Welcome to volume two of our new supplement, in which we take a gentle Weekend Walkabout. We play lost andf found with the pieces that have escaped us in daily posts of the previous week and alert you to upcoming events you might have forgotten about.
collated and edited by Norman Warwick
- Larry Went To A Garden Party
- Acoustic Soul Sessions
- Music That´s Going Places
- Simon´s Seven Psalms
- Miranda Lambert Writing For Others
- Bob Dylan: A Complete Unknown
- Who is Graham Nash Now?
by Peter Pearson
8 Brace Jutz: a preview and a review
by Steve Bewick
9 Hot Biscuits
by Steve Cooke
10 all across the arts family
- LARRY WENT TO A GARDEN PARTY
Our friend, the editor of Lancelot in English, Larry Yaskiel, recently explained to the cameras of Lancelot Television the visit he made with his wife, Liz, to the gardens of Buckingham Palace, where Carlos III, the newly crowned King, a few days ago welcomed Larry And Liz and other guests. Larry was recently awarded the Medal of the British Empire, which he received for his work at the head of Lancelot in English and his role as a link between Lanzarote islanders and British residents and visitors
Larry did not hesitate to take a copy of Lancelot in English to Buckingham Palace to show that the dye of the costumes of the British royal guard is made with cochineal from Lanzarote. You can read about this in our easy to negotiate archives.
Larry has since told us how fascinated by the story of this important beetle and its dye were in forging links between Lanzarote and the rest of the world.
It should be noted that Larry Yaskiel´s MBE was presented a few months ago in the studios of Lancelot Television by the ambassador in Spain, Hugh Elliot, see with Larry and Liz in our photo.
My wife and I were privileged to be invited to that ceremony. Knowing Liz and Larry to be a kind, caring and humble couple it was fascinating to see them similarly loved and respected by their work colleagues..
If you type Larry Yaskiel into our archive search engine you will find features on his rock and roll background, his work as an author, an in depth exclusive interview and a number of other, shorter features.
2 ACOUSTIC SOUL SESSIONS
Jazz in Reading stages regular events with top-class bands at Reading’s Progress Theatre. See the current programme here
We list jazz events in Reading and the wider area at no charge – simply submit your gig details. We also offer an affordable service to further promote events – such as the one above – by email: details here
Jazz in Reading, using its extensive contacts in the jazz world, is in an excellent position to help you find the right band for your wedding, party or other special occasion.
Ciyo Brown’s Acoustic Soul Sessions
Geraldine Reid – vocals | Ciyo Brown – MD/guitar
Larry Bartley – bass | Sean Hargreaves – piano
Bishop’s Court Farm Dorchester on Thames OX10 7HP
Sunday 4 June
Doors 6pm | Show 7 – 9pm | £20
Hampstead Jazz Club proudly presents the fifth hotly anticipated second season of The Snug Sessions at Bishop’s Court Farm, a series of nine very special shows featuring a line-up of some of the brightest stars in contemporary jazz and soul.
One of the most in-demand and virtuosic guitarists in British music, Ciyo Brown has worked with an eclectic list of iconic musicians including Annie Lennox, Paul Weller and Pee Wee Ellis.
Known as ‘the Gentleman of Jazz’ and frequently compared to George Benson, his laid-back liquid licks are unmistakable. For this special show, he’ll be joining forces with singer Geraldine Reid (the two are show above right), mixing up a cool cocktail of jazz and soul classics in their own inimitable style. After last year’s unforgettable performance, we are delighted to be welcoming them back to Bishop’s Court Farm as part of the second season of Snug Sessions shows.
Drinks will be available to purchase on the evening.
Doors: 6pm, show 7 – 9pm.
Bishop’s Court Farm,
91 High St, Dorchester on Thames OX10 7HP
Book tickets here – £20
Jazz at Progress
… brought to you by Jazz In Reading
Friday 30 June 2023
The Horace Silver Project
|Fri 30 June | Progress Theatre, Reading (details below) | 7:30pm ||
£18.00 (£16.00 concessions, £9 under 16) plus maximum 5% booking fee
Freddie Gavita trumpet
Clare Hirst sax
Andrea Vicari piano
Marianne Windham bass
Matt Fishwick drums
A celebration of the distinctively funky soul jazz of the legendary hard bop pianist and composer Horace Silver, from a great band led by composer and pianist Andrea Vicari and saxophonist Clare Hirst and featuring Freddie Gavita (winner of the British Jazz Awards for Best Trumpet in 2017), with Marianne Windham on bass and Matt Fishwick on drums. The Horace Silver Project promise to win you over with their all-action and swinging tribute to a founding father of soulful hard bop, including favourites from his enduring Blue Note recordings such as The Preacher, Song for my Father and Sister Sadie. Pianist and composer Andrea Vicari was born in Florida and grew up in Birmingham. Educated at Cardiff University she won a scholarship to study at The Guildhall School of Music in London and was soon in demand as a ‘side-man” working with bass guitar legend, Dill Katz in a band that included the then unknown guitarist Phil Robson. Soon after she formed her first important group with Julian Argüelles on saxophone & Stuart Hall, then of Django Bates’ “Human Chain”, on bass. Other employers included GRP recording artist, Phil Bent; jazz warrior David-Jean Baptiste with whom she recorded her first commercially released CD; and the all-women band “Birds” led by Kathy Stobart. Andrea played a successful season at London’s sadly defunct jazz club “The Bass Clef” with the late great American saxophone innovator, Eddie Harris, and gigged with the US trumpet legend Art Farmer. Andrea has to date five albums in her own name and has contributed to others such as ‘Round Trip’ and “East and West’ with Jazz Extempore plus ‘The Vortex Foundation big band’. A prolific composer, she has been commissioned by the Arts Council, the BBC, Jazz Umbrella, the Peter Whittingham trust, and other projects. Andrea is also a well known and respected jazz educator holding a senior lecturer post and professorship at Trinity Laban College of music and dance (jazz). Clare Hirst was born in Cumbria and studied piano and clarinet until managing to get hold of a saxophone. She