Post tag: London Jazz Clubs
Jazz, Latin Jazz, & Jews

Jazz JewsThe Marlowsphere Blog (#98)

There is a strong and direct relationship between jazz, Latin-jazz and people of Jewish cultural background that has its roots as far back as the 1920s.

While in London over the summer of 2013—in addition to visiting several of the leading jazz clubs in the Greater London area, and before leaving the home of my birth and traveling on the EuroStar to Paris through the Chunnel—I had the opportunity to meet with author and radio broadcaster Michael Gerber. Gerber spent many years researching and writing a book on Jazz Jews (Five Leaves Publications, Nottingham, England, 2009). His book is no narrow scope volume. It is a tome: 23 chapters, 656 pages in all, including the bibliography and index. It’s divided into three parts: The USA, Worldwide, and Fusions and Conclusions.

Gerber’s book is an excellent, highly detailed, and definitive work. Suffice it say there is a strong relationship between jazz, popular music and Jews on a global scale, but especially in the United States. To pick an obvious example, Irving Berlin, a Jew, wrote “I’m Dreaming of a White Christmas.”

Another instance: it is a little known fact that three Jews renovated the famed Apollo Theatre in Harlem where many jazz greats perform and have performed.

From the Apollo’s own history web site (http://www.apollotheater.org/about/history):

The neo-classical theater known today as the Apollo Theater was designed by George Keister and first owned by Sidney Cohen. In 1914, Benjamin Hurtig and Harry Seamon obtained a thirty-year lease on the newly constructed theater calling it Hurtig and Seamon’s New Burlesque Theater. Like many American theaters during this time, African-Americans were not allowed to attend as patrons or to perform.

In 1933 Fiorello La Guardia, who would later become New York City’s Mayor, began a campaign against burlesque. Hurtig & Seamon’s was one of many theaters that would close down. Cohen reopened the building as the 125th Street Apollo Theatre in 1934 with his partner, Morris Sussman serving as manager. Cohen and Sussman changed the format of the shows from burlesque to variety revues and redirected their marketing attention to the growing African-American community in Harlem. Frank Schiffman and Leo Brecher took over the Apollo in 1935. The Schiffman and Brecher families would operate the Theater until the late 1970s.

The relationship between jazz, Latin-jazz and Jews continues further downtown at Symphony Space on Manhattan’s upper Westside. In early November 2012, Arturo O’Farrill and his Afro Latin Jazz Orchestra presented an evening of “Falafel, Freilach, and Frijoles: Examining the Relationship between Jewish and Latino Communities Through Music.” Of this concert, O’Farrill commented:

“Latinos are in a similar position to which the Jews were in the past. They are not seen as part of society, even though we are. In this regard, we share the disposition and I also Symphony Space Latin Jazzthink that in any way we can be called a diaspora culture, because we are not in our own land, we have been away from our culture.”

O’Farrill explains that during the years between 1950 and 1970, a large number of people of Jewish origin used to vacation frequently in the region of Borscht Belt, located to the North of the State of New York, and there met with Latin bands led by figures such as Tito Puente and Eddie Palmieri. This meeting produced in Jews to develop a taste for rhythms like mambo. (http://www.afrolatinjazz.org/blog/?m=201210)

The Jews, jazz, and Latin-jazz cultural connection goes beyond the audience. There are many, many Jewish musicians who have and are players of the music, especially Latin-jazz. Here’s a sample:

Aaron Sachs (tenor)
Aaron Sachs (born July 4, 1923 New York City), is a well-known jazz saxophone and clarinet player. Sachs started as a young swing protégé of Benny Goodman, and later eased into bebop music, playing with Earl Fatha Hines. He then formed his own bands, with some success recording and touring. In the 1960s, Aaron Sachs went into Latin music, playing with the greats of that genre, including Machito, Tito Puente, and Tito Rodriguez. Aaron Sachs wrote a hit song for Tito Rodriguez, titled “El Mundo De Las Locas” and composed for drum legend Louis Bellson, with the mainstay tune “Blast off”. He also co-wrote a popular song for bandleader Machito with Henry Glover during the twist dance craze titled “Twist Changa” (parts one and two) a double a-sided single in 1959, on Roulette records.

