John Etheridge rightly enjoys a glowing reputation throughout the jazz world and beyond and has been described by Pat Metheny as, "One of the best guitarists in  the world". He is a prodigiously gifted and creative player whose approach to music can only be described as ‘eclectic’ as he refuses to accommodate or even acknowledge artificial musical boundaries. His range is well illustrated by his years of touring and recording with the iconic Stephane Grappelli while simultaneously doing likewise with the legendary jazz-fusion group, The Soft Machine. John is equally at home on acoustic and electric guitar and his willingness to engage with so many styles is matched by his ability to excel in any of them. He has played with John Williams, Yehudi Menuhin, Dizzie Gillespie, Herb Ellis, Mundell Lowe, Nigel Kennedy, Pat Metheny, Birelli Lagrene, Barney Kessel, Vic Juris and countless others. John’s ability as an outstanding composer is sometimes overlooked but he is often under pressure from audiences to feature more of his own material.

Tonight he was playing with the Roger Odell Jazznights trio and what a gig that was, the whole band thoroughly enjoyed playing with each other and this really came over through out the gig. The full house also gave rapturous applause in recognition of a unique and superb evening.

The band were:
Roger Odell – Drums
Roger was one of the founder members and drummer with the jazz-funk group Shakatak and the forerunner band Tracks. Roger has toured internationally and recorded numerous CDs, which he continues to do on a regular basis to this day. Apart from a great power drummer he is also a prestigious arranger.
Bernie Hodgkins – Electric Bass. Inspired by an uncle, who played and recorded with Django Reinhart and Stephane Grappelli in the legendary Quintet de Hot Club of France, Bernie grew up in a Jazz-oriented family. Their influence led him to become a respected bass player behind such people as Matt Munroe, Dickie Valentine and Dennis Lotus, in the early stages of his career. Bernie is particularly acknowledged as being one of the few players to bring an authentic, driving jazz feel to both the double bass and the bass-guitar, and for his fluent and creative soloing. Tonight Bernie was playing his his electric  bass. guitar.
Simon Brown – Piano
A highly respected and popular jazz pianist who is equally known for his arranging skills. He is always in demand to play many gigs with other bands when he is not playing with jazznights or his own trio, quartet and quintet at ‘Jazz at the Green Man’ in Rackheath, Norwich.
Larraine Odell – Vocals
Beginning her professional singing career with the group CMU with whom she recorded two albums, Larraine performed at numerous venues throughout the UK and Europe, including the Purcell Room, RFH, Boxford Fleece & Ronnie Scott’s.Larraine possesses a unique smouldering tonal quality and a subtle jazz phrasing style that has elicited great praise from two of her own vocal mentors, Mark Murphy and Sheila Jordan. “A sensitive singer who exudes a fine-honed jazz sensibility with every phrase”

Larraine Odell opened her first set with:
1. The Lamp Is Low (1939) is a song based on Ravel’s Pavanne (Pavane pour une infante défunte (Pavane for a Dead Princess) written for solo piano by the French composer Maurice Ravel in 1899 when he was studying composition at the Conservatoire de Paris). Consequently the credits include music by Peter De Rose, Maurice Joseph Ravel and Bert A Shefter with lyrics from Mitchell Parish. Larraine sang this notable version at a medium tempo with solos from Simon Brown and Bernie Hodgkins.
2. The Thrill is gone (1931) with music by Ray Henderson and lyrics from Lew Brown. It has been recorded by Sarah Vaughan, Ella Fitzgerald, Stan Kenton, Chet Baker, Julie London, and Stan Getz to name but a few. Larraine version was beautifully sung at a slow tempo and the arrangement was by Roger Odell.
3. Love For Sale – Cole Porter’s 1930 song has had many different interpretations through the years and tonight was no exception with another Roger Odell arrangement played as a very swinging medium tempo, Roger using symbol
play rather than the sticks and brushes. Larraine gave an exemplary performance.
4. Jimmy Van Heusen and Johnny Mercer’s 1939 I Thought About You (was among the first tunes that lyricist Johnny Mercer collaborated on with composer Jimmy Van Heusen) ended Larraine’s shorter than usual set for the evening. Bernie Hodgkins gave an inspired solo intro to the number followed by Simon Brown  which ended with 8 bar trades between Roger and Bernie. This was another number illustrating Larraine’s great versatility as a jazz singer.

John Etheridge then joined the trio to open his first set with:
5. Jimmy Smith’s Sugar opened  at a medium tempo with John’s backing by Simon Brown on a Roland keyboard (Hammond Organ mode) rather than the piano which fitted superbly with Bernie’s electric bass and of course John’s Martyn Booth Signature electric guitar. A wonderful opening to the first set.
6. A very swinging We followed at a an up tempo rhythm in which John showed his great dexterity on the guitar bringing in all members of the band including very fast trades with Simon Brown. An astounding number
7. Ann Ronell’s well known 1932 Willow Weep For Me (Ann Ronell dedicated “Willow Weep for Me” to George Gershwin, the composer who helped her get her start in the music industry) followed in a complete contrast to the last  number. This was played at a very bluesy slow tempo ably supported by all the Jazznights Trio.
8. Duke Ellington’s In A Sentimental Mood was introduced by the Duke on April 30th, 1935 and has remained as a very popular standard jazz ballad ever since. Played tenderly and uniquely by John this was a superb ending to his first set.

Following the interval and the Jazznights raffle ( 3 jazz CD’s and a bottle of wine)  we had the traditional sitting in spot which is open to all musicians who have an  opportunity to play with the Jazznights Trio. Tonight we had two of our local artistes at separate sitting in spots:
9.  Our local 14 year old Harry Greene  played his electric guitar with the trio to great appreciation by John Etheridge. Harry also plays acoustic guitaer as well as alto and tenor saxophones.

10. John Etheridge then returned to play two solo numbers:
One of Charles Mingus best known compositions the 1959 Goodbye Pork Pie Hat AKA Theme For Lester Young. Mingus wrote it as an elegy for saxophonist Lester Young, who had died two months prior to the recording session. Very interesting to hear John’s variations on such a well known standard.
11. M’Sanduza is a South African composition which is featured  on his 2009 album John Etheridge Alone! Live which of course is a solo album by John. Full of intricate but yet melodic African melodies featuring both his plectrum and finger picking styles.

12. The second sitting in spot featured Hannah Horton on the tenor saxophone. She leads her own quartet playing both tenor and baritone and can be seen at many clubs in the local; area. Tonight she played Pat Metheny’s James with John Etheridge. A lovely medium tempo arrangement blending the two of them seamlessly – although it is not the first time that Hannah has played with John.