moved to York and then to Leeds before eventually making it to London where a successful career in pop music ensued. Having played live and on recordings with artists such as David Bowie, The Communards,Mica Paris, The Bellestars and Maxi Priest, she spent some time working with Mervyn Africa before embarking on a solo career based around her Quartet. Since then she has played with many of the country’s finest jazz musicians including Tony Kofi, Art Themen, David Newton, Alan Barnes, ClareTeal, Mark Nightingale, Byron Wallen, Don Weller, Claude Deppa, Jim Mullen and Dick Pearce. She has performed concerts in USA, Japan, Hong Kong and extensively in Europe including many TV performances. Her performance with David Bowie on Live-Aid can be seen on the Live-Aid DVD. Clare’s experience with such a diverse mixture of musical styles ranging from salsa to reggae to funk and African music, along with a heavy influence from jazz players such as Sonny Rollins and Chick Corea, has created a unique style. The Clare Hirst Quartet has performed at many festivals, clubs and arts centres throughout the country and she currently has three CD’s out; the first entitled “Tough and Tender” called “Summer Song” and the third CD “Touchy”. Winner of the British Jazz Awards “Best Trumpet of 2017,” Freddie Gavita has cemented his place as a leading light on the British Jazz scene. With the release of his debut album “Transient” in April 2017, his star is certainly on the rise. He is a member of the Ronnie Scott’s Club Quintet and jazz-rock outfit Fletch’s Brew as well as being a band leader in his own right. A fearless improviser, “he solos with fluent authority, his tone ranging from the warmly conversational to the eloquently strident”. A graduate of the Royal Academy of Music and the National Youth Jazz Orchestra, he rose to prominence through the John Dankworth Orchestra, and has been a member of the Ronnie Scott’s Jazz Orchestra for ten years. Freddie has appeared as soloist with the BBC Big Band, twice at the BBC Proms at the Royal Albert Hall, and brought Roger Michell’s 2013 film “Le Week-end” to life with his inimitable muted trumpet stylings. He has played with, among others, Peter Erskine, Joe Locke, John Hendricks, Kenny Wheeler, Stan Sulzmann, Tim Garland, Jon Faddis, Gregory Porter, Curtis Stigers, Paloma Faith, Jess Glynne, Seth McFarlane and Dionne Warwick. He has also composed and arranged extensively, including Alexander Stewart’s masterpiece “I Thought About You” and the stunning “Beloved” commissioned by Calum Au for his 2012 release “Something’s Coming.” The founder and driving force behind Guildford Jazz, and co-founder of Fleet Jazz, Marianne Windham took up playing bass later in life, and left a successful career as Director of a software consultancy to pursue learning bass full time. She has since become established on the scene and has performed with many of the UK’s leading jazz musicians including Alan Barnes, Steve Waterman, Mark Nightingale, Sara Dowling, Derek Nash, Dave O’Higgins and many others.
The Tommy Smith Youth Jazz Orchestra continues its 20th anniversary concert series with a headlining gig at Glasgow Jazz Festival on Friday 16th. This puts the cream of young Scottish jazz players on the same stage, literally, as top UK attractions and in the same programme as musicians from the U.S., Spain and Iceland. It’s a great chance to hear the future of jazz in Scotland and – who knows – maybe jazz internationally, too
Multi-instrumentalist Fraser Fifield has long operated on the fringes of jazz, particularly in his excellent partnership with guitarist Graeme Stephen. Fraser has also worked with Shakti’s percussion master, Zakir Hussain. His latest album, Secret Path finds Fraser demonstrating his outstanding fluency and improvisational skills on the low whistle with Paul Harrison (Wurlitzer piano) and Tom Bancroft (drums). It’s already attracting media praise including “a marvellous piece of gorgeousness” from online radio presenter Rick Stuart.
Also receiving rave notices is guitarist Louis Stewart and pianist Noel Kelehan’s previously unreleased Some Other Blues. The former head of jazz for Sony Music UK and Europe described the opening track, a pacy reading of Jerome Kern’s Yesterdays, as “phenomenal.” He’s not alone. Irish jazz observers reckon this recording, which was only recently discovered, to be “the holy grail” and the playing by these two virtuosi revelling in each other’s company is suitably miraculous.
Dutch guitarist Bram Stadhouders describes his latest album, Suite X, as “baroque music for the present day” and with instruments involved such as sackbut (a medieval cousin of the trombone) and theorbe (a lute with an extended fingerboard), it has strong flavours of the baroque era. Bram is also a fearless improviser and his guitar playing brings the album right into the current age. London Jazz News reckons it’s “a remarkable achievement” and Jazz Journal’s reviewer rates it as “wonderfully varied and eventful.”
MUSIC THAT´S GOING PLACES
Jazz in June
Sun 4: Blue Lamp Community Big Band
plus The Struttin’ Futrets
Mon – Sun: live jazz
Thu 1: Playtime with Helena Kay
Thu 15, 29: Playtime (tbc)
Mon 5: Martin Taylor
Thu 22: Matt Carmichael Qnt with Brighde Chaimbeul
Fri 16: Jazzmatazz/Figiro Trio
Wed 14: Nimbus Sextet/Mama Terra
Thu 15: Xhosa Cole
Fri 16: Tommy Smith Youth Jazz Orchestra
Sat 17: Graham Costello’s STRATA
Wed 14: Norman Willmore
Fri 16: Tara Lily
Sat 17: Helena Kay
Sun 18: Ali Watson Qrt
Wed 14: Konrad Wiszniewski & Haftor Medboe
Sun 18: Little Griffin Big Band
Fri 16: Sunna Gunnlaugs/Fergus McCreadie
Sat 17: Grappelli Night with Seonaid Aitken
Sun 4: Seonaid Aitken Chasing Sakura
Sat 17: GIO with Orphy Robinson
Wed 14: Andrew Wasylyk
Thu 15: Marco Mezquida Trio
Fri 16: Camilla George
Sat 17: Brian Kellock’s Marty Party (1:30pm)
Sun 18: Steve Turre
Thu 1: Victoria Newton
Sun 4: Zoe Francis feat. Jim Mullen
Wed 7: Mark Lockheart
Thu 8: Adriano Adewale
Wed 14: David Gordon Trio
Sat 17: Alex Garnett
Thu 1: Laila Biali
Thu 8, Fri 9: Nicola Conte
Sun 11: Dele Sosimi
Mon 12, Tue 13: Mike Westbrook Uncommon Orchestra
Thu 15: Citrus Sun
Mon 19: Nikki Yeoh
Wed 21: Erik Truffaz
Wed 28: Nimbus Sextet
St Andrews University Students Union
Thus: Live Jazz (new weekly jam session)
As always, this list is not intended to be comprehensive – other gigs are available.
