Sidetracks And Detours. PASS IT ON (volume 8) Weekend Walkabout

Sidetracks And Detours.

PASS IT ON volume 8

Weekend Walkabout

pass it on logo It might have only been a week since our last weekend walkabout but it seems much longer, perhaps because we gave you a lot of news and asked you to Pass It On. What a fantastic job you have all done, making a lot of people happy to have heard about gigs, albums, books, artists or writers, and even some locations, they might never otherwise has heard of. Ours is a disparate, global readership but our colleagues at such synergies as all across the arts, artists like Cluadie, The Adsubian Art Gallery, The Lanzarote Art Gallery, North Sea String Quartert, Jazz In Reading, Ribble Valley Jazz And Blues Festival and English Folk Expo, as well as UK readers such as Jazz On Air Radio presenter Steve Bewick at Hot Biscuits, Graham Marshall at Rochdale Music Society, and such as Michael Higgins, dialectician and local historian from Lancashire Authors Association, as well as our Routemaster General, Peter Peasron, font of all knowledge on singer songwriters. Each of these will find some of our readers in Ireland, America, Canada, all across Europe and in Israel, Vietnam and South Korea, Australia and New Zealnd as well as here on Lanzarote and The Canary Islands. So thank you again for what you are doing in creating a global arts community on a wide smorgasboard from which people can choose and speak positively about whatever they enjoy. See below then, for the list of contents we have today for you to share with your like-minded, arts loving friends.

CONTENTS

Poetry And History

LANCASHIRE AUTHORS ASSOCIATION

Poetry Well Received  by Michael Higgins

Poetry And Art

STARRY, STARRY NIGHT

Robin Parker Remebered For work on Van Gogh

Poetry And Prose

LANCASHIRE AUTHORS ASSOCIATION

Poetry Well Received  by Michael Higgins

Theatre

COLISEUM LOCKED AND CLOSED

say I Luv Manchester

British Folk Music

FESTIVALS AND CHARTS LATEST

From English Folk Expo

Live Jazz

JAZZ IN READING

previews by Jim Wade

Sidetracks & Detours (sign logo)

Jazz On Air

HOT BISCUITS

by Steve Bewick

USING OUR A-Z TO REACH B FOR …

Brimham Rocks with Norman Warwick

Sidetracks And Detours

FROM SOUTH KOREA, LEFT-OVER SALMON

by Norman Warwick

Poetry And History

LANCASHIRE AUTHORS ASSOCIATION

Poetry Well-Received  by Michael Higgins

Sid Calderbank, president of the Lancashire Authors Association presented Michael Higgins with a commendation for his poem Morris Dancers Farewell. The judge kindly described it as ‘a rousing jolly poem, full of life and movement’ and says, ‘The reader can almost hear and see the music and colours of the dancers’, which Michael thinks was kind of her.

I did my best to recreate the scene of the turn of the 20^th century dancers under James Cheetham in Royton, and the beginning of their day out. It was a good session enlivened by a living tale of Suffragette pyromania at about the same period by Judy Beeston.

Photo by David Kevill and LAA

Poetry And Art

STARRY, STARRY NIGHT

Robin Parker Remembered For Work On Van Gogh

by Michale Higgins

photo Robin

I attended Robin Parker´s funeral at Middleton Crematorium the other day. The chapel was too small to fit all the mourners and some had to listen to the service via loudspeaker. Fortunately the weather had cooled from our recent weeks of heatwave but had kept dry.

The Mayor was there in full regalia, along with the leader of Rochdale council. The latter gave a fine eulogy of Robin the rag trade salesman, councillor, Spanish and German linguist to boot, and of course, former Mayor.

Robin´s son. Tim, framed the proceedings with his own words and observations.

Eileen Earnshaw read Robin’s sonnet ‘Contemplation’, and Robin’s widow Anni read his sonnet on Van Gogh’s ‘Starry Night over the Rhon´.  see below

Music from Metallica, Pink Floyd, John Williams/Stanley Myers and Queen provided the recorded music. It was a non- religious service but Cllr. Emmott remarked on Robin’s theology degree, his Christian faith, and his work with interfaith groups across Rochdale Borough. It was a fine send-off.

The writing contingent included Katie Haigh, Eileen, myself, Seamus Kelly, Ray Stearn, the Nearly Dead Poets Society and a host of others. The wake/reception was held at the Norton Grange.

I attach Robin’s sonnet  Starry Night over the Rhone from the service booklet. He had attempted to write a sonnet for all of Van Gogh’s work. An unfinished task. Ironically his exit music was Queen’s ‘The Show Must Go On.’.

editor´s note Thanks for this Michael. It sounds like a well deserved turn out for Robin.

I well remember a bright, blue sky day on The Butts in front of Rochdale Town Hall, when I was delivering ad hoc creative writing sessions to passers by. There were painters, potters and players, and circus artists and ceramicists, and dancers and drummmers. This was in the year of Robin´s time as Mayor and he was being shown around the arena. I hadn´t met him before but was thrilled by the time he took to speak about my work, and was impressed when I saw him do so with each artists working there.

We will all be left with different memories of  Robin,  simply because he could be all things to all men. Although I wouldn´t claim that Robin and I became great pals, I nevertheless worked with him a number of times on some exciting projects. There was a poetry by the canal initiative of Seamus Kelly´s, as I remember, led by Cartwheel Arts and involving eight poets from the Borough.

Robin later stepped into Pam McKee´s role as my partner in Just Poets and he and I worked together at the chalk face as perepetetics in primary schools and at Essa Academy in Bolton, taking his beloved Edgar Marriott monologue about The Lion And Albert and turning it into a County Court Civil Proceedings claim for compensation. A Lot of those kids had wisdom beyond their years.

I also worked with him, too, on producing the original all across the arts pages in The Rochdale Observer. I´m sure Robin would have been as pleased as I am to see how much Steve is committed to perpetuating that work, that is so vital to many working artists in the area.

And we all know that Robin had that same commitment !

Theatre

COLISEUM LOCKED AND CLOSED

say I Luv Manchester

I love Manchester logo More than a theatre

Theatres like this one offer communities far more than just a show, it is a hub and source of education, creativity, discovery and friendship. It can form a lifelong love of the arts and has done exactly that for so many.

Oldham has lost something vital and staff there have lost their livelihoods despite many valiant attempts to save this superb space from a superb team of local people. You can see why they fought, as this theatre was a source of joy for so many.

With such a historic and loved theatre closing its doors, we thought it was time for staff past and present to share their memories of the Coli and invite you all to do the same. Please add your memories to our socials.