13. John then continued his set with the trio playing a very bluesy version of Rodgers & Hart’s 1934 Blue Moon.
14. Next we had a superbly melodic rendition of a well known standard – what was that name again?  which was splendidly played and supported by Simon on the Roland, Bernie on the bass and Roger on the brushes.
15. An amazing finale featured a very fast presto  version of Caravan (which was composed by both Duke Ellington and Juan Tizol.

An evening to greatly appreciate a true master of his instrument. John Etheridge rightly enjoys a glowing reputation throughout the jazz world and beyond and has been described by Pat Metheny as, "One of the best guitarists in the world" – that sums it up. "A virtuoso on acoustic and electric guitars." Time Out "World class fretwork" Guitarist Magazine. One can now appreciate how true those statements were.

For further details of Jazznights and future gigs (which include Alan Barnes, Simon Spillett, Lewis Wright, Art Theman, Trudy Kerr, Tina May and in two weeks time Julian Siegel (sax) Already a past winner of the BBC Jazz award for Best Instrumentalist, Julian is again nominated for 2011. Go to www.jazz-nights.com

Our new venue at The Cherry Tree Function Suite, Knowl Green, Belchamp St Paul, Suffolk, CO10 7BY. Tel: 01787 237263 Admission £8. Doors 7.30pm. Music 8.00-10.30pm. Reserve your table seating on 01787 237653 or email.  Pay on the night.
Food available and can be served before or during the performance

A wonderful evening for the first Jazznights gig of 2012 at The Cherry Tree, Belchamp St Paul in Essex for the great USA diva Sandi Russell. A full house (make sure you book for future gigs) thoroughly enjoyed the jazz as well as the food and liquid refreshment  at The Cherry Tree.

As a native New Yorker, Sandi Russell has sung in many of Manhattan’s most prestigious clubs: Greene Street, Grand Finale, Reno Sweeney, The Ballroom, Sweet Rhythm and Mikell’s. She has worked with jazz luminaries such as Lionel Hampton, Roy Eldridge, Ellis Larkins, Beaver Harris, Earl May, Don Pullen and Jean Toussaint. In London, Sandi Russell regularly performs with Dave Newton, Steve Brown and Andy Clyndert at Pizza Express and Pizza on the Park; she has also appeared at Ronnie Scott’s, the Riverside Studios, the Purcell Room and the Voice Box on the South Bank. Last night she sang with the Jazznights Roger Odell Trio to rapturous applause.

The band were:
Roger Odell – Drums
Roger was one of the founder members and drummer with the jazz-funk group Shakatak and the forerunner band Tracks. Roger has toured internationally and recorded numerous CDs, which he continues to do on a regular basis to this day. Apart from a great power drummer he is also a prestigious arranger.
Bernie Hodgkins – 5 String Double Bass Inspired by an uncle, who played and recorded with Django Reinhart and Stephane Grappelli in the legendary Quintet de Hot Club of France, Bernie grew up in a Jazz-oriented family. Their influence led him to become a respected bass player behind such people as Matt Munroe, Dickie Valentine and Dennis Lotus, in the early stages of his career. Bernie is particularly acknowledged as being one of the few players to bring an authentic, driving jazz feel to both the double bass and the bass-guitar, and for his fluent and creative soloing. Tonight Bernie was playing his his 5 string double  bass.
Simon Brown – Piano
A highly respected and popular jazz pianist who is equally known for his arranging skills. He is always in demand to play many gigs with other bands when he is not
Larraine Odell – Vocals
Beginning her professional singing career with the group CMU with whom she recorded two albums, Larraine performed at numerous venues throughout the UK and Europe, including the Purcell Room, RFH, Boxford Fleece & Ronnie Scott’s.Larraine possesses a unique smouldering tonal quality and a subtle jazz phrasing style that has elicited great praise from two of her own vocal mentors, Mark Murphy and Sheila Jordan. “A sensitive singer who exudes a fine-honed jazz sensibility with every phrase”

Larraine Odell, Jazznights resident songbird  opened the first set of the evening singing:
1. You Stepped Out of a Dream from 1940 – Music by Nacio Herb Brown and Lyrics from Gus Kahn. This was first introduced in the film Ziegfried Girl – one of the biggest film hits of 1941. Larraine gave a very swinging interpretation.
2. Cole Porter’s 1936 I’ve Got You Under My Skin followed. This quite an unusual song as it has no verse. It became a signature song for Frank Sinatra and, in 1956 was recorded by Peggy Lee on her famous Black Coffee album. Larraine’s  version had a lovely slow tempo with an excellent introduction from the drums of Roger Odell playing an African based rhythm with the mallets. Roger also arranged the music – as he did with all Larraine’s songs.
3. The Lamp Is Low (1939) is a song based on Ravel’s Pavanne (Pavane pour une infante défunte (Pavane for a Dead Princess) written for solo piano by the French composer Maurice Ravel in 1899 when he was studying composition at the Conservatoire de Paris). Consequently the credits include music by Peter De Rose, Maurice Joseph Ravel and Bert A Shefter with lyrics from Mitchell Parish. Larraine sang this notable version at a medium tempo.
4. The1955 Spring Can Really Hang You Up the Most (Music by Thomas J Wolf Jr and Lyrics by Frances Landesman came next. This song was Frances’s exploration of T. S. Eliot’s "April is the cruellest month…" This was sung beautifully and sensitively by Larraine – another great arrangement by Roger Odell.
5. Cole Porter’s 1938 Get Out Of Town ended Larraine’s superb set with a great up- tempo finale.

Sandi Russell’s first set included:with a very different version of
6. A very different version of the 1959 My Favourite Things by Richard Rodgers and Oscar Hammerstein II. This was a very jazzy and unusual version which introduced Sandi’s excellent scat singing ability which went down a storm!
7.  Day Dream (1941) with music by Duke Ellington and Billy Strayhorn and lyrics from John Latouche which was so contrasting as it was sung at a really slow tempo.
8. Devil May Care – (Words and music by Bob Dorough and Terrell P Kirk JR).another unique Sandi Russell version of this well known Jazz standard
9. Ray Noble’s 1934 The Very Thought Of You (vocalist Al Bowlly first introduced this tune in 1934) was a sang as a beautiful ballad by Sandi
10. Abbey Lincoln’s Throw It away. A very passionate interpretation of a lovely song which ended Sandi’s excellent first set.

Following the interval and the raffle ( 3 jazz CD’s and a bottle of wine)  we had the traditional sitting in spot which is open to all musicians who have an  opportunity to play with the Jazznights Trio. Tonight we had no less than three of our local artistes:
11. Terry Reed played a great medium to up-tempo version of George Shearing’s Lullaby Of Birdland on the piano.

