform the song (1. It became their first major hit, earning them a gold record, the first ever to a female vocal group. The song is performed by Renata Flores in the film The Last Metro. It was also a worldwide hit beyond America. Fortunately, in 1. Secunda and Jacobs, and they signed contract with Harms, Inc., securing proper royalties. The link is to Janis Siegel's rendition as seen in 'Swing Kids'. This is the full, uninterrupted version. Not just a clip from the movie. Jeremy's vocal I Can't Give You Anything but Love, the link being to a modern version by Diana Krall. Andy Razaf's biographer Harry Singer offers circumstantial evidence that suggests Fats Waller might have sold the melody to Mc. Hugh in 1. 92. 6 and that the lyrics were by Razaf. The Isle of Capri, the link being to the recording by Primo Scala's Accordion Band that I played so often as a child. Later hit versions were recorded by Wingy Manone in 1. The Gaylords and by Jackie Lee in 1. Frank Sinatra recorded it on October 1, 1. Come Fly with Me, issued in 1. This song was a huge world- wide hit, sung in countless arrangements and translations, including in French by Tino Rossi . It deals with reminiscence upon youth and romantic idealism. John's clarinet feature I've Found a New Baby, the link being to the wonderful Sidney Bechet version from 1. It was composed around 1. Spencer Williams in collaboration with Jack Palmer. Mike's vocal I Wonder Who's Kissing Her Now, the link being to Manuel Romain from 1. Bing Crosby versions. The music was written by Joseph E. Howard and Harold Orlob, the lyrics by Will M. The song was published in 1. The Prince Of Tonight. The words were written by Robert Burns in 1. Jonathan E. Spilman in 1. Perdido St Blues, this link being to the original version by the New Orleans Wanderers. It was composed by their pianist Lil Hardin as were most of their numbers, although her husband Louis Armstrong might have collaborated with her. Great band, playing some wonderful jazz. It was introduced in the Broadway musical Funny Face (1. Adele Astaire and Allen Kearns. Peter Rudeforth's feature Stardust, played on this link by Gary Guthman on flugel horn. The score for the song transcribed the Yiddish title as 'Bay mir bistu sheyn'. It also appeared with a Germanized title 'Bei Mir Bist Du Sch. On seeing the response, Cahn got his employer to buy the rights so he (together with Saul Chaplin) could rewrite the song with English language lyrics and rhythms more typical of swing music. Secunda and Jacobs sold the publishing rights to the song for a mere US$3. Cahn then convinced the still unknown Andrews Sisters to perform the song (1. It became their first major hit, earning them a gold record, the first ever to a female vocal group. The song is performed by Renata Flores in the film The Last Metro. It was also a worldwide hit beyond America. Fortunately, in 1. Secunda and Jacobs, and they signed contract with Harms, Inc., securing proper royalties. The link is to Janis Siegel's rendition as seen in 'Swing Kids'. This is the full, uninterrupted version. Not just a clip from the movie. We danced to 1. 0 numbers but only out of 2. Wendy Lawrence took a photograph of us the is now our Face. Book profile pic. Favourite numbers were: 1) Livery Stable Blues, played on this link by the Original Dixieland Jass Band. It was recorded by the Original Dixieland Jass Band on February 2. A side . 2) Sukiyaki, the link being to Kenny Ball and his Jazzmen from 1. Iain's vocal 'My Wild Reigate Rose', dedicated to an embarrassed Lesley Stradwick. He also co- wrote the lyrics to . Dennis Morgan played Olcott in the 1. This song has been recorded by countless artists, including John Mc. Cormack. He was born on November 9, 1. Fort- de- France, Martinique, France. He was an actor and composer, known for La vieille quimboiseuse et le majordome (1. M. He died on April 1. Fontenay- sous- Bois, Val- de- Marne, France. Hamish's wonderful vocal, ably assisted by Pete Middleton, Trombone Cholly sung on this link by Bessie Smith with trombonist Charlie Green. Charles University there. After arriving in New York, he co- wrote several songs with Anton Lada of the Louisiana Five. Among those songs was . Around the time of World War One he co- composed the song . Williams toured Europe with bands from 1. Josephine Baker at the Folies Berg. Williams then returned to New York for a few years. In 1. 93. 