 #OldhamColiseumMemories

A huge thanks to former head of Marketing and Sales, Shelly Ramsdale who gathered these beautiful memories for you all to reminisce and read. You might need something to wipe your eyes.

Memories of Oldham Coliseum

Nadia Watson, Front of House Duty Manager

“My memories of the Coliseum, though short, are complex. I first moved to Manchester in 2015 where I ended up doing my first acting performance with Oldham Theatre Workshop at Oldham Coliseum, whilst being introduced to the magic of the Coliseum’s productions with my auntie who worked there.

“Fast forward to 2021, and I got a job there which quite literally saved my life. I rediscovered my passion for the arts, made lifelong friends and finally had a job where they support your aspirations (for the starving artist, an understanding day job is not the norm). Not only was I working at a place which supported my aspirations but I got to perform on the stage again with Oldham based theatre company ‘Dare To Know’.

“I can’t limit my Coliseum memories because they are lifelong. But what I do feel is immense gratitude to have been there until the bitter end, connected with the volunteers and audience members who have collectively shared their passion and love for Oldham Coliseum.”

Rebecka Pyper, Marketing  & Communications Assistant

“Although I only worked at the Coliseum for seven months, the memories I have there will last a lifetime! When I first started working at the Coliseum in September 2022, I instantly felt at home, I was completely bowled over by the kindness, warmth and knowledge of every member of staff. I will always remember panto season, being able to listen to the laughter and shouts of children almost every day throughout November, December and January brought me so much joy. I am so proud to have been a staff member at the Coliseum and I will always be grateful for the memories made and the people I met.”

Kevin Leach, Technical Manager

“So many memories…of “Having to show-stop before the show had actually even begun on panto a couple of years back. During overture, the lighting desk froze. I went out in front of the showcloth at least twice to apologise and each time it did the same as before. Each time I got a “booooo” on telling them we have a technical issue. We were going to pull the show to a full house but on the third and final time going out to speak to the audience I was serenaded with “oh no its not!”

“I remember pulling up some flooring centre of the circle pre-refurb to reveal dead mice skeletons, packets of woodbine cigs, old rep entry tickets/programmes and mountains of chewed-up paper. How on earth that mix of cigarettes and dry paper didn’t cause a severe incident when venues allowed indoor smoking is beyond me?”

“Meeting my partner at the colly, we bought a house together.

“The numerous one night Ken Dodd shows. Arriving late. No idea until last minute of performance what was required. Went on until next year and then when he did finally come off he opened a 4 pack of fosters in his dressing room and carried on his routine. The best I’ve ever worked with. Genius and a very nice bloke.

“We were about to tour Up On The Roof I think it was. I needed to do a site visit to New Wolsey, Ipswich. I tied it in with a Latics (Oldham Athletic) match in Southampton on a Tuesday night. Set off at 5am from Oldham. Got to Southampton via Ipswich in the theatre van at 6pm.

Lucy Woodcock, Wardrobe Supervisor

“Going back to work in the wardrobe department for the Coliseum after a 22-year gap which brought back all the old memories and reminiscing on my time there. Working with people who are still there, working in spaces that haven’t changed much and finding costumes that I’ve made still hanging in the costume store! And now the best memory I will take away from Oldham Coliseum is meeting and working with amazing people who work hard to make the best theatre.”

Adam Gent, Production Manager

“It was Jack and the Beanstalk, I think the 2013 outing, I have slept some since then.

“We had a viable trap door in the stage for the first time in decades and we were having a beanstalk grow out of it. That was the plan. We spent so much time planning how to make the trapdoor work, and how to make the beanstalk grow, it was the centrepiece of the scenic side of the production. It got to tech week and the beanstalk just didn’t seem to work the way we wanted it to, I spent much of tech week down the trap with colleagues trying to make it work the way we wanted to, to be a ‘believable’ beanstalk. I can honestly say that much of my language that week regarding the beanstalk was not family friendly.”

“Then it came to the first preview, Saturday Matinee, we got to the end of Act 1, the growing scene. The trap door opened, the beanstalk began to grow, and hundreds of kids in the audience audibly gasped. That gasp restored my faith in Theatre Magic.

“That’s why we do it, for the kids.”

Kyle Wilcock, Front of House Duty Manager and Volunteer Coordinator

“My first memory of the Coliseum was being taken to the 2001 pantomime Cinderella written by the wonderful Kenneth Alan Taylor and starring a local actor who was a friend of my dad! My grandparents took me to all annual pantos from that point onwards and my love of the Coliseum began.

“In 2007 I began acting sessions at the theatre which I did for about seven years before joining the theatre’s voluntary front of house staff headed up by Coliseum’s legendary Front of House Manager, David Rustidge. I loved my time as a volunteer and would often do four evenings a week just to be at the Coliseum. I was thrilled in “2018 when paid positions became available with the FOH and Box Office teams. I saw many staff come and go before becoming 2^nd in department and then started my tenure as Interim House Manager in December of 2022. As we all know, tragedy struck and the theatre closed in March 2023. We were all heartbroken. I had to deliver the news to my loyal band of over 60 voluntary staff and my casual bar and events team.”

“I am an avid Coliseum historian and have an archive programme collection spanning back to 1940! The Coliseum has, for a long time, been my life and I’ve been proud to work in such a prestigious venue following in the footsteps of hardworking and dedicated staff. A stand out production at the theatre for me came in 2015 when we produced Hot Stuff, a ‘70s juke box musical which was devised for the Coliseum in 1990 and toured the West End. The theatre has celebrated many successes over the years including the regional premiere of The Rocky Horror Show in 1981.

“I am so grateful for my time spent at the Coliseum, I will miss it dearly and have many fond memories of the place and the wonderful people I had the pleasure to work with.”

Carol Moore, Deputy Box Office Manager

“Matt Rixon falling down the stairs and me fainting when I went to help – and the fall resulting in re-doing part of the production to take out some dancing.

“Fine Time (Fontayne, former Panto Dame) used to lodge with me for pantomime. For some reason one year the staff Christmas do was the evening before a 10.15am performance. Fine Time was usually up and out by 8am when there was a morning show as he liked to go and get breakfast somewhere. At about 8.45am I hadn’t heard him leave so I went and knocked on his door. ‘Come in’ he muttered, I said ‘you do know its 8.45am and you have a morning show?’ ‘Oh s**t’ was the reply. “

“Oh and he was still fully dressed from the night before…”

Ann- Marie Mason, Box Office Manager

“The time when Steve Coogan was in the audience and we’d had a new ticketing system nightmare and someone was sat In his seat! He was lovely about it but of all the people!:

Ade Obikoya, Finance Assistant

“I’ll never forget the ever-busy panto days…kudos to everyone most importantly the creative team!”