Irving Fields, PianistIrving Fields (piano)
(B. August 4, 1915, New York City) Best known for his ability to turn almost any topic into ivory-tickled cocktail kitsch, Fields also claims status as a genuine jazz-fusion pioneer. His 1959 album “Bagels & Bongos” started not only a furor for Jewish-inflected Latin jazz (the album sold two million units), but launched a trend in popular music that opened the field to all manner of fusion experiments. Fields himself followed up his classic disc with “Pizzas & Bongos,” “Champagne & Bongos” and “Bikinis & Bongos,” the swaying lilt of Hawaiian music in the latter colliding with the propulsive rhythms of Latin.

Charles Fox (piano)
(Born October 30, 1940, New York, NY) is an American composer for film and television. His most heard compositions are probably the “love themes,” and the dramatic theme music to “ABC’s Wide World of Sports” and the original “Monday Night Football.”

His career started by playing the piano for, composing and arranging for artists such as Ray Barretto, Joe Quijano, and Tito Puente. He also wrote theme music and arranged for Skitch Henderson and “The Tonight Show” orchestra. Fox worked under the banner of Bob Israel’s Score Productions where he composed the themes for several Goodson-Todman game shows. He co-composed the theme song and all the original scores for “Love, American Style,” along with Arnold Margolin. Fox also co-composed “Killing Me Softly with His Song” with Norman Gimbel in 1972 which became an international #1 hit for Roberta Flack in 1973 and again for “The Fugees” in 1997. (The song won the Grammy for Best Song 1973). Fox & Gimbel later wrote the themes for many films such as “Last American Hero.”

Bernie Glow
(Born February 6, 1926 New York City; d. 1982 New York City) was a trumpet player who specialized in jazz and commercial lead trumpet from the 1940s to 1970s. His early career was on the road with Artie Shaw, Woody Herman and others during the last years of the big-band era. The majority of his years were spent as a first-rate NYC studio musician, where he Bernie Glow & Elliott Randallworked with Miles Davis and Frank Sinatra, and did thousands of radio and television recording sessions.

Elliott Randall
Elliott Randall (Born 1947) is an American guitarist, best known for being a session musician with popular artists. Randall played the well-known guitar solos from Steely Dan’s song “Reelin’ in the Years” and the theme song from “Fame.” It was reported that Led Zeppelin guitarist Jimmy Page said Randall’s solo on “Reelin’ in the Years” is his favorite guitar solo of all-time. The solo was ranked as the 40th best guitar solo of all-time by the readers of Guitar World magazine and the 8th best guitar solo by Q4 Music.

Bob Crawford
(Born in the Bronx, NY) is one of those rare people combining musicality, scholarship, and business acumen into one seamless individual. From being the Musical Director, Guitarist, and Vocalist for the National Company of Paul Sills’ “Story Theatre”(1972-3) to the publishing of his book “Symmetric Cycles” by RMCO MUSIC, Bob has been actively involved in songwriting, arranging, producing, and studio work as a guitarist and vocalist for the past 30 years. In 1975, Bob founded Josandra Rehearsal Studios in NYC which became the home of such celebrated musicians as Pat Martino, Larry Harlow, Sonny Rollins, Horace Silver, Mongo Santamaria, Slide Hampton, Sam Jones, Tom Harrell, Kevin Eubanks, Larry Coryell, John Abercrombie, Brand X, Tom Rush, and John Hammond among many others. In 1991, Larry Harlow (2008 Grammy Lifetime Achievement Award Winner and Latin Music Hall of Fame Member) recorded “My Time Is Now”(“Mi Tiempo Llego”) on the album of the same name, co-written by Bob Crawford and A. Dennis (Doc) Williams of the O’Jays released on Cache/Fania Records. In 2006, Maxine Brown (R&B Hall of Fame Member and Tony Award Winner) recorded another of Bob’s compositions “I Want to Be Loved” released on “From the Heart” (Mee Max Music, Inc.) He continues to write, publish, and place songs with other artists to this day.

Jon Fausty (recording engineer)
Jon Fausty, Recording EngineerJon Fausty is a master recording engineer/producer, with a career that spans 33 years of professional experience within “state-of-the-art” technology, combined with acknowledge and a feeling for music that makes him sought after by artists and producers alike. Within the area of Latin music and jazz he is extremely well-respected and is considered to be perhaps the best recording engineer in these fields.