2, he moved to Europe for good, living in Sunbury- on- Thames before moving to Stockholm in 1. Williams returned to New York shortly before his death in Flushing, New York on July 1. This is a great band and it pulled in the largest crowd for a year. Favourite numbers were as follows, the links being to the band at various venues: 1) Chiquita. It might well have been composed by Herb Cook, about whom I know nothing. You Are My Sunshine, this clip being from the film 'Oh Brother Where Art Thou' featuring 'The Soggy Bottom Boys'. I liked the wide range of jazz played, from 1. Other punters disagreed, wanting all early stuff. We danced to no less than 1. Favourites were: 1) St Thomas, written by Sonny Rollins who plays it on this link from 1. Ken's banjo feature The World is Waiting For The Sunrise, lyrics by Gene Lockhart and music (Toronto 1. Ernest Seitz, who had conceived the refrain when he was 1. Embarrassed about writing popular music, Seitz used the pseudonym . It was written in the 1. Porter Grainger, who had been Bessie Smith's accompanist, and Everett Robbins. The song was first recorded in October 1. Anna Meyer with the Original Memphis Five. Other early versions include Sara Martin (with Fats Waller on piano) (December 1. Alberta Hunter (February 1. Bessie Smith (April 1. Porter Grainger's lyrics to the song were copyrighted in 1. Interesting numbers (all new to me) were: 1) Jim's vocal, Ham and Eggs, written by Danny Barker and played / sung by him on this link. Tom's great keyboard solo Play Piano Play, composed by Erroll Garner who plays it on this link. He asks us to look at the site with the music of Louis Dumaine and His Jazzola 8. They recorded it in 1. Johnson recorded his version. It was common back then for musicians to claim writers' credit for songs they didn't write but we know the truth now. That Teasing Rag, composed in 1. Paul Charles Pratt, an American composer, arranger and songwriter of popular music born in Indianapolis. After some music education and still in his teens, he was befriended by Cecil Duane Crabb and May Aufderheide for whom he arranged her Dusty (1. This impressed May's father to such an extent that he set up the music publishing house of J. Aufderheide, Indianapolis, Indiana in which Pratt was eventually made manager of its Chicago operations. He wrote a number of rags, the earliest of which were also published by J. On moving to New York, he collaborated with another Indianapolis friend, one J. Will Callahan to write a number of songs one of their earliest being That Gosh Darn Hiram Tune (1. In New York he went on to work as an arranger for a number of theatre orchestras. In the 1. 93. 0's he changed his profession to that of photographer which he continued until his death in Indianapolis. Of his rags Colonial Glide (1. Hot- House Rag (1. Max Morath and Trebor Jay Tichenor respectively. The melody is incorporated in 'The Original Dixieland One Step'. The link is to the Dene River Jazzmen, at The Harp Hotel, Albrighton, Shropshire, on Sunday, January 1. I like it. 2) Another newbie; Freeze an' Melt, played superbly on this link by Eddie Lang & His Orchestra (w Tommy Dorsey & Jimmy Dorsey). I have no idea who wrote it. Biggest audience this year, even the restaurant was busy. It is played brilliantly on this link by Clifford Brown. Another Earl Bostic number, as on this link, Deep Purple, written by Peter de Rose in 1. Tico Tico, a Brazilian tune, called correctly . This classic is of the Brazilian Popular Music style called choro or chorinho. Stating the very obvious, Martin Carthy is to English traditional folk music what Martin Simpson is to the delta blues, Martin Taylor to jazz guitar and Juan Martin to flamenco. The rationale of this collaboration between them, and coincidentally its strength, lies in pointing up and exploring the connections between these musical genres. This CD presents excerpts from the collected Martins' touring show, recorded live in Glasgow (presumably some time last year). Fear not then, those of you who might think it's an excuse for an esoteric ego trip by four single- minded and self- absorbed musos; quite the contrary, it's an enticing and thoroughly accessible blending of their talents. You might, however, think it a bit naughty that out of the twelve tracks on the CD, there's only four where all four participants actually come together to lock horns or whatever; the remainder are personal showcases for the individuals (two apiece). But you can't argue that on every single selection the pure