Rachel Hollister, Administrator

“I have too many fond memories of the Coliseum, but the main one is how I practically grew up there. From eight years old, I started off as a chorus member in my first ever panto, Babes in the Wood. From then on I was part of the chorus every year until I was 16 and too old to do it. I then went on to work there in various different roles. On the last night of every panto, our hearts used to break and we would cry our eyes out because it was over, until next year. It was funny, because the actors never cried that it was over, they were tired from the long run and ready for the break! But us kids could have done it every day, all year round, forever!!! It was the best thing I ever did and I’m grateful to have been a part of it for so long.”

Jane Jones, Company Stage Manager

“I was working on The Rise and Fall of Little Voice, hiding under a platform ready to do a scene change. Something moved and I looked to my right and sat on the cheese sandwich I had prepared for the show –  was a little mouse. We sat together for a little while pretending we hadn’t seen each other and then when I moved to do the scene change it ran away. Then I very quickly had to remove the mouse-cheese sandwich and replace it with a fresh sandwich.

“We worked with the Great Kavari a magician on The Invisible Man, he helped with the Invisible Man tricks. I was walking past the dock when he shouted at me “you young lady come here, I need to put you in this box.” I didn’t question it and very quickly I was being put into a box that was a trick set of treads to demonstrate to the Director, my Stage Management team mates and the rather tall actor who was to do this trick how the trick worked.

“Before computers were a thing, David Rustidge used to write his Front of House reports for each performance and then deliver them to the Stage Management office so that the Deputy Stage Manager could photocopy them with the Show Reports – double sided – and distribute to the department’s pigeon holes at stage door. My avourite thing David wrote was: “It was a rather wet and windy entry.

“Beryl was ace, but I couldn’t believe Chris (Lawson, Artistic Director) when he asked for yet another bike in rehearsals – there were already eight in the room  to be fair one had broken.

“Running around Alexandra Park with a couple of prop daggers in my pockets and a prop machete down the back of my shorts for our promenade production Star-Cross’d – I didn’t want to alarm any public by having the prop weapons in my hands and in view.

Jamie Walsh, Producer

“There are so many great memories I have from working at the Coliseum. Sitting in rehearsals for Bread & Roses and hearing the powerful voices of the cast singing Hard Times. Launching Cultivate and the Main House takeover. Being surrounded by school kids going absolutely mental for Old Town Road by Lil Nas X while they were waiting for panto to start. Filming all the advent plays and getting Chris (Lawson, Artistic Director) to dress up as the Dame. The Coliseum was so full of life, heart and possibility with so many amazing people doing so many amazing things. Those are the memories I’ll keep.”

Shelly Ramsdale, Head of Marketing & Sales

“Panto allowed me to do some very silly press stunts, so I have a few of those to look back on – Fine Time Fontayne dressed in a brilliant My Little Pony costume on a carousel at Manchester Christmas Markets, taking Cinderella and Prince Charming to their first date in Nando’s, Jack taking his vegan cow to Greggs to try the new Vegan Bake.

“I’ll always remember the announcement photoshoot for Aladdin, which I’d arranged at a Launderette in Milnrow. Before we set off Shorelle (Hepkin, playing Aladdin that year) very matter of factly said to me: “I’m not getting in a washing machine, Shelly” – that’s not something people with normal jobs hear from their colleagues! I’m also very proud of my annual panto cast trip to Dr Kershaw’s Hospice – it always brought cheer to the residents and staff, and there was one year that the cast even did a short performance.

. “I have always loved sitting in rehearsals – managing rehearsal photography or just watching a run. I find it really interesting seeing how different directors and companies work together. There was one rehearsal that really stands out: it was Up N Under and Chris (Lawson) was directing. Chris was Associate Director at the time and Kevin Shaw was Artistic Director. Chris had given one of the cast – Reece Richardson – a note to maintain eye contact with Kevin throughout a sexy dance to Pony by Ginuwine. It’s one of the funniest things I’ve ever witnessed.

“On top of it all, Encore will stay with me forever. I’m so incredibly proud of all of us for what we achieved in just two weeks, while we were all going through that major crisis, and it means so much to me that so many people came back to the Coli to support us and be part of it. The Coliseum has this thing that it really feels like a family, and the theatre building itself is our home. The week leading up to and the day of Encore felt like a big reunion, with our extended family all coming home to us one last time. I get quite emotional just thinking about it. A huge thanks to Shelly and the team for sharing these poignant and funny memories. And best of luck to you all of you wherever you’re headed next.”

Thanks for all you have done for Oldham; the audiences, the kids, and the community off stage and on stage from all of us at I Love MCR.

British Folk Music

FESTIVALS AND CHARTS LATEST

From English Folk Expo

Our expanded programme of live performances for 2023 will ensure an even greater selection and breadth of artists to inspire this year’s EFEx industry delegates. 

On Saturday 21st October Manchester locals The Breath will be performing a very special in-the-round concert, while also announced is a solo show byMichele Stodart  of The Magic Numbers.

More artists announced for
English Folk Expo Showcase ’23

Other artists newly announced for across the event are Amy Thatcher & Francesca Knowles, Annie Dressner, Chris Cleverley, Chris Fox, Clara Mann, Coruja Jones, Eliza Marshall, Jon Wilks, Katie O’Malley, Katie Spencer, Kirk McElhinney, Man The Lifeboats, Me Lost Me, Nunnery Norheim, Ruth Lyon, Sally In The Woods, The Dove & The Dragon and The Often Herd.
 

Showcasing EFEx Mentees

And our four English Folk Expo mentees, currently undergoing a year of mentorship, training and performance experience under the EFEx one year mentorship programme, also join the bill for EFEx ’23.  They are George Boomsma, Hannah Scott, Heather Ferrier (pictured) and Maddie Morris.

International Partner Artists Announced

Further adding to newly announced artists are our guest international artists performing in our now expanded partnership programme which for the first time presents four partner showcases rather than our usual one.

International Partnership Artists performing are…

Prince Edward Island presented by Music PEI: Catherine MacLellan, Gordie MacKeeman & His Rhythm Boys, Inn Echo.