4 PAUL SIMON
Seven Psalms Review
Seven Psalms comes into focus softly and slowly, with Paul Simon’s circular acoustic guitar figure repeating like a benediction. Religion is certainly on Simon’s mind on Seven Psalms, a collection of seven songs that the singer/songwriter hesitates to call an album; he’s so intent on having the tunes being heard as an interconnected set, he didn’t index the individual segments on either the CD or digital incarnations. Although the tracks are distinct in melody and even feel, they do all flow together, creating the impression of a single entity. In a sense, every piece from Seven Psalms is a tributary from the main source, namely a series of writing sessions Simon held after waking up from a dream in the dead of the night. Despite this origin, Seven Psalms doesn’t follow dream logic. Simon sculpted these subconscious thoughts into deceptively gentle statements of faith, songs that come on so quietly it can be easy to overlook their inherent strength. Much of the piece is a duet between deft fingerpicking and voice, usually Simon’s, although the British choir VOCES8 adds texture and, in the closing segments, his wife Edie Brickell provides clear, empathetic support. Her presence is welcome, even soothing, given the album’s folky austerity, yet Simon hasn’t quite abandoned the artistic restlessness and wit that characterize his later work. The mellow shuffle “My Professional Opinion” has a slippery sense of humor, a sign of how he can consciously evoke blues, folk, and gospel forms throughout Seven Psalms without quite following the conventions of any one of these genres. Such flexibility is so subtle it can take a while to appreciate. At first, the record can seem like a tone poem, a meditation of mortality and spirituality, yet each subsequent listen reveals a moment of grace or insight that helps pull the entirety of the project into relief. In its still-life reflections, Seven Psalms doesn’t play like a summation as much as an epilogue to a major artist’s career, music that deepens appreciation for his lasting achievements, of which this mini-suite is certainly one.
Paul Simon´s songbook has been picked to pieces by scores of artists, and Tina Benitiez Eves, of American Songwriter, s points out that Mirtanda Lambert´s is a songwriter who also shares Simon´s largesse.
5 MIRANDA LAMBERT Writing For Others
photo 4 By 2005, Miranda Lambert was just getting fired up as a hit-making songwriter with her breakout debut Kerosene. Though her lead single “Me and Charlie Talking” only peaked at No. 27, the album debuted at No. 1.
Among her many accolades and awards, Lambert has won 29 ACM Awards, 14 CMA awards, eight CMT awards, three Grammys Awards, and more throughout her career.
While her work with Pistol Annies and the collaborative project with Jack Ingram and Jon Randall, The Marfa Tapes—inspired by her annual writing trips to Marfa, Texas with the two— Lambert has penned nine of her own albums over the past 15 years, including her 2022 release Palomino.
She has also added to her collection of No. 1 hits with “White Liar,” “The House That Built Me,” “Over You,” “Mama’s Broken Heart,” “Heart Like Mine,” and “Bluebird,” along with songs she wrote for other artists that topped charts.
Here’s a look at seven songs Lambert wrote outside of her own catalog for other artists over the past 15 years.
1. “Bare Skin Rug,” Blake Shelton (2008)
Written by Miranda Lambert and Blake Shelton
“Bare Skin Rug” closes Blake Shelton‘s third album, Startin’ Fires, which features a duet with Lambert, who also co-wrote the track with him.
Elaborating on the album title, Shelton said, “It just seemed like the right statement for what we’re trying to do with my career right now. And I never felt confident enough to make a statement like that on an album title—not until now. I feel like I’m coming with the most momentum that I’ve ever had on a record.” He added, “I think, for the first time, everybody’s paying attention closely to what I’m doing, and I’m trying to make the most of it.”
Well the moon just came over the tree tops
And the whipper wheel started to sing
So I slipped down the hill
Got into the still
And drank til my ears started to ring
I followed a trail to through the hollow
To a shack back in the woods
Its my eighteenth birthday
Honey come out and play
It’s time we got to no good
2. “I’m Good at Leavin’,” Ashley Monroe (2015)
Written by Miranda Lambert, Ashley Monroe, Jessi Leigh Alexander
Off Ashley Monroe‘s third album, The Blade, which was co-produced by Vince Gill, Lambert co-penned the slow crooned closing track “I’m Good at Leavin’.” Lambert also sings backing vocals on the title track of the album.
“The idea of leaving is so interesting because when you’re coming off the road, you get tired and want to come home,” said Monroe of the song. “Then you sit at home a little bit and get used to leaving. I don’t even unpack my bag a lot. I don’t know how to hang my clothes. I only know how to roll them. So I am good at leaving. It’s the truth.”
I’m good at leaving
It’s all I do
I’ll hang around a day or two
And like the wild wind, I’ll be gone
I’ve always been a rolling stone
I’m good at walkin’ out the door
And I don’t love you anymore
You’re a fool for not believing
I’m good at leaving
3. “Don’t Blame It On Whiskey,” Jon Pardi, featuring Lauren Alaina (2019)
Written by Miranda Lambert, Luke Laird, Eric Church, Michael P.Heeney
“Don’t Blame It On Whiskey” was initially written by Lambert, Eric Church, Luke Laird, and Michael Heeney for Church’s 2011 album, Chief, but it never made the cut. Shelved for several years, it resurfaced for Jon Pardi‘s third album, Heartache Medication, when an A & R rep dug up the original demo.
The song follows a couple who are near breaking up and are forced to be honest about their relationship, and not blame it on whiskey.
But don’t blame it on whiskey
No, this ain’t about a drink
Don’t let alcohol take the fall
For all these thoughts I think
Let’s get down to the bottom
And not just the bottom of the glass
This heartbreak train’s pickin’ up steam
And we’re standin’ on the track
Yeah, I can blame it on you
Or you can blame it on me
But don’t blame it on whiskey
4. “My Only Child,” Recorded by The Highwomen (2019)
Written by Miranda Lambert, Natalie Hemby, Amanda Shires
photo 5 2019 self-titled debut went to No. 1 on the country chart and made it to the top 10 of the Billboard 200. For the album, Lambert co-wrote one track, the nostalgic, “My Only Child,” along with Highwomen Natalie Hemby and Amanda Shires.
The song is told from the perspective of a parent with one daughter and was inspired by Hemby’s own real-life story of her own child asking for a baby brother or sister. “It’s kind of funny, and it’s kind of not, but I started this song because my kid kept asking me for a sister and a brother,” shared Hemby. “I didn’t want to explain to her about cobwebs and ovaries and things like that, so I was just like, “Well, you know…I don’t know that that’s really a possibility.”
She continued, “Then I took the song idea to Miranda Lambert, who now has a stepchild but did not at the time, and I said, “Will you help me write this?” She wrote so many amazing lines, and I just sat there sobbing, like, “What the hell is wrong with you? You don’t even have kids.”