There are dozens more Jews, just in the New York City area, such as Larry Harlow, who are associated with jazz and Latin-jazz. They will be featured in future blogs.

Please write to me at meiienterprises@aol.com if you have any comments on this or any other of my blogs.

Eugene Marlow, Ph.D.
February 17, 2014

© Eugene Marlow 2014

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The Jazz Scene Across The Pond, Part III (of III)

The Legendary Ronnie Scott's Jazz ClubThe Marlowsphere Blog (#91)

On a Tuesday night in May 2013 we soaked up the rustic atmosphere of the 606 Club in London’s Chelsea district and the virtuosic sounds of the Adam Glasser Quintet and the Derek Nash Quartet. The next night we found ourselves in the poshest (and recently renovated) Ronnie Scott’s jazz club in London’s Soho district.

Plush does not even begin to describe the place. Expensive does. While 606 had a reasonable cover and an affordable menu, Ronnie Scott’s has probably the highest cover charge of jazz clubs in all of London: ₤25-₤40 (that’s $40-$65) depending on where you stand (yes, stand) or sit. They charge you for the cloakroom per item, and, according to various web site reviews, the service is not so great. We had the same experience. Ronnie Scott’s—at least from the evening we attended—is the Blue Note of London: the musicians are name acts, but you are also crammed in with not much room to either stretch your legs or your arms, unless it is to reach for your wallet to pay the bill.

This particular evening the featured act was vocalist Claire Martin. She was preceded by a trio led by Ronnie Scott’s artistic director and leader of Ronnie Scott’s Allstars pianist James Pearson. Clearly, Pearson is a pianist with chops, but like the story of virtuoso jazz pianist Art Tatum upon listening to a younger tiger jazz pianist who remarked at the conclusion of the latter’s performance: “Well, he knows what to play, but not why,” Pearson gave the impression in a similar vein. At one point in his set he performed a jazz version of the Rodgers and Hammerstein standard “Surrey with the Fringe on Top” from the 1943 Broadway show “Oklahoma.” He gave credit to the originators of the piece, but forgot to mention that another jazz pianist virtuoso, Canadian-born Oscar Peterson, had already recorded the piece. Pearson performed the piece a la Peterson’s arrangement at breakneck speed, and it was technically impressive, but it lacked the wit that usually emanated from Peterson’s hands. Pearson could have at least given credit where credit was due.

Then came the award-winning British singer Ms. Martin. As a young person Martin claims to have learned all of Judy Garland’s songs. She also gives homage to Ella Fitzgerald as her major influence. At the age of 21, Martin formed her own jazz quartet. In 1991, she was signed by the Scottish jazz label Linn Records. Her debut album, “The Waiting Game,” was released in 1992. The album was selected by The [London] Times as one of their “Albums of the Year.” Later that year, she opened for Tony Bennett at the Glasgow International Jazz Festival. She has released a total of thirteen albums, all on the Linn label. In addition to her singing career, she is also a co-presenter for “Jazz Line Up” on BBC Radio 3. In June 2011, Claire Martin CD Too Darn HotMartin was appointed Officer of the Order of the British Empire (OBE) in the 2011 Birthday Honours for services to music. Clearly, Ms. Martin is a singer of note, in England at least (http://www.clairemartinjazz.co.uk/).

Her repertoire that evening was right out of the Great American Songbook. And perhaps because I have spent so many years listening to great female American singers—for example, Ella Fitzgerald, Nina Simone, Carmen McCrea, Diane Reeves, and up and coming younger singers like Rachel Kara Perez, among many others—that I know the difference between a great jazz songstress and a vocalist who is above average but not in the top five percent. Or perhaps that particular evening the chemistry between performer and audience was not happening—the audience response was lukewarm and it was clear Ms. Martin was pushing to connect with the packed house. It just wasn’t happening. Her performance lacked peaks and valleys. Her between songs banter was not entertaining. It was as if she had an expectation of strong response from the audience given the build-up from the club master of ceremonies and it never materialized.

Ronnie Scott’s is probably one of the most famous jazz clubs, not only in Britain, but also globally. It is usually a must on anyone’s list of places to visit in London. The roster of performers scheduled to appear there in May-June 2013 was a veritable who’s who in jazz: Madeleine Peyroux, Dave Weckl and Tom Kennedy, Michel Camilo Trio, the Gary Burton New Quartet, Roy Haynes: Fountain of Youth Band, the Tom Harrell Quintet, Monty Alexander, the Kyle Eastwood Band, Eddie Palmieri & the Afro-Caribbean Allstars, and Brubeck Play Brubeck.