South Korea presented by Seoul Music Week: Gonia, Groove&, Gray By Silver
Flanders powered by Festival Dranouter: Broes, Marvara, Tom Theuns & Aurélie Dorzée

The top ten of the English Folk charts changed dramatically last month.Straight in at no. 1, Careful Of Your Keepers (Rough Trade) by This Is The Kit (Kate Stables) chronicles a world of mistakes and mishaps, cruel circumstances, and universe-driven surprises. It’s a record that embraces the concept of outrospection – the idea that one gets to know oneself by developing relationships and empathic thinking with others

In at no. 2 is Archangel Hill (Domino Recordings) by Shirley Collins who, at 87 years old, continues to be one of the most celebrated names in English folk music. This album showcases a collection of songs from traditional sources and Collins’ favourite writers, and a 1980 live performance at the Sydney Opera House featuring an arrangement by Shirley’s late sister Dolly Collins

No. 10 is Jim Ghedi & Toby Hay (Topic) by Jim Ghedi and Toby Hay, a duo project between two finger style guitarists, coming together to blend influences and different styles of playing to create a unique sound for guitar-based folk music. The album was recorded at Giant Wafer Studios in mid-Wales, where the duo recorded the entirety of the album live, with no edits or overdubs.

Live Jazz

JAZZ IN READING

previews by Jim Wade

Sax on the Thames
Art Themen opens Trad Boat Festival

Friday 14 – Sunday 16 July
Fawley Meadows. Henley-on-Thames RG9 2HY
Music from 6pm

photo jir art themen Legendary Henley musician Art Themen is the opening main stage artist at the Traditional Boats Festival on July 14 – 16 at Fawley Meadows. Henley-on-Thames RG9 2HY. Art’s blues and jazz quartet take to the Riverside Stage at 6pm Friday 14 July, kicking off a weekend party of chart-topping artists.

Art Themen’s presence has illuminated the world jazz circuit for over 40 years. He toured the world fronting Stan Tracey’s quartet and played alongside all the British and American legends. He is a friend and regular at Ronnie Scott’s Club (Art even acquired Ronnie Scott’s sax).

 
Originally a blues saxophonist with Alexis Korner, Jack Bruce & Ginger Baker (Cream), other artists outside the jazz world Art has worked with include fellow Henley Beatle George Harrison, Mick Jagger, Chuck Berry, Joe Cocker, Rod Stewart and even Bing Crosby. The Covered follow Art’s Friday opening performance with two hours of party hits.

 
On Saturday 15th at 6pm the main stage features the Ding Dong Daddios with 1940’s/50’s jive, swing rock & roll. Follow by the EXMEN – members of The Kinks, Blockheads, Thin Lizzy, The Animals and Bay City Rollers performing all their chart toppers.

 
On Sunday 16th the Empire Choir revive patriotic spirits blasting out Land of Hope and Glory and Jerusalem before Clearwater Creedence Revival headline with all their hits including Proud Mary which Tina Turner enjoyed much Creedence with. What better way to end the Trad Boat Fest than Rollin’ on the River?

Note: all online tickets are seriously discounted, starting at just £12.

 
Full Festival information here | Tickets here

Keith Fairbairn’s Cubano Soul
featuring Anatoliy Vyacheslavov

Crowmarsh Jazz

Saturday 22 July

Doors 6.45pm | Show 7.30pm.
Tickets – £15 (£5 concession, details below)

We are very excited to welcome Keith Fairbairn’s “Cubano Soul” Band to Crowmarsh Jazz for the first time. 

jir cubano soul Groove is the binding force for “Cubano Soul”. “For those in the know, the Pocket is the Flow”!!! Keith’s influences for this band include the funk jazz explorations of the great CTI Record label of the late 1960’s through the 1980’s, the Ray Barretto and Poncho Sanchez Latin Jazz takes on popular standards, plus bands and musicians stretching back from “The Crusaders” and Grover Washington through to present day outfits llke “Soulive” and “Lettuce”.
On this evening, expect tunes made famous by such artists as: Donny Hathaway, Grover Washington, Sergio Mendes, Ray Barretto, Deodato, Stanley Turrentine, Cannonball Adderley, Eddie Harris, Mongo Santamaria, Gerald Albright and Freddie Hubbard.

Keith Fairbairn studied Percussion for 4 years at The Guildhall School of Music while also playing Percussion with NYJO. Since then he has enjoyed a successful career in the Music Industry playing live and recording sessions with a variety of Artists such as: Mike Oldfield, Dionne Warwick, Miki Imai, Mari Wilson and Dame Kiri Te Kanawa to name a few plus playing on many Albums and Film Soundtracks featuring the likes of Tom Jones, Meat Loaf and Madonna. Other Composers worked with include

Jerry Goldsmith and Graeme Revell. He also contributed Percussion to various Andrew Lloyd Webber projects including Soundtracks to the Alan Parker Film “Evita’ and also the All-Star Albums of “Whistle Down the Wind:” and

“Jesus Christ Superstar”. Keith has also played Percussion on numerous Tv Series and West End shows including “The Lion King” and “The Bodyguard” with Beverley Knight.

In the Jazz field, Keith has played with a huge range of Artists including Barbara Thompson, Madeline Bell, Jon Hiseman, Oxley/Meier Group, Noel Langley, Mark Lockheart, Frank Harrison, Mulford/ McFarlane Group, Chris Standring and Scott Stroman as well as playing Percussion at the Oxford based Spin Jazz Club with musicians such as Nic Meier and John Etheridge. Present projects include a Project exploring “Shadows and Light” era Joni Mitchell with vocalist/guitarist Hattie Whitehead

Anatoliy Vyacheslavov (Tenor & Soprano Sax) studied Saxophone in his homeland of Ukraine, then travelled all around the world as part of the show band aboard the Hanseatic Cruise ship, playing big show tunes as far north as the Arctic Circle and right down to the Antarctic too! In 2001, he moved to the UK and in addition to performing live, became a session musician. His time on the road and in the studio saw him performing and recording with many artists including Cat Stevens, Suzi Quatro, Nick Heyward (Haircut 100) and the legendary Geno Washington. Since then he has been enjoying a busy schedule of performing, tutoring and recording his own material. Well known for his amazing technique and beautiful tone, we can’t wait to welcome Toliy to Crowmarsh Jazz – If you’re a Sax player, this will be a real treat!

Maff Potts (Keyboards) a local pianist and host of Crowmarsh Jazz, has played with a whole host of visiting Jazz Artists as part of local House Bands, including Alan Barnes and Art Themen. Maff is known for his soulful and highly musical accompanying and soloing and is just as content sitting on a Montuno as embarking on one of his explosive piano or organ solos! Maff was also part of the “Honkin’ Hepcats” who took the Edinburgh Festival and 100 Club by storm. Some years ago, Maff also headlined the Jazz Cafe, London with his Funk Band.