12. The very popular Geoff Harriman on harmonica playing a very fine version of the 1954 Erroll Garner number Misty

13.  Thirdly We had that that superb tenor saxophonist Kevin Flanagan playing two numbers:
Isham Jones’s 1936 There Is No Greater Love played at an up-tempo version with power drumming from Roger Odell. The two work so well together as they are both regular members of Rebop.
14. Another standard followed with Alone Together . Kevin Flanagan can be seen again at Jazznights when Rebop feature on the 19th February at Jazznights.

Sandi Russell’s last set contained the following numbers:
15. Forget Him by Valerie Brown with a great intro from Roger with his mallets introduced Sandi followed by the rest of the band at a medium tempo.
16. A Hoagy Carmichael song Leave Me There at a slow tempo
17.Up-Tempo number by Thelonius Monk featuring Sand’s scat singing.
18.A very gentle and beautiful version of Hoagy Carmichael and Ned Washington’s 1937 The Nearness of You showing the great versatility and mastery of Sand’s voice.
19, A great vocal version of Miles’ Davis’s All Blues at a medium tempo. All Blues and it certainly was!
20. There could not have a been a greater and fitting finale to Sandi’s evening at Jazznights than  an up-tempo vocal version of Ellington’s Take The A Train

A Quote: "Miss Russell gave an exuberant, even astonishing display of vocal pyrotechnics” We cannot add any greater accolad3e. A wonderful evening.

The next Jazznights session is on Sunday 22nd Jan with  JOHN ETHERIDGE (guitar). John Etheridge rightly enjoys a glowing reputation throughout the jazz world and beyond and has been described by Pat Metheny as, "One of the best guitarists in the world". He is a prodigiously gifted and creative player whose approach to music can only be described as ‘eclectic’. Stephane Grappelli to Soft Machine!!

For further details and future gigs go to www.jazz-nights.com

"Miss Russell gave an exuberant, even astonishing display of vocal pyrotechnics– this was Tina Turner meets Dee Dee Bridgewater with a touch of Ella and Sassy (Sarah Vaughan) and a Covent Garden coloratura thrown in to the melting pot." Lance Liddle, ‘Bebop Spoken Here’. "An extraordinary singer" Lionel Hampton.

Harlem-born and classically trained, Sandi Russell is now living in Britain, where she has established herself as one of the most brilliant and versatile jazz singers of her generation. Often compared with the great divas – Ella Fitzgerald, Carmen McRae, Sarah Vaughan – Sandi has her own unique vocal style, distinguished by dramatic range and resonance.

Whether interpreting Ellington, Monk or Porter, whether scatting or recreating ballads and blues, Sandi Russell is an exciting performer of exceptional musicality. ‘If you thought Billie Holiday took phrasing to its hair-raising limits’, said Humphrey Lyttleton recently of Sandi Russell, ‘think again!’. Sandi’s last sizzling album can be sampled on her website and she is about to release a new CD combining original material with movingly inventive interpretation and improvisation.

As a native New Yorker, Sandi Russell has sung in many of Manhattan’s most prestigious clubs: Greene Street, Grand Finale, Reno Sweeney, The Ballroom, Sweet Rhythm and Mikell’s. She has worked with jazz luminaries such as Lionel Hampton, Roy Eldridge, Ellis Larkins, Beaver Harris, Earl May, Don Pullen and Jean Toussaint.

In London, Sandi Russell regularly performs with Dave Newton, Steve Brown and Andy Clyndert at Pizza Express and Pizza on the Park; she has also appeared at Ronnie Scott’s, the Riverside Studios, the Purcell Room and the Voice Box on the South Bank. Other venues include The Sage, Gateshead, where she opened the 2007 International Jazz Festival, Durham’s Gala Theatre, Sheffield’s Lyceum and London’s Victoria Palace, as well as many arts centres and universities throughout the U.K.

Extensively interviewed for Voice of America, the BBC’s Look North and Women’s Hour, Sandi Russell has had her own television special for Public Broadcasting in the USA and regularly appears on talk shows, jazz stations and local radio and TV in the UK. In Britain, France and Italy, she has presented her one-woman show ‘Render Me My Song’ to great acclaim.

Sandi Russell has made two previous CDs: Live at Pizza on the Park with the Jon Pearce Trio (1998) and Incandescent with the Dave Newton Trio (2003). She has just completed a new album entitled Sweet Thunder with the Dave Newton Trio, featuring Georgie Fame, David Murray, Guy Barker, Jim Mullen and Alan Skidmore.

As well as performing, Sandi Russell, along with the University of Durham (Musicon) and hosted by St. Chad’s College, has organised the first two jazz festivals of Durham City, UK. The participants thus far:
Sandi Russell/Alan Barnes with the John Horler Trio, John Etheridge, John Taylor,Louise Gibbs and Five Pieces of Silver, the Omar Puente quintet and the Paul Edis Trio with Vasilis Xenopoulo

For further details and future gigs go to www.jazz-nights.com

Crissy Lee is widely acclaimed as being the UK’s and Europe’s finest female drummer, with a career spanning 50 years. Crissy was only 17 when she joined the Ivy Benson All Girls Band, appearing with performers including Dinah Washington, Frank Sinatra Jnr, Fats Domino, Caterina Valenti and Tom Jones. Five years later she left to form her own band, The Beat Chicks, working with singers including Lulu and Eartha Kitt, and securing the support slot on the Beatles’ first Spanish tour in the early 60s, even flying with them in their own private jet!

Her recent appearances as the “all-singing, all-drumming heartbeat” of The Skinnerettes – the resident band on the Frank Skinner Show – have once again put Crissy back into the spotlight proving that one can still have something to offer even when you are a little more mature!!

This proved to be a great final gig for Jazznights at the Bell before moving to is new Venue in the New Year at The Cherry Tree, Belchamp St Paul in the beautiful Stour Valley on the Suffolk/Essex border.

The writer was unable to make this gig and thanks Norman, a regular Jazznights member who  made the following notes:

Crissy Lee’s band Hybryd consisted of :
Crissy Lee – drums
Bernie Hodgkins – Bass Guitar
Martin Dobson – tenor sax, soprano sax ands flute
Matt Hodges – Piano
Martin Donald Guitar

The Playlist was a s follows:

Coming Home
All Blues
Wave
Doxy
Moonlight In Vermont
Blue Bossa
Sugar
The Masquerade Is Over
There Will Never Be Another You
Cantaloupe Island
Put It Where You Want It

A great gig and this leads us into the New Year and remember that WE’RE ON THE MOVE! From January 2012 Jazznights presents the best in modern jazz at: The Function Suite, The Cherry Tree, Knowl Green, Belchamp St Paul, Suffolk, CO10 7BY.