I know you wish
You had a brother who had blue eyes just like you
I know you wish
You had a sister you could tell your secrets to
Maybe we’ll miss
Having four sets of china on the table
But I guarantee you this
You mean more to me than branches to a maple
5. “Falling Apart,” Parker McCollum (2021)
Written by Miranda Lambert, Parker McCollum, Jon Randall, Randy Rogers
Produced by Jon Randall, Parker McCollum‘s 2021 debut, Gold Chain Cowboy, produced two No. 1 hits, “To Be Loved by You” and “Pretty Heart,” along with other musical gems, including the more ’80s-driven mid-tempo “Falling Apart.” The song is one McCollum admitted is inspired by a fight he had with his then-fiancé now wife, Hallie Ray, during the pandemic.
“I was sitting up late one night and wrote the line, ‘What if I just want someone else?’” said McCollum. “I thought it was really cool, and I took it into the write with Miranda the next day and she immediately said that it was really good but it was too mean. She suggested we change it to ‘Maybe you are better with someone else?’ and all of a sudden we had the song.”
Sonically, the song was inspired by the band .38 Special song riff Randall was playing. “I wasn’t sure how or where it would fit on the record, and it just so happened that Jon was jamming some .38 Special on his guitar and I said, ‘Dude, why does nobody ever cut songs like this anymore?’ [and] Jon replied, ‘I don’t know, but let’s fuckin’ do it.’ We literally went into the studio and cut a .38 Special rip-off track with ‘Falling Apart.’”
Maybe you are better with someone else
Maybe I just saved you from myself
When I left you in the dark
Girl, I knew you’d never call my bluff
The writing on the wall just wasn’t enough
You were falling in love and I was falling apart
6. “Outrunnin’ Your Memory,” Luke Combs (2022)
Written by Miranda Lambert, Luke Combs, Dan Isbell
Luke Combs‘ third album, Growin’ Up, debuted at No. 2 on the Billboard 200, and picked up a Grammy nomination for Best Country Album and featured hit singles “The Kind of Love We Make,” “Doin’ This,” and “Going, Going, Gone.” On the album, Combs also co-wrote the track “Outrunnin’ Your Memory” with Lambert and Dan Isbell, about a breakup that’s still raw after only two weeks—
You’d love this bar I stumbled on / They play George Strait and they pour their doubles strong / I’ve been gone for two weeks now / There’s some missing you in every little town / Ain’t sure what I thought I’d find riding these yellow lines.
Initially, when Lambert and Combs began writing the song, it wasn’t intended as a duet, but both decided that her vocals would help complete the song.
“When I went to record it, I was just like, ‘Hey, I think it would be awesome if you would sing on this thing if that’s something that you’re interested in,’” said Combs about his duet with Lambert. “So, she came and gave it a run, and it sounded great. I was really thankful that happened because I think it turned out awesome.”
Outrunnin’ your memory is like outrunnin’ the wind
I can’t get where I’m going if I can’t leave where you’ve been
I see you in every sunset, every star in the sky
I hear you callin’ my name in the middle of the night
The longer gone I get on down the road
Reminds me, baby, that there just ain’t no
Outrunnin’ your memory
7. “Thought You Should Know,” Morgan Wallen (2023)
Written by Miranda Lambert, Morgan Wallen, Nicolle Galyon
Co-written with Miranda Lambert and Nicolle Galyon, “Thought You Should Know” is one of the 36 tracks off Morgan Wallen’s third album, One Thing at a Time. The song was Wallen’s first collaboration with Lambert—and hopefully not his last.
“I was already a huge fan of Miranda before I even came to town,” said Wallen. “It’s cool to have moments like that, but it’s also cool to experience not only success but something that I’m super proud of with her. She’s awesome, She’s a great musician, great songwriter and I look forward to doing some more with her.”
Like many of the tracks on the album, “Thought You Should Know” crosses into a familial territory and is a letter, in song, Wallen wrote to his mother Lesli.
“It was one of those magic moments where everything just worked,” Lambert recently told American Songwriter of Wallen’s No. 1 hit. “[He said,] ‘I want to write a song for my mom.’ I’m like, ‘I’m all about that and you picked the two right girls.’ It just fell out.”
What’s goin’ on, mama?
Something just dawned on me
I ain’t been home in some months
Been chasin’ songs and women
Makin’ some bad decisions
God knows I’m drinkin’ too much
Yeah, I know you’ve been worrying ’bout me
You’ve been losin’ sleep since ’93
6 BOB DYLAN: a complete unknown
Elle Fanning Joins Timothee Chalamet in Bob Dylan Biopic A Complete Unknown
By Jim Vorel | May 15, 2023 | 2:34pm
The upcoming Bob Dylan biopic from director James Mangold, A Complete Unknown, now has not only its Dylan in the form of Timothee Chalamet, but also its female lead in The Great star Elle Fanning. Deadline is reporting that she’s set to star alongside A-lister Chalamet in Searchlight Pictures’ A Complete Unknown, in the role of Dylan’s early 1960s love interest, student and artist Sylvie Russo.
The film zeroes in on a specific chapter in the legendary songwriter’s life, as he first makes the transition from acoustic to electric guitar at the height of the 1960s. Specifically, it catches him in 1965 prior to the Newport Folk Festival, when he famously evolved his sound in the first of many new directions. Mangold has previously stated that Chalamet, taking on a no-doubt difficult task in portraying the icon, will be doing all his own singing in the film.
Fanning, meanwhile, adds some more star power to the cast of A Complete Unknown, having just kicked off the third season of Hulu’s The Great–in which she plays the titular Catherine the Great–to more rave reviews. The series, alongside other series and films such as The Girl from Plainville and Maleficent, have made the younger Fanning sister one of Hollywood’s highest profile actresses on the Gen Z/Millennial border.
The film also looks like another prestigious coup for director Mangold, whose last feature was 2019’s Ford v. Ferrari. The Logan filmmaker is arguably more busy and in-demand in this moment than ever before, as his Indiana Jones and the Dial of Destiny arrives in June, and he was even announced as being attached to a Star Wars feature of some kind in April. Hopefully, all these projects will still leave ample time for the Dylan biopic–we’ll bring you more updates on this one as they arrive.
Meanwhile, Norman Warwick remembers The Hollies and CSN but wonders
7 WHO IS GRAHAM NASH NOW
I have a much clearer idea of who Graham Nash now is after reading an interview conducted by xxxx recently, m Paste on-line
Paste: You’re calling from New York. And you live there now?
Graham Nash: I’ve lived here for eight years, and I wish I’d have been here 20 years ago. It’s an incredible city, and one of the things I love about it is, well, obviously the museums and the art schools, etcetera, but I love to hear four or five different accents before I get my coffee. I just think this is an incredibly fantastic place, and I think it was Alexander Hamilton that decided that politics belonged in Washington, and New York is there for making money. From over here, and it doesn’t matter what your religion is, doesn’t matter what the color of your skin is, you’re here to make money in New York City, and it’s been that way ever since. I just finished reading a book called The Island at the Center of the World, and it’s about Manhattan
Looking back on your diverse career, it seems like the main thing you set out to do was just keep yourself amused.