Drew Milloy (Bass/Vocals) is a bassist, vocalist, songwriter and multi- instrumentalist. Drew is comfortable in many genres, from jazz and soul to pop and folk, and has played venues throughout the UK, Europe and the USA. Closer to home, Drew is well known in South Oxfordshire as a long-standing member of Wallingford’s Band of Hope, and played double bass on the 2012 solo album “Palindrome Hunches” by Slowdive’s Neil Halstead.

Charlie Stratford (Drums) started playing the drums at the age of 12 and soon became involved with various jazz groups and orchestras. In 1993 he won a scholarship to study at Berklee College of Music in Boston, USA where he took lessons from Joe Hunt (Stan Getz) and Skip Hadden (Weather Report). He then returned to London and studied privately with Ed Thigpen (The Oscar Peterson Trio). Charlie has performed at venues including Buckingham Palace and The Royal Albert Hall and with artists such as Humphrey Lyttleton, Scott Hamilton, Jamie Cullum and Suggs.

Doors: 6.45pm, show 7.30pm. There will be a bar available provided by local pub the Queens Head. We adhere to all current COVID Government guidelines.

Venue: Crowmarsh Village Hall, Benson Lane, Crowmarsh Gifford, OX10 8ED.

Plenty of free parking is available.

£15 standard ticket price.

BOOK HERE: https://crowmarshjazz.co.uk/buy-tickets

Tickets are reduced to £5 for anyone living or working in adult social care and anyone in receipts of benefits from DWP – please get in touch directly to book these by email (fleur@fleurstevensonjazz.co.uk) or phone (07795974223).

Please advise of any seating requests when booking. If there is a party who has booked separately that you’d like to share a table with, please let us know in advance so we can make sure you are seated together. Thank you. We look forward to welcoming you soon, and together keeping music alive!

Crowmarsh Jazz pays all musicians properly and supports the campaign for fair pay for musicians.

Crowmarsh Jazz: www.crowmarshjazz.co.uk

COMING UP AT   JAZZ AT THE PROGRESS

photo theatre Keep an eye on the Jazz in Reading website for details as they become available. Plus, of course, we’ll alert you by email to each event as the time draws near.

Best regards, The Jazz in Reading Team

Fri 15 Sep – Pigfoot Plays Ellington – Chris Batchelor trumpet, James Allsop baritone sax, Liam Noble piano, Paul Clarvis drums 

Fri 6 Oct – Partners in Time – Historic Trumpet/Sax Partnerships – Stuart Henderson trumpet, Karen Sharp saxes, Leon Greening piano, Raph Mizraki bass, Simon Price drums

Fri 10 Nov – Chris Biscoe plays Mike Westbrook – Chris Biscoe saxes, Kate Williams piano, Mike Outram guitar, Dave Whitford bass, drums tbc

Fri 22 Dec – Moscow Drug Club – Katya Gorrie vocals, Jonny Bruce trumpet, Mirek Salmon accordion, Andy Bowen guitar, Andy Crowdy bass 

Fri 9 Feb – Jean Toussaint Quartet – Jean Toussaint tenor sax, Pete Billington piano, Paul Jefferies bass, Simon Price drums

Fri 22 Mar – International Trio

led by Swiss supergroup Vein drummer –Florian Arbenz Jim Hart vibes, Percy Pursglove trumpet

Fri 10 May – Five-Way-Split – Quentin Collins trumpet, Vasilis Xenopoulos tenor sax, Rob Barron piano, Magyars Hofecker bass, Matt Home drums

Fri 21 Jun – The Gaz Hughes Trio:

The Nuclear Bebopalypse Tour

– Gaz Hughes drums, Andrzej Baranek piano,

Gavin Barras double bass

The Music Of Bill Evans
Featuring The Paul Edis Trio
with Special Guest Noa Levy

Bishop’s Court Farm

Dorchester on Thames OX10 7HP   Sunday 16 July
Doors 6pm | Show 7 – 9pm | £20

The Music Of Bill Evans Featuring The Paul Edis Trio with Special Guest Noa Levy

The eighth show in an exciting series of contemporary jazz evenings at Bishop’s Court Farm

‘A brilliant young pianist.’ The Guardian

Nobody sounds quite like Paul Edis or transports you to the places he travels to with his meditative music. Having received unanimous critical acclaim for his last studio album, The Still Point Of The Turning World, Edis has immersed himself in the exquisite work of Bill Evans – widely considered to be the most important and influential pianist in the history of jazz.

This very special show will feature the sublime voice of critically acclaimed San Franciscan singer, Noa Levy, who will be performing a selection of standards which were a vital part of Bill Evans’ repertoire.

Many people will know Evans from his work with Miles Davis on Kind Of Blue. Davis said he had “quiet fire,” which perfectly encapsulates his mesmerising and understated playing style. Like Evans, Paul Edis plays without a trace of bombast or affectation. Simultaneously soothing and stirring, rapturous yet relaxed, at times the melodies almost appear to become subservient to the dreamlike mood of the music.

• Paul Edis – MD/Piano
• Matt Home – Drums
• Adam King – Bass
• Noa Levy – Vocals Drinks will be available to purchase on the evening.

Best regards from The Jazz in Reading Team

Jazz On Air

HOT BISCUITS

by Steve Bewick

My Hot Biscuits Jazz Broadcast next week features a live set from the The Carlton Club  set in the beating heart of the Whalley Range community, just outside Manchester, in the UK. It is where good people meet and where friendships old & new are formed over a drink,  jazz music & social shindigs.. I will introduce you to the Simone Manunza Trio.

Simone hasI been playing as a professional musician since 1990. He started his career in Italy where he studied Jazz guitar, Harmony and Composition and Arrangement in Milan. He has collaborated with many important musicians in Italy and abroad. With his own trio he recorded an album dedicated to the music of John Coltrane: “Coltrane’s Colours”, which received a good review in the most important Jazz magazine in Italy Musica Jazz.

Manunza has been I living in the UK since 2012, and is an active member of the North Wales Jazz Society  and he is also part of the Ain’t Misbehavin’ jazz group, based in Manchester.

He also enjoys creating  jazz  arrangements of popular Italian songs.

Also featured in the broadcast will be Wayne Escoffery, saxophonist. Grammy Award-winning tenor saxophonist Wayne Escoffery has performed, toured, and recorded with numerous internationally respected musicians and has become known for his tone, impressive technique, and versatility. He has been a member of many major groups, most notablyThe Tom Harrell Quintet, with whom he toured and recorded for ten years. Escoffery also co-produced several of Tom Harrell’s albums including Prana Dance, Roman Nights, The Time of the Sun, and Number Five.