For further information and future gigs at the new venue go to www.jazz-nights.com

Continuing the Humphrey Lyttelton connection this month the other great saxophonist who first came to prominence with his band is featured. A former Young Scottish Jazz Musician of the Year, Jo now fronts her own band with whom -+she has just released her second CD "Playin". "Jo will be a star!" Ian Carr.

"Anyone who can turn the humble Brussels Sprouts into an inspiration for jazz shows a refreshing level of originality, and this is born out in Jo’s confident and assured tenor playing as much as in her original themes. – Alyn Shipton, radio broadcaster Pasted from

Jo Fooks, born in Edinburgh, began learning the saxophone at 15. In 1992 she won ‘The Young Scottish Jazz Musician of the Year’. Inspired and encouraged by local Edinburgh musicians, Jo went on to study saxophone at the Guildhall School of music in London (1995-99). She also studied at the Berklee School of music in Boston after receiving a full fee scholarship for the summer jazz programme.
Apart from Jo the band were this evening:
Roger Odell – Drums
Roger was one of the founder members and drummer with the jazz-funk group Shakatak and the forerunner band Tracks. Roger has toured internationally and recorded numerous CDs, which he continues to do on a regular basis to this day. Apart from a great power drummer he is also a prestigious arranger.
Andy Noble –Keyboards
Andy regularly plays with the Albert Garza Trio, Ben Greenslade-Stanton Fuerza, Carl Orr’s Dangerfunk and the Jazznights Trio as well as other bands in and around London and East Anglia . and is already establishing himself as one of the most sought after keyboard players in London performing with all types of artist from pop to salsa and obviously Jazz
Bernie Hodgkins – 5 String Double Bass Inspired by an uncle, who played and recorded with Django Reinhart and Stephane Grappelli in the legendary Quintet de Hot Club of France, Bernie grew up in a Jazz-oriented family. Their influence led him to become a respected bass player behind such people as Matt Munroe, Dickie Valentine and Dennis Lotus, in the early stages of his career. Bernie is particularly acknowledged as being one of the few players to bring an authentic, driving jazz feel to both the double bass and the bass-guitar, and for his fluent and creative soloing. Tonight Bernie was playing his his 5 string double  bass.
Larraine Odell – Vocals
Beginning her professional singing career with the group CMU with whom she recorded two albums, Larraine performed at numerous venues throughout the UK and Europe, including the Purcell Room, RFH, Boxford Fleece & Ronnie Scott’s.Larraine possesses a unique smouldering tonal quality and a subtle jazz phrasing style that has elicited great praise from two of her own vocal mentors, Mark Murphy and Sheila Jordan. “A sensitive singer who exudes a fine-honed jazz ensibility with every phrase”

Larraine’s set consisted of:
1. The 1940 You Stepped Out of a Dream (Music by Nacio Herb Brown and Lyrics by Gus Kahn) from Ziegfried Girl the film starring Lana Turner. It was a centrepiece in the 1941 musical Ziegfeld Girl, where it was sung by Tony Martin and accompanied an iconic image of Lana Turner walking down a grand staircase. English pianist George Shearing recorded a version of this tune on one of his earliest sessions before he settled in the US where his career took off. Larraine gave a  beautiful version of this which was sung at a medium tempo.
2. the 1933 Close Your Eyes with Words and Music by Bernice Petkere (She was dubbed the "Queen of Tin Pan Alley" by Irving Berlin.) was sung as a slow to medium tempo Bossa Nova. Both Andy and Noble and Bernie Hodgkins supported Roger’s driving Bossa rhythm.

3.The 1956 Too Close for Comfort with Words and Music by Jerrold L Bock, Lawrence Holofcener and George Weiss followed as an up-tempo very swinging vocal innovatively supported by Bernie.
4. The 1934 ballad For All We Know (Music by J. Fred Coots and Lyrics by Sam M. Lewis). The Nat ‘King’ Cole Trio’s 1949 recording brought this tune back into the mainstream 15 years after it was written. This was eloquently sung at a very slow tempo about 60 beats beats per minute!
5. The 1932 Cole Porter’s Night and Day ended Larraine’s great set at a medium to fast tempo. All arrangements of Larraine’s numbers were by Roger Odell.

Jo Fooks opened her first set with The King which was based on the Count Basie theme Jumpin’ At The Woodside at a very up-tempo rate. Jo with most of the numbers she played , gave plenty of space for all members of the trio to express their own interpretations. Jo followed with the first of her own compositions: the Brolly Dance which featured on her latest album “Back For More” .
From the same album, Jo played a very bluesy Teaching Blues at a medium tempo – another Jo Fooks composition which she composed after a ‘bad’ teaching period.

Following the interval and the Jazznights raffle of 3 jazz CDs Jo Fooks continued with Diamonds Are a Girl’s Best Friend is a song introduced by Carol Channing in the original Broadway production of Gentlemen Prefer Blondes (1949), which was written by Jule Styne (who also wrote the scores for such famed Broadway musicals as Funny Girl and Gypsy) and Leo Robin. It was based on a novel by Anita Loos. This was a great up-tempo opener which included 4 and 8 bar trades between Jo, Andy Noble and Roger Odell.
The song Only Trust Your Heart (1964) is a jazz standard, usually played bossa nova, published by MCA Music Publishing, written by American music legends Benny Carter and Sammy Cahn although this evening it was played as a medium tempo samba. Following a composition that Jo finished writing this morning!  Jo played a lilting lullaby – Little Ava – an original slow ballad named after a young girl in Jo’s family.
Following an exciting up-tempo version of Crazy Living, Jo continued with Charlie Parkers Doomsday in a very up-tempo manner. Jo then asked Larraine Odell to join her and they then played and sang Corcovado (known in English as "Quiet Nights of Quiet Stars") the bossa nova song written by Antonio Carlos Jobim. The English lyrics were written by Gene Lees. (The title refers to the Corcovado mountain in Rio de Janeiro) This made for a superb combination and it would be great if they made an album as a quintet. Tea For Two ended this superb gig with a very up-tempo version. This evening was a marvellous affirmation that apart from being a great and justly lauded master of the tenor saxophone she is a wonderful and very talented composer. We look forward to seeing Jo back at Jazznights at the earliest opportunity. All thanks to Roger and Larraine Odell for organising Jazznights as a showcase for British jazz talent. Our thanks as well to  our very knowledgeable and articulate Master of Ceremonies Donald Muir

This was a great gig and sadly was the last at the The Bell Clare with the Roger Odell Trio before Jazznights moves to a new venue at Belchamp St Paul. The last gig at Clare will be the Chrissy Lee Hybrid band as Roger will once again touring with Shakatak in Malaysia, Thailand and Kazakhstan!