Yeah. You know, I’m incredibly grateful to be a musician, and I’ve been a musician since I was 13 years old. But I’ve been a photographer longer than that, and in my book, the portrait of my mother I took when I was 11. So yeah, this is a wonderful life, and I’m very grateful to be experiencing it. Because, you know, when you get to be this old, as old as I am, I do occasionally look back at my life and I realize what an incredibly lucky man I am. You know, to have been there at the beginning, learning skiffle, learning rock and roll, and then seeing the British Invasion, being a part of that, and then joining David and Stephen and that whole madness, and then with Neil Young? My life has been just fantastic.
I’m one of those guys who always acknowledges CSN, CSNY, all great stuff. But the Hollies!
Ha! Funny! Yeah, The Hollies were a good band. And Allan Clarke and I started The Hollies in December of 1962. And basically, The Hollies were me and Allan, and we had been singing together for many years, since we were six years old and in the same school and in the same class, singing “The Lord’s Prayer” and stuff like that. So me and Allan could sing, and then we were doing a show in Manchester at a club, and we did pretty well, but this kid came up to us and he said, “You know what? You guys need a bucking!” And I said, “What? What the fuck is a bucking? I don’t know what the hell that is!” And he said, “No—Pete Bucking. You need Pete Bucking! He can play every solo you know, every solo you’ve loved. He can play it. And he has…a Stratocaster!” Well, we went to see Pete Bucking, and he took out his Fender Stratocaster, and he played every bloody solo that we loved, every Gene Vincent solo, every Bill Haley solo, and so yes, we needed a Bucking. So now we had two voices and two rhythm guitar players and a lead guitar player, and the guy that said we needed a Bucking was a drummer, and so we had a drummer. Then we got a bass player, and we were just five kids who had escaped from having to do what your dad did, and what your grandfather did. And in the North of England around then, it was either go down to the mill and make cloth, or go down into the mine and dig coal—those were the only two jobs, you know? And luckily, my mother and father really recognized my passion for music, so they encouraged me to do that, instead of slapping me upside the head and saying, “Get a real job!”
And you often sang lead back then, too. You sang “Carrie Anne,” right?
Yes, I did, and I got used to doing that particularly early.
I still can’t quite follow the synapse of how the almost Merseybeat sound of The Hollies transformed for you into the folkier approach of CSN. They seem like a world apart.
Yeah. They were a world apart. And I recognized that. So at the end there, when I was playing with The Hollies, I had written a song called “Marrakesh Express,” and I thought it was a decent song. And I played it for The Hollies, and they tried to do a track with that. And somewhere in the bowels of the tape files of EMI in Abbey Road, there’s a version of The Hollies playing a version of “Marrakesh Express,” and it sucks. So they weren’t really into it, is my point. And the last show I ever did with The Hollies, December in 1968, Crosby was there. It was at the London Palladium, and I played Crosby “Marrakesh Express,” and I told him that the rest of The Hollies didn’t like this song. And he said, “Wait a second—what? That’s a really decent song! And I know what we can do with that—come on over!” So I went over to New York, and I wanted to spend a few days with Joni Mitchell, who was my girlfriend at the time, and I got to Joni’s house and there were other voices in there, and I didn’t like that. But it was David and Stephen, and they were having dinner with Joni. And after dinner, David said, “Hey—play him that song we were doing!”
So here’s what was happening. The Buffalo Springfield had just broken up, David had been thrown out of The Byrds, and they were trying to get a duo together, kind of like The Everly Brothers, but with the songs that they had written. But it was Cass Elliott, our friend from The Mamas and the Papas, who really intuitively knew what their two voices would sound like with me. So let’s go back to that night at Joni’s—David says, “Sing him that song,” and it was a song called “You Don’t Have to Cry,” which was on the first (CSN) record. And they got to the end of it, and I said, “Whoa! What a fabulous song! Do me a favor—sing it again.” And they looked at each other, they shrugged, and they sang it again. And they got to the end of it a second time, and I said, “Alright. Bear with me now—I’m not crazy. Sing it one more time, and I’ll add my harmonies.” So only a few seconds into that version, we had to stop and laugh, because it was ridiculously wonderful. I mean, The Hollies and Springfield and The Byrds—they were good harmonies then. But this sound that me and David and Stephen sang, when we put our three voices around one microphone? It was just unbelievable, absolutely. So I knew then that I would have to go back to England, and I would have to leave The Hollies and leave all my equipment, and come to America and follow that sound. I’m a musician—what would you do if you sounded like that?
So when you first touched down again, dod you go to L.A.? And how was the scene back then? Like culture shock?
It was culture shock. It was very different on the West Coast. But we actually went to Sag Harbor here in New York to rehearse the first record. And I thought it was gonna be an acoustic record, because we’d sung all these songs acoustically, and they sounded fabulous. But Stephen’s idea was to make a slightly rock ’n’ roll record, with drums and bass. So we were in Sag Harbor in New York, rehearsing that, and that’s how that started. Then we went to L.A., where everybody wanted to know what was going on, and we managed to keep people out of the studio—no musicians’ unions, no record people, nobody. And we did get visited a couple of times, with Ahmet Ertegun who brought Garth Hudson from The Band to listen to what we were doing. But we knew. We had an album that sounded to us like it would be a hit.
It was odd. I was recently watching this suspenseful Netflix series called Keep Breathing, about a girl who survives a wilderness plane crash and has to fight to survive, and “Our House” is woven throughout the soundtrack, even though her house is not very fine at all. So it’s curious, the continuity of songs over time, when they no longer mean what the composer originally intended, years, decades later.
Yeah. Definitely. But you know, a good song goes a long way. Again, it’s been a fabulous life, I’ve gotta say.
And “Teach Your Children Well”? Is that even an educational consideration anymore? Or is an algorithm doing the job now?
Ha! Very funny! But this A.I. stuff is getting very interesting, isn’t it?
Pretty soon, you’ll excitedly enter the studio to cut a new song, and HAL the mixing desk will say, “I’m sorry, Graham. I can’t do that.”
Yes. “I’m not starting the tape machine, Graham.” But do you know why the 2001 [computer] was called HAL? It was one letter away from IBM! But hey—what can you do? It’s happening. And when we get a few years into the future, who knows what A.I. is doing, because once they create machines that will create themselves, and get some kind of consciousness? They will overtake human beings immediately. Like Skynet. It’s going to get weird, isn’t it?