Escoffery is part of the Yale School of Music’s Jazz Initiative, where he is a Lecturer in Jazz and an ensemble coach. His class, “Jazz Improvisation”, is open to both undergraduate and graduate students at Yale. Escoffery has performed at Sprague Memorial Hall as part of Yale’s Ellington Jazz Series.

Born in London, Escoffery moved to the United States in 1983 and three years later settled in New Haven, where he studied at Neighborhood Music School, ACES Educational Center for the Arts, and the New York City-based Jazzmobile. Escoffery graduated summa cum laude with a bachelor’s degree in jazz performance from the Hartt School at the University of Hartford, where he was a protégé of saxophone legend Jackie McLean. He earned a Master of Music degree from the Thelonious Monk Institute of Jazz Performance at the New England Conservatory, where he studied with George Coleman, Jimmy Heath, Don Braden, Clark Terry, Ron Carter, Barry Harris, and Charlie Persip, among others. 

Since moving to New York City in 1999, Escoffery has performed with the most elite jazz musicians in the world. He has recorded ten studio albums as a leader and currently leads his own group featuring pianist David Kikoski, bassist Ugonna Okegwo and drummer Ralph Peterson. Escoffery is also founder of the band Black Art Jazz Collective which tours internationally and has released two albums.

You will also  hear The Canadian Jazz Collective, inviting us to `dig that`. and Wadada Leo Smith seeking a spiritual horizon. `Swinging up in Harlem` with Lafayette Harris Jr. Piano, with Peter Washington (bass) and Lewis Nash (drums) !

The Canadian Jazz Collective by the way are anewly created group of established and Award-Winning Canadian jazz artists, which takes a collaborative approach to the presentation of original Canadian jazz on the international market. The Collective’s repertoire consists of original compositions from the musicians, all specially arranged for this ensemble.

In early May of 2022, The CJC (Canadian Jazz Collective) travelled to the European cities of Paris, Nueburg, Villingen, Vienna and also London, where they presented a highly successful series of seven concerts for sold out, standing-room-only audiences and while in Germany recorded their inaugural performance album at the iconic MPS Studios (Most Perfect Sound) in Villingen in the Black Forest, where Canadian pianist Oscar Peterson recorded many famous albums in the 1960s. The CJC ‘s first album, co-produced by German promoter/record producer Friedhelm Schulz is set for International release by HGBS Blue records on CD, vinyl, and all digital platforms in late March 2023.

If this looks interesting pass it on and join me at www.mixcloud.com/stevebewick/ anytime 24/07

Sidetracks & Detours

using our A.Z to reach B for

BRIMHAM ROCKS with Norman Warwick

Regular readers will know that we don´t really plan anything in our office, let alon an itinerary for an around the world tour. So, after arriving at point A a fortnight ago which was actually a C:A:C:T centre on Lanzarote that translated into an English acronym that began with A we had no idea where we might head for as point B.

Slowly, though, just as we like it to happen, an idea started buzzing in my head. Well, not buzzing really. I´m sure my Uncle Bill Bell, if he were ever to read this page would scream out that Bees do not buzz. I can´t remember what other word he uses to describe the sound of around a hundred thousand bees, housed (dozily, he would alwyas tell me) on the back seat of his car as we drove around eight hives through the darkest hour over to BrimhamRocks for the equivalent of their summer holiday. Brimham Rocks, that´s another bloody B:

Look up Brimham Rocks with your search engine and you will find them described on The National Trust web site.

It describes the natural rock formation that gives the place its name as being weird and wonderfully shaped, having been created by an immense river over a hundred million years before the first dinosaurs walked the earth. You will also learn aboutBrimham Rocks’ heather moorland being a Sites of Special Scientific Interest (SSSI), home to three local varieties: ling heather, bell heather, and cross-leaved heath.

Find a cosy second-hand bookshop in the visitor centre filled with cook books, children’s books, historical editions and lots more

The National Trust has sought to make the landmark as accessible as possible to ensure as many people as possiblecan enjoy Brimham Rocks. There are accessible trails to the main rocks, suitable for mobility scooters and wheelchairs. Please note some parts of the site have steep gradients and mixed terrain. Mobility scooters are available to hire, free of charge, by pre-booking. Accessible toilets can be found at the visitor centre and induction loops and drop-off points are also available. If you’d like to book a mobility scooter or discuss any arrangements we can make to meet your access needs please give us a call on 01423 780688

Brimham Rocks is free to enter. You can pay for parking at the pay and display machines (coins only) or via the Pay-By-Phone app. Card payment can be taken with a team member at the welcome hut. We advise downloading the app before visiting as the signal can be tricky in the car park. Booking is essential for minibuses and coaches. National Trust members can park for free, please scan your membership card at the car park machines.

Brimham Rocks never seemed quite as accessible under a clouded moon around midnight Uncle Bill pulled the car off the country and into a field for a site he was renting from a local famer so that his bees could have access to the heather. That would make the honey Bill and his wife, my Auntie Marlene would sell at their farm gate throuyghout the rest of the year. sixty miles away back home at Bolton Percy near York.

As Uncle Bill´s car, and trailer, chugged up a stoney, grassy knoll every bump in the what-wasn´t-a-road scared me to death, for surely all this would disturb the swarms. It was enough to make my skin crawl, or even worse it might be enough to make a battalion of bees crawl across my skin. 

The scariest moment, though, would be when Bill the Beekeeper  would pull on his handbrake and tell me it was time to take each hive out of the car, and the others off the back of the trailer and carry them one by one to what seemed to be an infinity horizon stretching out to what I´m sure would have been fields of purple heather had there been enough starlight to illuminate them.

¨Take it easy Norm´, Uncle Bill would say as we set off for the last fifty yards, with hives in hands. Hell, what did he think I was going to do? Sprint to the try line, and plant the hive down like a Rugby winger plants an oval ball?

I would have fourteen or fifteen at the time and I was terrified, and you might ask why I did it. To be honest I look back upon those two or three years as a rite of passage. Bill had tended bees all his life, and his two sons, my younger cousins, had already undertaken this test of courage. To be honest, I was never stung, and we never had any real mishaps.

And, to be honest, Brimham Rocks provide a wonderful place for an adventure for all ages, but please explore safely and don´t take any bees with you.

The rocks and paths can become slippery when wet. Always keep an eye on children, there are sudden drops and steep slopes across the site. If you’re visiting Brimham Rocks to take part in activities such as rock climbing, please make sure to take extra care at height.

And if you are readoing this, Uncle Bill, that means visit ion daylight hours and leave the bees behind !