We left, or more accurately, we retreated after Ms. Martin’s first set. Even though club management extended a comp to me (arranged in advance primarily due to jazz journalist’s Sabastian Scotney’s good offices), for which I am grateful, I still had to cough up the cover charge for my wife and cousin who accompanied me that evening. From the great high of the night before at 606, the visit to Ronnie Scott’s was a disappointingly expensive evening. 

PizzaExpress Jazz in Soho, LondonOur last stop a few days later was the PizzaExpress Jazz Club, also in London’s Soho district on Dean Street. To give this jazz venue some explanatory context, PizzaExpress is a restaurant group with over 400 restaurants across the United Kingdom and 40 overseas in Europe, Hong Kong, India and the Middle East founded in 1965 by Peter Boizot. PizzaExpress’ first restaurant opened its doors in London’s Wardour Street. Inspired by a trip to Italy, Mr. Boizot brought back to London a pizza oven from Naples and a chef from Sicily. PizzaExpress was the first to bring pizza to the UK high street in 1965 and was the first to sell Peroni beer in the UK. In 1969 jazz performances began at its Dean Street restaurant, London, in a well-appointed downstairs space.

From the low of Ronnie Scott’s, the evening at PizzaExpress Jazz Club was a very welcome uplift. This particular evening there were two ensembles: the Moses Boyd Ensemble and the Hungarian drummer Tamas Berdisz and his combo.

In strong contrast to the very straightforward Great American Songbook sounds heard a few days prior at Ronnie Scott’s, the sounds Moses Boyd's Ensemble at PizzaExpress Soho, Londonof drummer Moses Boyd’s ensemble was heavily gospel and Afro-Caribbean in texture, rhythm, and improvisation. The PizzaExpress Jazz Club described Boyd as follows: “Drummer and band leader Moses Boyd is at the vanguard of the New Wave of British jazz. He is one of the most astounding young artists to have emerged over recent years.” This particular evening Boyd was joined by British alto saxophonist and rapper Soweto Kinch, trumpeter Jay Phelps, bassist Nick Jurd, and Peter Edwards on the piano. The playing was hot and engaging. Mr. Boyd’s drum solos were tasty and witty.

Biographical material on drummer Tamas Berdisz is sparse, but this is known: After finishing the Musical Technical School in Pécs (Hungary), he graduated in jazz studies from the Liszt Ferenc University of Music in Budapest. He learned to play not only the drums, but also the piano. Latin style music has made the strongest impression on him. From 1995-96 he was a member of the Cotton Club Singers, a Hungarian vocal group founded in Budapest in 1994. In 1996-97 he played in Péter Gerendás’ band, the Hungarian guitarist, composer, and lyricist. From 1997-98 Berdisz worked with Aladár Pege, a Hungarian bassist known as the “Paganini of the double bass.” Since 1998, he has been playing with the Cotton Club Singers and in the “Esti Showder” TV-show as a drummer. He also performs with the Budapest Jazz Hungarian Drummer Tamas Berdisz at PizzaExpress Soho, LondonOrchestra.

His set with a supporting trio was merely an opportunity for Berdisz to improvise. And his improvising was full of an exploration of Latin-jazz rhythms. In a way, his supporting trio could well have laid out—the set was really Berdisz’s opportunity to display his rhythmic repertoire. His performance was well received.

Just like 606 Club and Ronnie Scott’s, the PizzaExpress Jazz Club presents performances seven days a week. The menu consists of varied fare, including a cornucopia of drinks from its very well stocked bar, and, of course, a plethora of choices when it comes to pizza!

Of greater import this year was the inauguration of the First Annual London Latin Jazz Festival, curated by pianist Alex Wilson and held at the PizzaExpress Dean Street venue over a period of four nights in September. Alex Wilson is a noted British Latin jazz pianist, arranger and composer. He performed at each of the four concerts.

The schedule included Wilson opening every night with a short solo piano set before the main acts, including:.

– Columbian-born Roberto Pla’s 10 Piece Latin Ensemble (19th Sept) – mambo jazz in the exuberant spirit of Tito Puente.