See www.jazz-nights.com for further details of the new venue for 2012 and future gigs.

Karen took up the tenor saxophone whilst studying composition at the Royal Northern College of Music. A friend introduced her to a recording of Dexter Gordon and she was instantly hooked, quickly joining the college jazz band and finding regular work in a busy soul band based in Liverpool. Since relocating to London in 1999 Karen has become a busy freelance musician working alongside many top class British and American musicians such as Scott Hamilton, Sir John Dankworth, Cleo laine, Danny Moss, Alan Barnes, Barbara Lea, Dick Sudhalter, Mark Nightingale and Ellyn Rucker

Twice winner of the British Jazz Awards Saxophone category, she is perhaps best known for her work with the Humphrey Lyttleton band with whom she toured and recorded for more than 3 years. Equally at home on tenor or baritone sax she is currently working and recording with her latest quartet which features one of the UK’s finest pianists, Nikki Iles. Classic straight ahead Jazz. “..a class A player” Humphrey Lyttleton; “Her sound is warm and full, her improvised lines bold and clear, and her compositions full of surprises. Her style, I suppose, would come under the heading of ‘modern mainstream’, but that doesn’t do justice to her originality of approach.” Observer; “..a star in the making” Jazz Journal International. She has toured internationally including performances at the Ginza Festival, Tokyo and the Cape Town International Jazz Festival.

Karen Sharp’s return visit showed that she is undoubtedly one of the U.K’s best tenor players and together with one of the finest trios that the East of England has produced for many a year and accompanied by our resident songbird – Larraine Odell.

Apart from Karen, the personnel  were:
Roger Odell – Drums
Roger was one of the founder members and drummer with the jazz-funk group Shakatak and the forerunner band Tracks. Roger has toured internationally and recorded numerous CDs, which he continues to do on a regular basis to this day. Apart from a great power drummer he is also a prestigious arranger.
Steve Cook – Double Bass
Steve has a wonderful rounded tone with great clarity. He has played with Mike Westbrook, Mike Kilpatrick’s Duke Ellington Orchestra, Barbara Thompson, Soft Machine, Seventh Wave and Gil Evans big band at Ronnie Scotts
Simon Brown – Piano
A highly respected and popular jazz pianist who is equally known for his arranging skills. He is always in demand to play many gigs with other bands when he is not teaching jazz piano or playing with the  Jazznights Trio
Larraine Odell – Vocals
Beginning her professional singing career with the group CMU with whom she recorded two albums, Larraine performed at numerous venues throughout the UK and Europe, including the Purcell Room, RFH, Boxford Fleece & Ronnie Scott’s.Larraine possesses a unique smouldering tonal quality and a subtle jazz phrasing style that has elicited great praise from two of her own vocal mentors, Mark Murphy and Sheila Jordan. “A sensitive singer who exudes a fine-honed jazz sensibility with every phrase”

Larraine sang for us:
1. I Could Write a Book (1940 with Music    by Richard Rodgers and Lyrics by Lorenz Hart). This sung at a medium tempo with solos from Roger, Steve and Simon.
2. Out Of This World with Music by Harold Arlen and Lyrics from Johnny Mercer. (It was introduced in the film Out of This World (1945) by Bing Crosby dubbing in for the voice of the main character played by Eddie Bracken.) This was played at a slow to medium tempo and showed off Larraine’s lovely and mellow mellifluous style for this type of song.
3. The 1937 Where or When – music from the pen of Richard Rodgers and Lorenz Hart which was at a medium tempo with solos from Simon Brown and Steve Cook
4. The1955 Spring Can Really Hang You Up the Most (Music by Thomas J Wolf Jr and Lyrics by Frances Landesman came next. This song was Frances’s exploration of T. S. Eliot’s "April is the cruellest month…" This was sung beautifully and sensitively by Larraine in 3/4 waltz time – another great arrangement by Roger Odell month…" This was sung beautifully and sensitively by Larraine – another great arrangement by Roger Odell. The writers favourite number of Larraine’s set.
5. That’s All (1952) Words and Music from Bob Haymes and Alan Brandt.( Nat “King” Cole introduced the song in 1953, and although his was a popular version it did not make the top 20 songs that year. It was Bobby Darin’s 1959 album That’s All that put the song on the musical map). Unusually, this was sung at an up-tempo rate with a power drive from the trio. A great finale to Larraine’s set.

Karen Sharp opened her first set with:
6. medium to up-tempo B Flat Blues with  solos from Simon Brown and Steve Cook with 4 bar trades played out between Simon, Karen and Roger Odell on the drums.
7. Bright Moments composed by Roland Kirk from his 1973 album of the same name played at a medium to up-tempo rate. Karen’s first solo even sounded as though it could have been Roland Kirk – although Karen just played the tenor of course without playing the other 3 or 4 instruments at the same time!
8. We’ll Be Together Again composed by Carl Fischer in 1945. Many jazz musicians have recorded “We’ll Be Together Again,” the title cut of an album from guitarist Pat Martino. The Adderley brothers, Cannonball and Nat recorded it as well. Apart from many vocalists as it was originally brought to the public attention by the Frankie Laine Version. This had a slow and very melodic intro with just Karen and Simon . This was a great example of Karen’s flexibility and control of the tenor. An ending to her first set which just made the audience want more immediately!

Following the interval and the Jazznights raffle of 3 jazz CDs and a bottle of wine, Karen opened her second set with:
9. Cole Porter’s 1938 Get Out Of Town at a medium to fast tempo with Karen playing extremely lyrically and involving trades with Roger, Simon and Steve who also excelled with the use of his sliding ;left hand on the bass.
10. Johnny Green’s 1930 Body And Soul – surly one of, if the not the most played of all the Jazz standards. Karen’s version was so sensitive and melodic as well as soulful  – a beautiful and very significant version – superb
11. Sail Away is a composition and album by jazz trumpeter and composer Tom Harrell, which was originally recorded by him in 1989. a lovely medium tempo number featuring Simon Brown, Steve Cook either side of a superlative solo from Karen.
12. Love Is A Many Splendored Thing with music by Sammy Fain which is featured on Karen’s new CD "Spirit". A Beautiful medium tempo number featured an extended solo from Roger Odell.
13. Cherokee (Indian Love Song). Although written by Ray Noble in 1938, it wasn’t really considered a vehicle for jazz improvisation until Charlie Parker’s arrival in New York in the early 1940’s when it was picked up by one jazz musician after another, and today it is affectionately referred to as a jazz warhorse. This was played as a very fast swing number with great interplay between Karen and Roger.
14. Jimmy Rowles 1960′s Looking Back was an unusually slow, lyrical and tender offering from Karen Sharp and was a great climax to a wonderful gig – one to be remembered.