excitement generated by the playing is tangible - these musicians aren't mere technicians (a charge that's often unfairly levelled at the jazzers in particular), but exhibit their skills with an abundance of prime musicality. Simpson's Jasper Songbird/Spoonful medley is a brilliantly evocative concoction, Taylor's African- inflected piece Kwame/Kiko glitters and sparkles with sprightly rhythmic complexity, and Carthy's Heather Down The Moor has an equally capricious spring in its step. What matter that most if not all of the solo pieces have appeared before on other CDs by these artists, for these new live renditions have a frisson all to themselves. His early introduction to the London Irish music scene (in the milieu of which he grew up) culminated in 1. Senior All- Ireland title on the tin- whistle, then proceeded to devote his life to teaching, becoming . This redoubtable gentleman, best known hereabouts for his work with the London Lasses, brings the benefit of his keyboard expertise to accompanying Peter's tin- whistle on a generous collection of 1. As Peter says in his booklet notes, these traditional tunes have, it appears, been around for ever, but they sure retain their charm in his confident yet affectionate and committed renditions that retain that essential twinkle in the eye. His playing is admirably fluent and never seems breathless, thoroughly musical at whatever pace he adopts ! Measured in the most delightful and lively way, while taking inspiration from many of the classic interpreters of the tradition (I rather liked his way with the Michael Coleman tunes on track 3 for instance). Peter's playing is always tasteful, and often quite masterly. And Pete's keyboard work is complementary in its subtlety, in its own right conveying both sympathy with the inflections and phrasings of the tin- whistle and its player, and a feeling for the contours of the music itself that allows for sensitive nuances alongside of the main instrumental focus or principal melodic input. . I'd be the first to admit that the restricted palette of the two musicians might seem a touch unvaried . For the slow airs, Mr Quinn departs from the . I do feel the keyboard tone encourages a touch of over- sweetness in intonation on Peter's part at times, though. There's a touch of low- key doubletracking of keyboard parts here and there, but nothing at all obtrusive. . Economy is a watchword in the performances generally, for no individual track lasts longer than three- and- a- quarter minutes, and the vast majority clock in at well under three minutes . But there'll be no argument that the music on this disc is still beautifully played and impeccably registered, and the two musicians are evidently completely in tune with one another and their craft; thus it proves impossible to find fault with that aspect of the disc (I'll pass that task over to the hard- core specialists in this genre, but I suspect it will be a tough challenge). Peter's own booklet notes are friendly and companionable, and provide some delightful personal- historical anecdotes amidst the informativeness, although some of his choices of tune namings may puzzle the aficionado.
Both have that slight warm burr to the voice, both write music that embraces jazz, folk and pop colours and both can summon either giddy joy or poignant sadness. . Kiss off opener Ya Hoe skips along with vocal whoops that make you want to run down the street clicking your heels in the air, Let It Go turns on the Brubeck juice for a brushed drums and piano jazz shuffle and with its lines about forty a day woodbine girls, transvestites in latex and pearls and randy truckers, Conjugal Scene is straight out of burlesque cabaret by way of Tom Waits. . The dominant mood of the album, however, is reflection, beautifully manifested in such emotion tugging numbers as the simple voice and guitar Alison's Song, the growing up late acquired wisdom of Waltzing In Blue and, best of all, piano ballad Eight Ball's tale of a thirtysomething housewife and mother's lost dreams. She even manages to include a track called Babies which, for all its cooing 5. Save for the odd gig in Sri Lanka, Spain, Latvia and Estonia, she's not really played much outside of Scotland so mainstream awareness across the country is, at present, rather limited. Given the reviews and radio play the album deserves, that situation should soon begin to change and see gathering demand for increasingly frequent ventures south of the border.