– Venezuelan percussionist Edwin Sanz, Shanti Paul Jayasinha, Davide Mantovani, and Cuban vocalist René Alvarez (20th Sept).

– On Saturday night (21st Sept) a second Steinway grand piano was forklifted into the club and pianist Jason Rebello and Alex Wilson sat down to explore a musical meeting, accompanied by percussionist Edwin Sanz and Italian groove-meister Davide Mantovani on bass.

– Snowboy and the Latin Section (22nd Sept) – the UK’s very own English Latin conga king.

In a very meaningful way, the PizzaExpress London Latin Jazz Festival was a testament to the most compelling sounds and rhythms heard across the board at the three clubs visited during the summer 2013 sojourn in London. With the exception of Ronnie Scott’s, where the rhythm was strictly swing and the melodies were in the vast majority from the Great American Songbook, the balance of the listening experience was drawn from the Afro-Caribbean, i.e., Latin-jazz musical cauldron. The latter sounded fresh and compelling. The Ronnie Scott’s experience felt dated and flat.

Perhaps it’s all about demographics. Given Ronnie Scott’s high price tag that only the well-to-do and so-called cotton tops can afford, the jazz sounds of yesteryear are probably what the audience wants to hear—it is familiar and familiar draws an audience. But if this same demographic, plus a younger generation wants to experience newer, more worldly music that incorporates sounds and rhythms that go beyond the boundaries of Harlem’s HarlemCotton Club and jazz clubs on New York City’s 52nd Street of yesteryear, then 606 Club and PizzaExpress Jazz Club, and many other venues in London’s jazz scene, are the places to go.

In London, there’s jazz for every taste. 

Please write to me at meiienterprises@aol.com if you have any comments on this or any other of my blogs.

Eugene Marlow, Ph.D.
December 23, 2013

© Eugene Marlow 2013

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The Jazz Scene Across The Pond, Part II (of III)

606 Club EntranceThe Marlowsphere Blog (#90)

It is often said that timing is everything. In the instance of a summer 2013 visit to London to experience the jazz scene there, our first visit was to the 606 Club on Lots Road in the Chelsea section of London.  It could not have been a better choice.  The downstairs club was also celebrating its 25th Anniversary. Accordingly, the Club had arranged for the presentation of 42 bands in 12 days—from May 22-June 2, 2013.

We were greeted by Laura G. Thorne, the Club’s Manager of Digital Marketing/Social Media/Content Development who made us feel more than welcome. The décor at 606 is not fancy. There is an adequate menu (they also serve lunch on Sundays). And there is space among the tables. In many clubs in New York City—such as Jazz Standard, Blue Note, and Birdland, among several others—you often feel you’re sitting on your neighbor’s lap, the tables and seats are so close. And if you order food, there is often not enough elbow room to bring your fork to your mouth. Clearly, just like the airlines, club management is looking to optimize every square inch of space. Not so at Club 606. The first thing you notice, other than the somewhat funky, retro-rustic decor, is the room to move around every table without disturbing anyone. The space welcomed and like a well-treated customer deserving of personal space to experience and enjoy the music.

John Critchinson TrioThe real focus of 606 Club is the music: there is a Steinway Grand (well-tuned), properly focused lights, and a well-endowed sound system.

That particular evening we were treated to a trio of ensembles and a variety of jazz genres, starting with the John Critchinson Trio with the leader on piano and vocals. Also part of the trio was Dave Cliff on guitar, and Alec Dankworth on bass. Eighty-year-old John William Frank Critchinson, also known as “Critch,” is an English jazz pianist who, in the early 1950s worked part-time with saxophonist Ronnie Scott’s quartet (founder of Ronnie Scott’s jazz club). In 1979, he joined Ronnie Scott’s Quartet fulltime and stayed until it ceased working in 1995. Scott died in 1996. The trio’s repertoire on this particular night was right out of the Great American Songbook.

The next ensemble was the Adam Glasser Quintet. This group was a revelation whose originals and arrangements were 180 degrees from the Critchinson Trio. The font of this group’s sound is Adam Glasser whose use of his instrument—the harmonica—defies all myths about what the harmonica can or cannot do.