But weren’t you kind of ahead of the cyberpunk curve when you worked with Iris technology years ago, digitally reproducing, and reimagining, your own photographs?
That’s right. And the first printer that we used, which was an Iris printer, is now in the Smithsonian Museum. Isn’t that wild? Like I said, I’d been a photographer longer than I’ve been a musician. So I had one of the earliest Apple computers, and they had a thing called ThunderScan, where you could very crudely scan an image. So I was playing around with the images, but I couldn’t get them off the screen. I tried photographing them, I tried everything—I couldn’t get them off the screen. Then a friend of mine who was a scientist in San Francisco, said, “Have you ever heard of inkjet printers?” And I said, “No—what’s that?” And he said, “oh, you’ll hear!”
Anyway, the first three years of my shooting photography here in America, which included Woodstock and everything, a guy was gonna make a book on Joni Mitchell, and he knew that I had shot pictures of Joni, and he asked if he could use them And I said, “Yeah,” but I didn’t have the discipline to take those Joni negatives out of my collection—I just sent him the whole box. And I never saw them again. And you know what a proof sheet is, right? When you have a whole roll of film, you get a proof sheet of all the shots, with one little square representing a picture. So one night at my house, I told a guest the story of losing all my negatives, and he looked at my proof sheets and said, “Well which of these tiny squares do you like?” So I said, ‘I really like this one I shot of Crosby.” And he said, “Yep. Alright. Would you give me that?” And I thought, “Fuck. Am I gonna lose my proof sheets now?” But I trusted him, and two days later, he brought me a 24” x 20” image of Crosby that knocked my ass off! It was fucking fantastic! And I said, “Wow! I didn’t think you had a darkroom that could do. Images this big!” And he said, “I don’t have a darkroom. It’s not a photograph—I scanned your proof sheet, hi-res, and I printed it on an inkjet printer.” And I said, “You’ve gotta show me this bloody Machine!” So I went down with my friend Mac [R. Mac Holbert, former CSN tour manager and its IT specialist] who started Nash Editions with me, to see this machine,
And it looked like a washing machine, and it had a lid that you lifted and a circular dish that you put a sheet of paper on, and it spun about a million miles an hour, and these four print heads sprayed the image onto this piece of paper. And the printer was $124,000, but I bought one immediately. And not only that, but I voided the warranty in the first 10 minutes, because I wanted to force this machine that was printing these images to do what I wanted it to do. And so, quite honestly—and technically—I needed to separate the print heads, away from the revolving tube, so I could stick a paper around that. So I took a Hoover vacuum cleaner and added parts. I just forced this machine to do what I wanted it to do. But it made great prints! And we got it to print on everything, and one day, we got it to print on a sheet of thin tin. We got it attached to the drum, but it set it off and shot the sheet of tin out so fast, it stuck in the wall opposite to the studio—it would have decapitated anyone, if they’d been standing in front of it. So yeah, that first printer is now in the Smithsonian. So there are lots of machines out there, but I believe that Nash Editions was the very first to be able to make portfolios for photographers. And I do check—every time I go to different cities, I go to their art schools and art galleries and I look at their digital prints, because if things are even one pixel off, everything’s out of whack. So Nash Editions is still making great prints, to this day.
Someone came up with a new thing called Instapet, where you submit a dozen photos of your dog or cat, and Artificial Intelligence then compose a hundred or so crazy images of them in outer space, all sorts of crazy imaginary scenarios.
Awesome! I wonder…what is art going to be like in 50 years? It’s going to be wild, isn’t it? And don’t forget, there will be proto human beings, because there are human beings that even now have a small chip embedded in their elbow so they don’t have to put their password in. So I’m 81 now, and I hope I’m gonna be alive for at least the next 20 years to see what incredible improvements are coming.
Do you paint, too?
Well, Not exactly, but I can fiddle around. But it’s my wife who’s the artist in my family. Amy Grantham is an incredible artist—you should check out her work on line.
And it sounds like some songs on Now are about her, like “Right Now.”
Yes. And “Love of Mine,” and the last track on the album, “When it Comes to You,” is about her, and “It Feels Like Home” is about her. Hey—what can you do?
And “Follow Your Heart” sounds like sage-like advice to your kids.
Yes. Yes, indeed. And my advice would be, I think you need the courage to open up your heart. Obviously, I want to tell the truth. And as a musician, you’re surrounded by word images, and right now, I have about 20 or 30 pieces of music in the back of my head, that don’t have lyrics yet. But if I get a lyric where the rhythm of the lyric meets a piece of music that I have in my head, then I’ve got a new song. Then I start to find a title, and I’m off writing. And I try to write about the truth, and that’s what’s going on with this record. And I called it Now because this is who I am, right now. And I don’t think your art will ever go away. It’s not going to go away. That’s another reason why I called it Now—because even at 80, when I made this record, you can still kick ass. You can still do your work, you know?
8 FROM WILLIAMS & NEWBURY …
TO BRACE & JUTZ
and from preview to review by Peter Pearson
I read another excellent Sidetracks And Detours blog today, in which I noted a reference to the Mickey Newbury book by Brian Atkinson. I have never really explored Mickey´s music before but as a fan of Gretchen Peters I have heard her versions of some of his songs.
Unfortunately his albums are not easily obtainable now so following the signpost to further sidetracks & detours reference I turned to Youtube and found a video of a live performance which I think is actually Live At The Hermitage- though not described as such-probably to avoid copyright action.
Apparently Newbury had a habit of prefacing his studio tracks with samples of rain or train sounds which irritated amongst others Guy Clark-who was otherwise a great admirer.
I was greatly impressed with the live performance video of just him with a guitarist in the background.
I remembered Sidetracks And Detours had published a piece on him some time back and so referred back to it in their easy to navigate archives of approaching a thousand articles..
It is a great piece of writing and Norman Warwick and our mutual friend, Ian Johnson, of Stampede Promotions, were so lucky to get such an interview.
That interview took place at York Barbican, mid way through a Don Williams tour with Micky Newbury as support, being advertised but not being an avid Don Williams fan I never went. After reading your piece I wish I had.
Newbury´s own discography lists an album called Live In England so some of the gigs on that tour must have been recorded.
Off to see Brace and Jutz tonight, and I am really looking forward to it. I was very pleased recently when soon after I had introduced their music to the Sidetracks And Detours editorial team, they immediately did some further research and posted a retrospective article on the solo, duo and trio careers of the late Peter Cooper, and Eric Brace and Thomm Jutz (right).
So I was looking forward to the gig… !