The history of Brimham Rocks spans over 340 million years and is a treasure trove of geological and scientific interest. The natural and human history of the rocks have been enchanting visitors for generations. It is a place of history, adventure, peace and tranquillity.

Brimham’s rocks are largely made from millstone grit. The North America and Eurasia plates collided 400 million years ago, creating a huge mountain range to the north of the Brimham/Nidderdale area.

Around 335 million years ago, the UK was located over the equator where warm, tropical seas dominated. Approximately 15 million years later, erosion from the mountain range transported silt, sand and pebbles by fast flowing, powerful rivers, periodically flooding this tropical paradise.

The grit included crystals of steel-hard quartz and softer crystals of feldspar. The deposits by the rivers were compressed and hardened over time to form the millstone grit rocks of Brimham.

As grit and sand is laid down, each depositional episode form layers called bedding planes. Bedding planes represent periods of time and depending on the angle at which they are laid down, show the direction the river was flowing.

A change in the angle of the bed is representative of a change in the river direction. In some places at Brimham the bedding planes run diagonally as well as horizontally, showing where huge underwater sand dunes once were.

In places there are large holes and tunnels. Some of these were formed by stones getting caught in an indentation and being swirled round by water, wearing away circular holes.

Long, tunnel-like holes are likely to have been formed when giant vegetation (such as roots) were buried in the rock when it was being formed. It then would have eroded more quickly, leaving a tube-like hole.

When North Africa collided with Europe about 50–25 million years ago, forming the Alps, there was a ripple effect extending north to parts of the UK, resulting in massive forces putting lots of pressure on the rocks. This caused some to crack and fracture. An example is Eagle Rock where the sides of the two rocks fit together perfectly.

During the last Ice Age (30,000–18,000 years ago) a passing glacier carved out the Nidderdale Valley, creating a deep U-shaped cross-section. The hard millstone grit of Brimham resisted this glacial erosion and was left exposed as the softer rocks of the Nidderdale Valley were cut away by the moving ice, before it finally melted about 10,000 years ago.

The gritstones at Brimham were exposed above the glacier and subjected to fierce Arctic-like weather, further eroding the rocks into even more fanciful shapes.

In the Domesday Book Brimham is recorded as ‘Birnebeam’ – a name suggesting that it used to be heavily wooded – and described as ‘waste’, uncultivated and unpopulated.

By 1252 it was owned by the monks at Fountains Abbey and used for grazing livestock. After the Dissolution of the Monasteries in the 1530s, Brimham passed into private hands and became part of the Grantley estate in the 18th century.

Visitors discovered Brimham Rocks in the 18th century and it was thought that the rocks must have been stacked together by ancient Druids.

There is some evidence that about a hundred people a year may have come in the 1760s, but visiting became popular in the latter years of the century. In 1786, Major Rooke visited Brimham Rocks and gave a lecture to the Antiquarian Society on his theory that the rocks were erected by the Druids.

With this additional mystical link Brimham Rocks was put on the map, and in 1792 Lord Grantley built Brimham House ‘for the accommodation of strangers’

By 1862, the tenant Richard Weatherhead, was advertising guided tours around the rocks for sixpence a head, along with teas and refreshments at Brimham House. When he retired in 1882, William Brown took over the tenancy, living nearby and only using Brimham in the summer months to serve visitors.

n 1920, Fred and Mary Ann Burn came to Brimham Rocks. They started a tea-room next to Brimham House, using an old army hut from the camp at Ripon. The walled area in front of Brimham House was a kitchen garden, providing vegetables and soft fruit for the tea-room.

In 1938 H.R. (Essie) Houseman took over the tenancy and continued to run the tea-room. Brimham House was not used and fell into disrepair. In 1948, the old army hut burnt down, so refreshments were provided by Mrs Carrick from a caravan located near the current refreshment kiosk.

In the 1960s, the area agent wrote a report outlining the legal situation of Brimham and expressed the view that if the property passed fully to the National Trust, ‘the whole of the moor would be acceptable and worthy of inalienability’, preserved from being subsequently sold.

Turning his attention to Brimham House, he reported it in bad condition and needing either to be demolished or restored as a warden’s house and café.

Furthermore, new lavatories and a car park were needed. The agent estimated likely visitor numbers to be 70,000 per annum and concluded that the project was viable.

It was in 1970 that Miss Ackernley decided she wanted to relinquish her interest in Brimham in a way that would ensure it stayed open for visitors to enjoy. The National Trust acquired Brimham Rocks in October 1970 and on 16 April 1971, the Trust’s Executive Committee noted that ‘Brimham Moor (Yorks)’ had been transferred to the Trust.

In January 1972 the Trust resolved to make Brimham into a country park and enacted its inalienability. To do this, the house had to be restored to provide suitable accommodation for a warden, an information centre and new lavatories needed to be built, along with car parks and access roads, a new refreshment facility created, and the connection of electricity and telephone lines.

The restored house was lived in by a warden for some years. He and his wife took charge of the site and its increasing number of visitors. Their job description left little out. They sold refreshments, controlled the car parks, managed the visitors and maintained the site.

Since those early days the site has gone from strength to strength. Some 250,000 people a year are estimated to visit, more than fulfilling the expectations of the area agent in 1960.

Today’s challenge is how to cope with these numbers both in terms of enabling a worthwhile visitor experience and preserving the unique attractions of this special place.

Sidetracks And Detours

FROM SOUTH KOREA, LEFTOVER SALMON

by Norman Warwick

Our son, Andrew, has lived half a world away in Seoul for more than twenty years, or just more than half his life, with his South Korean wife Sue and their daughter, Olivia. He has sent us lots of traditional South Korean items for our Lanzarote home, including a wonderfully ornate table lamp and hundreds of pairs of shoes, (don´t ask). This week he sent us what we thought was bound to be the strangest gift ever when he told us he had posted some Leftover Salmon, because it is much loved in South Korea. The gift arrived the same day, in the form of a link to a web site for an American bluegrass band ! His accompanying e mail told me he really likes the band because the banjo, an instrument he himself plays, is so prominent in their music.

His e mail asked if I had heard of them, which is a question he only ever asks when he knows damned well that I haven´t.

Checking out the web site I realised they have already enjoyed a spectacular longevity, and that I really should have heard a band so successfully creating a music in a genre I love.

It turns out, though, that the father-son line that stretches from my record collection that included, (when it was washed away in the record-breaking Rochdale Floods of Boxing Day 2015) all the releases of a very similar band called Seldom Scene,. to Andrew´s computerised playlists that include Leftover Salmon. A similar father son story runs even between those two bands as you will discover if you read the web notes below and the biographies of the players who have pushed back the sell by date of Leftover Salmon.