Hence Don Gibson's I Can't Stop Loving You. Ray Charles classic (its Charles's spirit on Take These. Chains From My Heart too) while Help Me Make It Through The Night. Kristofferson but also the hit recording of Sammi Smith. . With bonus tracks for the UK release, there's 2. C& W retro diamond You Win Again through a. True Love Ways and Eddy Arnold's Make The World. Go Away to Walk On By, Lynn Anderson chestnut Rose Garden and Loretta. Lynn's You Ain't Woman Enough. . There's not a duff choice to be found, which makes picking favourites. I'd have to nominate its. Today I Started Loving. You Again (another nod to Sammi Smith), Tammy Wynette's 'til I Can Make. It On My Own and the duet with Parton on Johnny Cash's I Still Miss. Someone. But whatever selection you punch up, this almost as good as. Three songs (the guitar ringing title track included) are co- writes with Steve Wynn while elsewhere Georgia Satellites man Dan Baird joins forces for a piano pumping Coming Up Empty and the warbling moody (imagine Dolly if she was Lucinda) storytelling Toll Girl, the pair of them also providing the album's two covers with Wynn's Stones gone Texas strut One- Eyed Dog and Baird's bluesy gospel Bottle & Bible. Definitely an album for anyone whose wheels travel Lucinda's gravel road, and besides how can you not admire someone who. On That Was Then, can get a way with the line 'you walked a million miles and you blew a million kisses, you gave a million hugs, I said I'd be your missus'.
Superb guitar from Mc. Bride and he definitely knows what buttons to press. Acoustic guitar makes an appearance on Save Me and Mc. Bride's very good rock voice comes into its own. This is a grower, starting in ballad style and building up into a soft rocker. Down To The Wire is a high class slow blues. Joe Bonamassa must be an influence as I can hear him all over this. Mc. Bride is a new star is on the blues horizon. Be My Baby is Jimi Hendrix meets Kansas City blues - - oddly catchy with Mc. Bride's guitar stinging you at every turn. From The Other Side is rhythmic blues rock and although there's a lot of guys out there doing this kind of stuff Mc. Bride more than holds his own. It's back to slide guitar with The Promise and to great effect too with the power chorus on this good time rocker reaching down your throat and playing with your insides. Dead Man Walking has a resonator in there somewhere but it gets dwarfed by Mc. Bride's slashing electric guitar. However, it's another high class blues rocker and he is a master of the chorus. Even though this one is simple it's the power chords that do for you again. Dancing On The Sidewalk is a mid- paced rocker with a funky edge and Sweet Angel has shades of Gary Moore's Still Got The Blues For You in its opening but it's much more than that. Mc. Bride's guitar goes straight to your heart. He has the Dobro out again for Coming Home but this time it gets a higher billing. This has intricate guitar work over a pounding beat. I know that I mentioned Mr Bonamassa before but Mc. Bride is so similar vocally on Devils Road it's uncanny. This is a strange one with Paul Hamilton's drums on the off beat and it may have been better with just voice and guitar - - a fast paced blues, country, hip hop crossover! He finishes with The Truth, a short instrumental lament with piercing guitar which draws out his Celtic origins. . Simon Mc. Bride has the class to challenge the might of the Provogue Records guitarist stable.
. Raised in rural Alabama and reared on a musical diet of '7. Southern Baptist church visits, she formed her first band while at school and it's sort of grown from there. . Playing guitars, drums, keyboards and harmonica, Mc. Carley also wrote 1.
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