Phil Collins remarked on a BBC Radio 2 show "….an extraordinary talent." – IMHO quite a litotes as she is a superb master of the tenor saxophone and as mentioned, at the top of the tree in U.K jazz..

For further information and future gigs go to www.jazz-nights.com

Sarah brings to The Bell her "Portrait of Miss Peggy Lee" repertoire featuring the signature songs "Black Coffee", "Fever", "I’m A Woman", etc., plus a selection of popular standards. "Outstanding interpretations" The Observer. "Brilliant..assured..and sexy" Claire Martin. Live recording for Stephen Foster’s Drive Time Show

Named by Jazz UK Magazine’s Brian Blain in its 15th Anniversary edition as the best live vocal jazz gig in the last 15 years, singer Sarah Moule has established a rapidly growing reputation as one of Britain’s most exciting new jazz vocal talents.

With her hauntingly beautiful vocals and three acclaimed albums to her name, singer Sarah Moule is considered one of the UK’s leading jazz vocalists.

‘An original voice with something, in spirit at least, of the
melancholy gaiety of the great Billie Holiday’ George Melly

Jazz Times (USA)
Not only does England’s Sarah Moule boast a stunning vocal spectrum-simultaneously tough and tender, warm and cool, sweet and salty-but she’s surely done more than any contemporary performer to preserve, protect and promote the stellar work of lyricist Fran Landesman

Sarah was singing with the Roger Odell Jazznights Trio and Larraine Odell. The band were:

Roger Odell – Drums
Roger was one of the founder members and drummer with the jazz-funk group Shakatak and the forerunner band Tracks. Roger has toured internationally and recorded numerous CDs, which he continues to do on a regular basis to this day. Apart from a great power drummer he is also a prestigious arranger.
Bernie Hodgkins – 5 String Double Bass Inspired by an uncle, who played and recorded with Django Reinhart and Stephane Grappelli in the legendary Quintet de Hot Club of France, Bernie grew up in a Jazz-oriented family. Their influence led him to become a respected bass player behind such people as Matt Munroe, Dickie Valentine and Dennis Lotus, in the early stages of his career. Bernie is particularly acknowledged as being one of the few players to bring an authentic, driving jazz feel to both the double bass and the bass-guitar, and for his fluent and creative soloing. Tonight Bernie was playing his his 5 string double  bass.
Simon Brown – Piano
A highly respected and popular jazz pianist who is equally known for his arranging skills. He is always in demand to play many gigs with other bands when he is not
Larraine Odell – Vocals
Beginning her professional singing career with the group CMU with whom she recorded two albums, Larraine performed at numerous venues throughout the UK and Europe, including the Purcell Room, RFH, Boxford Fleece & Ronnie Scott’s.Larraine possesses a unique smouldering tonal quality and a subtle jazz phrasing style that has elicited great praise from two of her own vocal mentors, Mark Murphy and Sheila Jordan. “A sensitive singer who exudes a fine-honed jazz sensibility with every phrase”

Larraine’s set consisted of:
1. The 1946 Old Devil Moon with music by Burton Lane and Lyrics from Yip Harburg – very appropriate as it was the 30th October sung at a medium to up tempo with solos from Simon Brown, Bernie Hodgkins accompanied with some power drumming from Roger Odell.
2. I Got Lost In His Arms from Annie Get Your Gun by Irving Berlin – a lovely slow number showing Larraine’s sensitivity and her unique individuality
3. 1932 Cole Porter’s Night and Day ended Larraine’s very short set with an exciting up tempo version

Sarah Moule opened her first set of this Peggy Lee evening with:
4. I’m a Woman written by famed song writing duo Jerry Leiber and Mike Stoller, and was first recorded in 1962 by Christine Kittrell but It was also the title song to Peggy Lee’s 1963 very popular album of the same name. Sung in a very expressive manner at a medium tempo. A great opening to what was to become a wonderful evening
5. Jerome Kern’s Lover was sung at a medium to fast tempo in the manner of the waltz that kern intended rather than the samba version as performed by Peggy Lee.
6. Why Don’t You Do Right? is an American blues- and jazz-influenced pop song – now a standard – written in 1936 by Kansas Joe McCoy. It is a twelve-bar minor key blues. One of the best known versions of the song is Peggy Lee’s, which was recorded July 27, 1942 in New York with Benny Goodman. It sold over 1 million copies and brought her to nationwide attention. Sarah sang this with great style at a medium tempo.
7. Cole Porter’s 1936 I’ve Got You Under My Skin. This quite an unusual song as it has no verse. It became a signature song for Frank Sinatra and, in 1956 was recorded by Peggy Lee on her famous Black Coffee album. Sarah’s version was a lovely slow umber sung at a medium tempo with an excellent solo from Bernie Hodgkin’s 5 string double bass.

8. I Love Being Here With You with lyrics written by Peggy Lee but played and sung with a very unusual “New Orleans rhumba” rhythm. Sarah’s versatility and individual expressiveness was really highlighted here – great number.
9.  You Came a Long Way from St. Louis from the 1959 Peggy Lee and George Shearing live album Beauty and the Beat! Peggy again wrote the lyrics for this song.
10. Hallelujah, I Love Him So – written by Ray Charles. Peggy Lee was just finishing a month long gig at the Basin Street East club when Peggy spotted Ray Charles in the audience and invited him to come up and duet the song with her – which of course he did. It was originally recorded on the Feb. 8, 1961, the last night of Peggy Lee’s show at Basin Street East, and released in  the "Basin Street East Proudly Presents Miss Peggy Lee album.
11. I Don’t Know Enough About You. In March 1943 Peggy Lee married Dave Barbour, a guitarist in Benny Goodman’s band and they wrote this together. Sarah sung this to a slow gentle rhythm putting that forlorn feeling into the song.

Following the raffle ( 3 jazz CD’s and a bottle of wine)  we had the traditional sitting in spot which is open to all musicians who have an  opportunity to play with the Jazznights Trio. Tonight we had Geoff Harriman on Harmonica playing playing a slow soulful version of :
12. Smile.