I might have never heard the name of the band had my son not seen fit to Pass It On, having read our pervious Weekly Walkabout. I had already listened to a couple of albums before turning to their web site, but even that brief sample from a lengthy discography was enough to have me agree with the paragraph on their web site about the band drop-doewn that informed me that few band stick around for thirty years, and even fewer leave a legacy during that time that marks them as a truly special, once in a lifetime type band. And no band has done all that and had as much fun as Leftover Salmon.

They emerged not without attitude. They were from the get go a forward thinking progressive bluegrass band. They were brave enough to add drums to their mix and even braver to stir in any number of fiery, spicy genres into the sound they have evolved ever since. Bluegrass just wasn´t used to this.

They saw their role as fearless pioneers of the modern jamband scene. They subsequently have become the elder statesmen still casting long, and influential, shadows over every festival they play. The group has been a crucial link in keeping alive traditional bluegrass music of the past, whilst at the same time pushing forward that sound in their own slightly weird but unique style.

Now in their fourth decade as a band Leftover Salmon show no signs of slowing down and continue to make new music in the studio, with their latest release being the 2021 recording of an album called Brand New Good Old Days.

The current line-up of the band has been an ensemble now for longer than any previous cast lists. It is built, still, around a core of founding members Drew Emmitt and Vince Herman (right), powered by the banjo-wizard Andy Thorn and driven by the steady-rhythm section of bassist Greg Garrison, drummer Alwyn Robinson and dobro player and keyboardist, Jay Starling. These guys continue the long, storied history of Leftover Salmon which saw them first emerge from the ´progressive´ bluegrass world and subsequently come of age as one of the original jambands and helping to create a landscape on which bands schooled in the traditonal rules of bluegrass can free themselves of those bonds via non-traditional instrumentation and their own innate ability to deliver live and push songs in new psychedelic directions..

In thirty years Leftover Salmon have never stood still: Instead, they are constantly changing, ever evolviong and invariably inspiring. They are, in many ways, a perfect example of how effective and diverse Americana music can be. They play back-porch bluegrass with Cajun charm, and can stand on a corner of Bourbon Street or create a rapport with a Ryman audience and even reach the peaks of mountain music, too.

Vince Herman has provided a unique sense of fun to the band ever since he co-found Leftover Salmon more than a quarter of a century ago. Herman led a couple of bands prior to Leftover Salmon, but nothing quite came to full fruition. Leftover Salmon, which was a fusion of the remains of Herman´s then band with the remains of another and that fusion that was Leftover Salmon,  who still display the antics and skills of those early day.

It is generally agreed that the talents of Dave Emmitt (left) on progressive bluegrass mandolin should be spoken of in the same hushed tones of the likes of the legendary Sam Bush, or David Grisman. Emmitt´s first teacher was Tim O´Brien of the Hot Rize line up. As a member of The Left Hand String Band he became, after their merger with Salmon Heads, a founding member of Leftover Salmon. He is seen as a steadying hand on the very occasionally over-ambitious visions of other members. He is, too, a primary song-writer within the band.

Because his Doctor Of Music Arts Degree in Jazz Studies, Greg Garrison (right) is the epitome of a steady, reliable and rock solid bass player. And he can take his instrument from rock through bluegrass to jazz and he has at various times played with likes of Sam Bush, Del McCoury and Vassar Clements. Greg was at one time a founding member of the critically acclaimed Punch Brothers, but has been a member of Leftover Salmon for twenty three years now.

Andy Thorn (near left) with his powerful, driving, banjo picking has carried the band to new heights since he joined and despite his relative youth he and his instrument have delivered a wealth of experience to his post since 2011

Leftover Salmon is an ensemble that can change from one demanding tempo to another so it helps that Alwyn Robinson (near left) is a dexterous druimmer who can easily transition up and down the gears.

.Coming from Texas, he played, from middle school, in rock and country bands and no doubt he developed that mythical  (?) Tesas Shuffle to which he later added many jazz influences whilst studying for a music degree at college before taking the then unoccupied drummers-seat with Leftover Salmon.

Then we come to that father-son line I referred to in my introduction to this piece. Jay Starling must surely have had music in his bones from birth. Jay is the son of the former founding member of the wonderful Seldom Scene, who took up quite a bit of space in my record and tape collections. My son Andrew has always sworn he never paid any attention to all that music in the back room, and yet he has quietly and assidually managed to almost completely cover my whole record collection and then some,….like Leftover Salmon-

Jay Starling (right) began to learn classical piano at the age of seven but at the same was fascinated by The Delta Blues and electric guitar. He waited until his early teens before taking up drums, keyboirds and electric bass.

He started giving lessons on various instruments in a a local music shop and was bewildered one day when told that his next student is a dobro player.´ When he explained that the student might be a dobro player, he wasn´t, he was given the profound  advice to ´figure something out.´

Almost immediately Jay fell in love with the instrument as he taught himself how to play. He then naturally came to love bluegrass, a genre to which the instrument is traditionally related.

Jay created his own scene when living in Fredericksburg where he gave the town a new musical dynamic and he played with musicians from Charlottesville to DC to Richmond.

He moved to Ashevill in 2012 and has since become pasrt of a whole new scene with Leftover Salmon

You can more information of discography and forthcoming gigs and tours at www.leftoversalmon.com

We return with our Monday to Friday Sidetracks And Detours posts tomorrow on Monday 10th July. We will befollowing the road less travelled with the late poet Robert Frost, but might not get home until after apple-picking. We will also seek out the bands Mark Knopfler has featured in for the tenth and concluding part of our series of Knopfler Kronikles. We will also follow the career of a much loved figurre who leapt from from barrow boy to ballroom before lwe also look at someone who began singing in the Comunards but now has a career as a church minster and author and frequent guest on programmes such as Have I Got News For You. When we get home we will have to make sure we keep building that bigger bookcase. All I´m saying is,…Let´s Do It,… we might even have it finished in time for next Sunday´s weekly walkabout, which will include my reviews of a special 50th anniversary concert by Coral Polyfonica San Gines, and a special end of season review by Trevor Bannister of a Jazz In Reading as he signs off for ta summer break.and we look forward to hearing from him again when jazz resumes,….shortly !

And remember if you would like to wriote an article about the arts in your area, just send as a Word Document in an attachment top a brief e mail giving a brief biogray, and attach a jpeg of self or appropriate for the article. As a not for profit organisation we cannot pay I´m afraid but everything published will be fully accredited.

www.normanwarwick55@gmail.com