Adam Glasser QuintetToots Thielemans is considered by many to be the world’s greatest harmonist. Adam Glasser is certainly in the same class. Both a pianist and an award-winning, world-class virtuoso harmonicist, Glasser is also a composer and arranger. Raised in South Africa, whose father, Stanley Spike Glasser, was himself a composer, Adam Glasser was exposed to musicians of many types. The Glasser Quintet set was totally compelling. In addition to Glasser’s highly melodic, accessible, and intriguing use of his instrument, the rhythmic patterns employed by the ensemble were, no doubt, right out of the South African musical landscape. One could also “feel” the “clavé” of Afro-Caribbean origin. The sounds grabbed you in the middle of your body and didn’t let go. The set could have gone on forever, it was that pleasurable.  His latest album “Mzansi” was released by Sunnyside Records in the United States in 2012. Highly recommended.  (http://www.adamglassermusic.com/)

The final musical offering at 606 Club that evening was the Derek Nash quartet with the leader on all four saxophones: soprano, alto, tenor, and baritone. Nash’s playing was both effortless and passionate. It didn’t make any difference the tempo or style, the playing was deeply felt and conveyed. His bio reads in part:

At the forefront of the British Jazz movement, Derek Nash is “one of the most versatile saxophonists in the UK today” (The Guardian). He has been a member of the Jools Holland Rhythm and Blues Orchestra since 2005, has led Sax Appeal for over thirty years, fronts the funk/fusion band Protect the Beat, and is a member of the Ronnie Scott’s Blues Explosion.

He is renowned for his energetic, vibrant, passionate and charismatic performances on all four saxophones — from sonorous baritone to soaring soprano — and is an award-winning performer having received the John Dankworth Award and the British Jazz Award (Small Group) for Sax Appeal; Best Jazz CD of the Year for Young Lions, Old Tigers with the late Spike Robinson and, most recently, was nominated for Jazz Musician of the Year by the Global Music Foundation and voted in the Top 3 Alto Saxophonists in the 2010 British Jazz Awards.

Nash’s family background again supports the contention that where you come from provides direction to where you’re going:

Derek Nash QuartetDerek was born in Stockport, England, and is the son of Pat Nash, who was a respected arranger for the BBC Northern Dance Orchestra (NDO) for over thirty-five years.  His musical journey started with piano, aged six, followed by saxophone, aged 13, having been inspired by hearing the NDO tenor saxophonist, Gary Cox, play The Pink Panther! He joined Stockport Schools Stagesound which, having won Music for Youth, led to performances in the Schools Proms at the Royal Albert Hall.  It also led to performances with Ronnie Scott [there’s that name again], Don Lusher and Henry Lowther.

The sax section of Stockport Schools Stagesound formed the early Sax Appeal, who went on to win the National Festival of Music for Youth (small band category), leading to more performances at the Royal Albert Hall and performing original compositions on television and radio for the Schools Proms.  Whilst studying at University, Derek became the Musical Director of Stockport Schools Stagesound returning as conductor, once again, to the Albert Hall. (http://www.dereknash.com/biography)

Nash’s pianist Neil Angilley was a standout in the set. And no wonder. He also grew up in a musical environment with his grandmother and mother both playing piano and his father having played in brass bands all his life. The previous generation of ‘The Tamblyns’ (on his father’s side) had a complete family Brass Band formed by Neils’ great grandfather who played euphonium and flute. His grandmother played tenor horn with her sister playing tuba (she was so small she could have lived inside it!). Neils’ great uncle was awarded a baton engraved in silver for his services as Band Leader in 1915 Rouen, France during World War I. Neil first tickled the ivories at the age of three, and by the age of six was also playing the cornet in the Junior Band of St. Dennis. Neil won many prizes and competitions during his youth, and was awarded the “Best Musician of Cornwall” prize prior to accepting a place at the Royal College of Music in Kensington, London in 1985, studying piano, trumpet and composition (http://www.angilley.com/angilleyBio.htm ).

Angilley’s playing was entrancing. I could have listened to him all evening and into the next day. His virtuosity reminded me of the ease with which Art Tatum improvised in all keys at will!

The next evening we found ourselves in London’s Soho district at Ronnie Scott’s to hear British songstress Claire Martin with the Dave Newton Trio. What a contrast!  More about this  in next week’s blog.

Please write to me at meiienterprises@aol.com if you have any comments on this or any other of my blogs.

Eugene Marlow, Ph.D.
December 16, 2013

© Eugene Marlow 2013

 

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