Sarah opened her second set with:
13. Fever which of course was Peggy’s signature song and reached number 8 in the U.S. chart in 1958. This was a slow to medium number with Roger Odell providing a powerful “Fever” rhythm.
14. Black Coffee from one of her most acclaimed albums in 1956, Black Coffee – one of her best selling albums of all time. A slow and tender song from Sarah.
15. He’s A Tramp written by Peggy from Lady And The Tramp – a great version at a medium tempo.
16. The Folks Who Live on the Hill was a 1937 popular song composed by Jerome Kern, with lyrics by Oscar Hammerstein II. It was introduced by Irene Dunne in the 1937 film High, Wide, and Handsome. It has become particularly associated with Peggy Lee, who sung it on her 1957 album The Man I Love. Lee’s performance was conducted by Frank Sinatra. Thuis was a really beautiful soulful version by Sarah with a sensitive solo from Bernie.

17. James Taylor’s Don’t Let Me Be Lonely Tonight was given a moody, laid-back treatment. Evoking the feel of a nearly empty nightclub just prior to closing time.
18. Where Or When. Peggy Lee’s first major gig was with one of the top bands in 1941: Benny Goodman. Goodman’s sextet version of this has an almost ethereal vocal by Lee. Sarah’s version started very much like this but transgressed into a very much faster number.
19. Cole Porter’s 1942 You’d Be So Nice to Come Home To (sung to a samba rhythm) was a superb finale to this wonderful evening of song from one of the U.K’s finest jazz singers who was accompanied by one of the best (if not the best) trio in the East of England. Thank you Roger and Larraine for promoting this gig.

For further details and future gigs go to www.jazz-nights.com

The formidable multi-saxophonist Gilad Atzmon was our returning guest this week. We heard some amazing playing! Gilad is famously associated with his band The Orient House Ensemble, Gilad has also performed regularly with the Blockheads. He has also recorded and performed with Ian Drury, Robbie Williams, Sinead O’Connor, Paul McCartney, Robert Wyatt and Robbie Williams,

"A formidable improvisational array…a local jazz giant steadily drawing himself up to his full height…"-John Fordham, The Guardian

“…Atzmon is an astonishing musician.”
John Lewis, Metro, September 07

“A revelation, a multi-reed man of enormous talent.”-Tony Richards Musician Magazine

"His flow of ideas and coherent marshalling of them makes for solos that are as exhilarating as they are impassioned  fantastiK" The Herald Sunday Tribune

This was  a great gig – Gilad playing with the Roger Odell Jazznights Trio and vocals from the resident songbird – Larraine Odell. The band consisted of:

Roger Odell – Drums
Roger was one of the founder members and drummer with the jazz-funk group Shakatak and the forerunner band Tracks. Roger has toured internationally and recorded numerous CDs, which he continues to do on a regular basis to this day. Apart from a great power drummer he is also a prestigious arranger.
Bernie Hodgkins – 5 String Double Bass Inspired by an uncle, who played and recorded with Django Reinhart and Stephane Grappelli in the legendary Quintet de Hot Club of France, Bernie grew up in a Jazz-oriented family. Their influence led him to become a respected bass player behind such people as Matt Munroe, Dickie Valentine and Dennis Lotus, in the early stages of his career. Bernie is particularly acknowledged as being one of the few players to bring an authentic, driving jazz feel to both the double bass and the bass-guitar, and for his fluent and creative soloing. Tonight Bernie was playing his his 5 string double  bass.
Simon Brown – Piano
A highly respected and popular jazz pianist who is equally known for his arranging skills. He is always in demand to play many gigs with other bands when he is not
Larraine Odell – Vocals
Beginning her professional singing career with the group CMU with whom she recorded two albums, Larraine performed at numerous venues throughout the UK and Europe, including the Purcell Room, RFH, Boxford Fleece & Ronnie Scott’s.Larraine possesses a unique smouldering tonal quality and a subtle jazz phrasing style that has elicited great praise from two of her own vocal mentors, Mark Murphy and Sheila Jordan. “A sensitive singer who exudes a fine-honed jazz sensibility with every phrase”

Larraine’s songs included the 1940 All Or Nothing At All (Lyrics by Arthur Altman and music by Jack Lawrence) – this was sung with an unusual up-tempo rhythm featuring all members of the band. Cole Porter’s 1936 I’ve Got You Under My Skin (The lyrics of “I’ve Got You under My Skin” relate to an infatuation “so deep in my heart, you’re really a part of me.” One of Cole’s neatest rhymes, “use your mentality, wake up to reality,” conveys the message “a warning voice that comes in the night.”) The rhythm had an unusual African under tones from Roger4’s mallet driven tempo, a lovely version from Larraine.

The 1939 Day In, Day Out (Music by Rube Bloom and Lyrics by Johnny Mercer) followed at a medium tempo with a very Latin influenced rhythm with Roger using his hands on the drums rather than sticks. Bernie on his 5 string bass followed in a similar vein.The 1955 Spring Can Really Hang You Up the Most (Music by Thomas J Wolf Jr and Lyrics by Frances Landesman came next. This song was Frances’s exploration of T. S. Eliot’s "April is the cruelest month…" This was sung beautifully and sensitively by Larraine in 3/4 waltz time – another great arrangement by Roger Odell. This was quite a stunning ending to Larraine’s set.

Gilad Atzmon’s first set started with the alto sax playing the 1939 Jerome Kern All the Things You Are at a very up-tempo speed and bring in al the band as well as extended trades with Roger. The tempo then changed to a slow number with Gilad playing a long intro as a solo without the trio and then together  with the rest of the band demonstrated his immense flexibility with this total contrast to his opening number. Arthur Schwarz’s 1932 Alone Together was played at a very swinging up-tempo. This led into an even faster tempo to finish his first set with a tremendous ‘battle ‘played out between Gilad and Roger on drums.

Following the raffle ( 3 jazz CD’s and a bottle of rose)  we had the traditional sitting in spot which is open to all musicians who have an  opportunity to play with the Jazznights Trio. Tonight we had Will Jarmin on drums and Geoff Harriman on Harmonica playing a medium tempo Fly Me To The Moon. A great local 14 year old alto player (he also plays tenor and blues guitar) Harry Greene  joined Will Jarmin on drums to play the jazz standard Sugar.

It was very nice to see Gilad joining in to play with Harry. Gilad picked up the clarinet and played the 1935 Duke Ellington tune In A Sentimental Mood in a very lovely and melodic way which developed into a totally enthralling series of musical quotes – even Jingle Bells!