ERIC BRACE AND THOMM JUTZ
St Lawrence Church –Biddulph, Stafford
review by Peter Pearson
I’d been looking forward to this gig for a long time as somehow I had managed to miss out on their previous UK visits, both as a duo and prior to the recent tragic death of Peter Cooper, as a trio.
They are seasoned performers based in Nashville. Eric has his own band -Last Train Home- with whom he has released several albums on his Red Beet Records label. Thomm Jutz hails from Germany-is a guitarist par excellence- has served his time with the likes of Nanci Griffiths Blue Moon Orchestra and progressed to ´become a record producer / bluegrass singer songwriter, issuing a collection of bluegrass records on his Mountain Fever Records label.
Cooper and Brace (left) teamed up in Nashville to make music together and their albums were produced by and recorded at Thomm Jutz’s studio with Thomm featuring on lead guitar.
This arrangement worked so well that the duo co-opted Thomm into forming Brace Cooper Jutz as a trio and they have released three albums in this format.
Manchester, where I live, is 26 miles of long winding country roads, with roundabout after roundabout to negotiate, from Biddulph and it was only after plenty of stress that, with some relief, that I arrived at the venue. I figured that since the Church had a hall and a bar had been mentioned, it must be in the church hall. But no it was in the church and there was a bar!
The duo had played the Cabbage Patch –Twickenham the previous night, to a venue packed to the rafters-met at the airport and introduced on stage by whispering Bob Harris.
This concert was promoted by Biddulph Up in Arms and via internet search I had learned that they have been promoting Americana / Folk type gigs in the area since 2006. Talking to some of the early arrivals it was clear that the regulars regarded it as something of a folk club and an extension of church activities and had little knowledge of the performers.
Whilst the church was big and old it did not have pews –there was comfortable seating and modern conveniences at the rear. The altar served as the stage. The sound and lighting was excellent.
Whilst the Cabbage Patch gig was packed to the rafters, this was more of a house concert type of gig where the performers and audience mingled before and after the gig. After many years of attending low key gigs it has always amazed me how these artists make a living. Touring even at this level is expensive. Early bird advance tickets for this gig were £8-30 and £10 on the door. There were less than 50 people there. I was pleased to see CD sales were strong.
There were no introductions from the stage. Eric and Thomm emerged from the vestry and proceeded to deliver two sets of excellent music prefacing each song with background information.
Since they are both songwriters the sets were structured mainly around their own compositions and less of those performed as a trio.
They opened with Eric’s Last Train Home debut, My Sally, which also featured on the trios last album.
´Tonight´s 18 song set included songs from Thomm’s recent collaborations with Tim Stafford on the album Lost Voices and with Tammy Rogers, Grammy award winning co -founder, fiddler and vocalist of the bluegrass band The SteelDrivers, on the album Surely Will be Singing.
Thomm also previewed Where the Bluebirds Call, a beautiful song of his. This is one of several to be featured on the upcoming duo album with the the English folk legend Martin Simpson, titled Nothing But Green Willow.
At the interval I enquired of Eric if my personal favourites of his, the Johnny Cash inspired Hendersonville, was to be included. He said, ´well we haven’t been doing it but I’ll have a word with Thomm´. A note perfect version was delivered prior to the encore which was Wait a Minute, Eric’s co -write with Peter Cooper, from their album Master Sessions.
This is amongst the best gigs I have attended: magnificent music making.
Their following night´s gig at Southport was sold out in advance, as was their final gig at Scarborough.
Here is the set list, as I heard it from my front row seat, offering sidetracks and detours a-plenty for readers to follow..
- My Sally– Last Train Home/ Profiles in Courage
- Every Pilgrim Needs a Highway– Craig Market-Thomm Jutz album Nowhere to Hide
- King of the Keelboat Men-Riverland
- I Am a Pilgrim -Thomm Jutz –Incstrumental
- I Flew Over Óur House -Master Sessions-Tom T Hall composition
- Mill Town Blues– To Live in Two Worlds –Vol 1- Jutz-Stafford composition
- Come my Time to Go -Charley Stefl-Thomm Jutz-Acoustic Guitar Project
- I Sang the Song -Mac Wiseman-Mountain Fever Records-New Songs of Mac Wiseman and sang on the compilation album by John Prine.
- Angel Share– Profiles In Courage
- I Choose You– Jutz –Rogers –featured on Steel Drivers album Bad For You
- Anywhere But Here– Last Good Kiss-Last Train Home and on the video Applewood Sessions
- Where The Bluebirds Call– Nothing but Green Willow-Jutz-Simpson album
- Boxcars– Brace –Cooper-The Comeback Album
- Enough to Keep You Going -Jutz –Stafford-Lost Voices
- Just a Moment– Eric Brace & Last Train Home-Everything Will Be ( see the solo Youtube version-wonderful)
- The Wild Atlantic Way– Jutz –Stafford –Lost Voices
- Hendersonville– Profiles in Courage
- Wait a Minute– Master Sessions.
Thanks so much for all you have done here, Peter. It was you who first introduced these artists, not only to me a few weeks ago but now also to Sidetracks And Detours reader. I am pretty sure that if a reader dips into this set list to hear a track they will then return to the well for another sip,…and another,…and another, such is our thirst for well written songs, properly performed. The venue as described by you sounds not unlike Bury Met, where I often used to feel that audiences attended because they trusted the venue and its management rather than because of support or even awareness of the artists performing. Your forensic examinations of the accounts sound very similar to what happens here on Lanzarote, too. We often go to see symphony orchestras from all parts of Europe playing here on Lanzarote and whilst the music is wonderful the thought of the logistics of transporting thirty or forty musicians on a tour of The Canary Islands, all with their own instrument to be packed and transported too, and the cost of transport and accommodation is cringe-making. Very often they are playing, at least here on Lanzarote, to audiences of audiences of around 200 in theatres thus only one third full. I can never make the figures add up, especially when a typical concert price for such concerts here is around 15 euros ! Such tours, whether for Brace and Jutz or the Canary Islands Chamber orchestra must surely be treated by the artists and management as loss leader events that might not swell the coffers very much but do generate publicity attract word of mouth publicity from from the mouth of us and an excellent pass it on word of mouth service of the kind you provide, all of which might lead to an increase in sales of merchandise etc.
Our regular readers will know Steve Bewick, of course, because we carry synopses of his weekly radio programme, Hot Biscuits. He is also an occasional writer for these pages with his outstanding journals from a jazz journey to Isreal a couple of years ago. Keeping his eyes and ears open for jazz sounds is second nature for Steve, and whenever he sees and hears snippets of news that might also be of interest to Sidetracks And Detours, he is happy to share them. Thanks Steve, we appreciate it and these two items sound really promising.
9 JAZZ AND HOT BISCUITS by Steve Bewick
The Jazz Warriors The Jazz Warriors Due for Release: Friday 30th June 2023 Physical CDs Available on Request
The Jazz Warriors is the latest project from the prolific drummer, Ken Serio. His international line-up of musicians includes the fabulous Japanese pianist Tomoko Ohno, Greek guitar maestro Sakis Zachariades and Jedd Chlebowski on Bass. They are joined by Ali Ryerson on Flute and Josi Davis on vocals. The eponymous record was several years in the making, The Jazz Warriors is possibly Ken Serio’s best to date. An eclectic mix of styles ranging from Brazilian rhythms on Pollo Picante and J.B. to deep meaning blues on Tell Me In A Long Way. The album features great feeling grooves on the track River Quay and hardhitting Prog. Jazz on Guy With A Tie, a nice swing number with Don’t Talk To Me and some thoughtful Ballads with the tracks Wing And A Prayer, Neo and Adam’s Ale. All round a very well produced album with a wonderful track selection. The Jazz Warriors contains a variety of music from several sources. New music compositions come from Tomoko Ohno, Sakis Zachariades, Jedd Chlebowski, Ken himself and co-producer of the album, Bob Cowley. Thrown in the mix are tracks from Pat Metheny and Mike Stern. “The Album is more of a group effort” according to Serio. “Tomoko and Sakis are really good writers so they came up with the goods”. Having writers and musicians coming from Japan, Greece and the USA led to different styles and influences that make the album truly unique. Previous albums include The Fuse Box which was much more fusion and The Jazz Quartet which is much more straight ahead. “The Jazz Warriors album is more of a combination of both. The players personalities’ really shine on this recording.” says Serio.
Serio has a lot of praise and admiration for his fellow musician son this album. He had this to say: “Tomoko Ohno is one of my all time favourite pianists but on this recording she shows she’s not just a pianist but a brilliant keyboardist and writer as well. Neo is a very beautiful piece, hints of the great Lyle May’s come to mind. Sakis Zachariades is a top guitarist. Always tasty and musical. I love his acoustic playing as well on this record. Mike Stern loves our treatment of his tune we covered, A Wing And A Prayer. Jedd Chlebowski wrote an original called The Haunting for the album and Jedd always provides fretless beauty to all the tune she plays on. A true professional. I really loved Ali Ryersons addition to the Brazilian tunes Pollo Picante and J.B. Ali is one of the best flautists in the world. It was a pleasure and an honor to work with her. She has a beautiful tone and is a very sweet person. Jodi Davis, the vocalist on the project is also a great writer as seen on the track Don’t Talk To Me. She really brings a unique dynamic to the album with her wonderful tonal quality. Bob Cowley, our co-producer, had an important part in recording and producing. He contributed to the writing with the track Don’t Talk To Me. He always has great ideas and is a great engineer as well.“
Another album,The Long Run, has been out for a little while now and having been delighted noted with its longevity on the Jazz Week Charts jazz artist Matten Klein is hoping to keep the momentum going! he has circlated jazz venues and retailers and radio stations with ashort piece about the album, the artist and a link to the press kit, WAV files and MP3s.Hard copy of CDs available upon request, and I am happy to share this with Sidetracks And Detours´readers.
The Mattan Klein Quartet is centred around Klein’s compositional brilliance and instrumental virtuosity, here he is accompanied by Toki Stern on Rhodes, bassist Yoni Ben Ari, Joca Perpignan on drums/percussion and features guest Nitzan Bar on guitar.
“The Long Run” is the seventh album by Mattan Klein and his first as part of this quartet. The personnel on this record have great importance to Klein and his style of music. “The musicians on the album are colleagues and friends, I’ve been searching for a certain sound for the band, which can only be achieved with the right combination of personalities and talents. Ironically I had the pleasure of meeting most of my favourite Israeli musician friends in the USA… Jerusalem and Tel Aviv were like two separate planets back then” – Klein”flowing, bright and listener friendly, his flute sound is clear, crispy and melodic, and the Israeli-Brazilian mix is the ultimate contemporary Jazz sound, spiced with warm unique flute sounds from Klein. Mattan Klein’s virtuoso improvisation lifts Jazz-flute playing to new heights.”- Yossi Harsonsky, Senior Music Critic, Maariv
Next week sees the return of summer and jazz from Hot Biscuits. I have a live set from the Carlton Club, Manchester, from Edward Toots Kainyek Quartet. Also featured are pieces, some old, some new, from Steve Marriner Music and Brian Blain, `They’re not 50 anymore.` The Coalminers sing of Josephine. Michele Osten and `one for my baby.` Joe Henderson – Blue Note Records, `dwelling on If.` Closing with Frances Knight Quartet with `Frog in Love` If this looks interesting then tune in 24/07 on www.mixcloud.com/stevebewick/
THE AATA FAMILY
with Steve Cooke (right)
This weekend I offer a snapshot of our family of readers over the past four weeks that exemplifies the eclectic reach of all across the arts.
In the UK – Manchester, London, Raleigh-Durham-Chapel Hill, Blackburn, Liverpool, Middlesbrough and Stockton, Cheshire West and Chester, Tyneside, Norwich, Leeds.
Further afield – Helsinki, Paris, Montpellier, Lyon, Munich, Hyderabad, Chicago, Boston, Madrid.
Working in such as Creative Arts, Music, Software Development, Writing and Editing, IT Services and IT Consulting, Education Administration, Travel Arrangements, Education Administration Programs, Entertainment Providers, , Security and Investigations, Performing Arts, Advertising Services, Hospitals and Health Care, Business Consulting, Government Administration, Law Practice, Retail, Higher Education, Transportation, Logistics, Supply Chain and Storage, Construction, Wellness and Fitness Services, Semiconductor Manufacturing.
all across the arts is an oasis of positivity supporting individual and community wellbeing.
Jim Wade at Jazz In Reading Newslette
Rob Adama at Music That´s Going Places
Stephen Thomas Erlewine (ALLMUSIC)
Tina Benitez Eves American Songwriter
Jim Vorl in Paste Magazine on line
Tom Lanham in Paste Magazine on line
Peter Pearson Routemaster General at S and D
Steve Bewick at Hot Biscuits
Steve Cooke at all across the arts
please note logo The primary sources (above) for this piece were written have been attributed with thin the boydy of the text. Wherever possible the original writers have been attributed,
Images employed have been taken from on line sites only where categorised as images free to use.
For a more comprehensive detail of our attribution policy see our for reference only post on 7th April entitled Aspirations And Attributions.