The 1930 But Not For Me by George Gershwin followed at a medium tempo leading to Here’s That Rainy Day (1953 by Jimmy Van Heusen) as a lovely slow ballad. Another side of Gilad’s versatility and mastery was demonstrated with a very swinging 3/4 waltz Someday My Prince Will Come. A very up-tempo Latin tune led into Gilad’s final number – the 1939 It’s a Wonderful World in B Flat. Such a beautiful and melodic version. This was a truly memorable finale which was such a change from the usual high speed Cherokee played at many gigs.

John Lewis of Metro Magazine wrote “…Atzmon is an astonishing musician.” and how true this was. We all left the venue thinking – please comes back again – and soon! Thank you to Roger and Larraine for putting on these fantastic gigs.

For more information and future gigs go to www.jazz-nights.com

"This remarkable and exciting tenor player never fails to move and lift an audience."

“Skidmore’s performance can sometimes go a considerable way to recreating the atmosphere of the master’s (John Coltrane’s) gigs.” John Fordham, The Guardian.
"This remarkable and exciting tenor player never fails to move and lift an audience." Manchester Evening News.

Alan Skidmore is well known as an energetic tenor player of what is often described as the post-Coltrane school. However,  whilst these characteristics are evident in his playing, in the course of his distinguished career beginning in the late fifties he has played in many genres from swing and R &B, through film music and ballet scores to modern jazz in which he confidently combines bop and abstract stylings. His professional affiliations read like a jazzman?s `Debrett` having been associated with the likes of Chick Corea, Maynard Ferguson, Joe Henderson, Herbie Hancock, Gil Evans, and Elvin Jones to name but a small selection. He has also worked with such groups as Georgie Fame?s Blue Flames, Weather Report and Ian Carr?s `Nucleus` as well as leading his own innovative combos such as S.O.S. with John Surman and Mike Osbourne.

Alan made a very welcome return to Jazznights playing with the Roger Odell Trio and this really was a great gig. Larraine Odell added the vocals and glamour to the to the evening. The band were:

Roger Odell – Drums
Roger was one of the founder members and drummer with the jazz-funk group Shakatak. Roger has toured internationally and recorded numerous CDs, which he continues to do on a regular basis to this day.
Bernie Hodgkins – 5 String Double Bass
Inspired by an uncle, who played and recorded with Django Reinhart and Stephane Grappelli in the legendary Quintet de Hot Club of France, Bernie grew up in a Jazz-oriented family. Their influence led him to become a respected bass player behindsuch people as Matt Munroe, Dickie Valentine and Dennis Lotus, in the early stages of his career. Bernie is particularly acknowledged as being one of the few players to bring an authentic, driving jazz feel to both the double bass and the bass-guitar, and for his fluent and creative soloing. Tonight Bernie was playing his his 5 string double  bass.
Simon Brown – Piano
A highly respected and popular jazz pianist who is equally known for his arranging skills. He is always in demand to play many gigs with other bands when he is not
Larraine Odell – Vocals
Beginning her professional singing career with the group CMU with whom she recorded two albums, Larraine performed at numerous venues throughout the UK and Europe, including the Purcell Room, RFH, Boxford Fleece & Ronnie Scott’s.Larraine possesses a unique smouldering tonal quality and a subtle jazz phrasing style that has elicited great praise from two of her own vocal mentors, Mark Murphy and Sheila Jordan. “A sensitive singer who exudes a fine-honed jazz sensibility with every phrase”

Larraine’s set included:
1 Come Rain or Come Shine (1946) with music by Harold Arlen and lyrics by Johnny Mercer. (This was originally introduced by Ruby Hill and Harold Nicholas in the Broadway musical St. Louis Woman) in a great up-tempo version with arrangement by Roger Odell
2  Lonely Woman, a very mean and moody song which was sung in an extremely sensitive way by Larraine
3 Day In, Day Out with music by Rube Bloom and lyrics by Johnny Mercer was published in 1939. It has a lovely soaring melodic line but tonight it was given the Latin treatment and played in a very up-tempo way – a complete contrast from the last number. Both Simon and Bernie gave great solos and Roger had an extended solo showing his prowess with a powerful Latin rhythm.
4 I Got Lost in His Arms is a song from the 1946 musical Annie Get Your Gun, written by Irving Berlin. It was performed by Ethel Merman in the original production of the musical. This was a beautifully sung number by Larraine with a very slow gentle rhythm.

Alan Skidmore then opened his first set 
5 The Night Has a Thousand Eyes (1948) written by Jerry Brainin (In a rare recording by Ronnie Scott and Sonny Stitt the saxophonists jam for over 18 minutes on this number) Historical note: It is alleged that pianist Horace Silver’s 1956 recording of this tune is essentially the first jazz recording of it. This opened at a medium tempo but soon led into a storming up-tempo number with Alan giving all the trio a great “warm up”. What an opening number – superb.
6. Softly As in a Morning Sunrise (1928) The good old jazz standard by Sigmund Romberg played in the key of A Minor featuring all the band.
7 Say It (Over and Over Again) From the 1940 film "Buck Benny Rides Again" by Frank Loesser. A beautiful ballad which illustrated Alan’s tender side with great feeling

Following the raffle of 3 jazz CD’s  we had the traditional sitting in spot which is open to all musicians who have an  opportunity to play with the Jazznights Trio. 8 Tonight we had Will Jarmin on drums and a guest from Florida playing a very bluesy electric guitar – Robin Crandall. Will Jarmin was then joined by a favourite of ours at the club – 9. Geoff Harriman playing harmonica with a very soulful version of You Don’t Know Me.

10 Alan Skidmore then returned for his second set with a stunning version of Green Dolphin Street at a medium tempo which also featured Simon Brown, Bernie Hodgkins and Roger Odell and Alan trading 8 bars each.
11 Tadd Dameron’s 1944 Good Bait followed bringing in quotes from Thelonius Monk’s Nutty which has similar chord changes. It is thought that Tadd Dameron brought Good Bait with him when he joined the Basie band although Basie is usually credited as co-composer – perhaps erroneously. Another great number from Alan.
12 Victor Young’s A Weaver Of Dreams was played superbly at a slow, very swinging tempo. The Manchester Evening News quoted "This remarkable and exciting tenor player never fails to move and lift an audience." How true this was.
13 John Coltrane’s 1961 Impressions was sadly Alan’s last number for this evening and what a great up-tempo finale – no one wanted this to end (including Alan but tempus fugit etc.)

Another wonderful evening of the very best in jazz – many thanks to the promoters and organisers Roger and Larraine Odell

. For further details and future gigs go to www.jazz-nights.com