UK Jazz News: First of all, who, what or where is ‘Mike’s?’

Alexander Bryson: Mike Willis is a musician friend of mine who ran a shop in St Leonards-on-Sea and turned it into a cosy live music venue. Mike and I had been playing together in there for a while, and eventually, I played a gig in there with my trio and I just loved the way the room sounded. There’s a lot of wood in there, and it’s also just a place that had a good vibe and made the musicians feel good, which is a really important and special quality that you don’t find every day. For a long time I’ve wanted to record my band all in one good-sounding room with relatively few mics. Today, records are made in quite artificial conditions with all the elements acoustically separated from each other and then put back together in the mixing process. It’s very difficult (and expensive!) to make this process truly succeed. It’s long been an ambition of mine to try and record all together with minimal separation and try to capture naturalistically the way the sounds mix in the room. This is the way all my favourite records were made.

UKJN: Why a live record?

AB: I’ve always loved live records, I have some real favourites like Errol Garner’s ‘Concert By The Sea’, Professor Longhair ‘Live in London’, Aretha Franklin’s ‘Amazing Grace’, were all big records for me growing up. I love the energy that an audience adds, and the way that it grounds the recording in a place and in a moment in time. I also like the portrait of a band in the live setting–it always shows a different side to them than what you see from their work in the studio. Also, recording in the studio can be incredibly arduous, attempting take after take, not sure if you’re getting better or worse! I was attracted to the idea of it being a gig and getting to be buoyed up by the people–it was the funnest recording session I’ve ever done.

UKJN: What made you particularly drawn to recording on tape?

AB: Tape is a really interesting aspect of this. It’s possible it will divide opinion… for me, tape imposes a sound quality on the recording which is incredibly rich and beautiful, though slightly less accurate than digital. For me the goal of a recording is to make something beautiful first, and something accurate or ‘true’ second. We recorded everything straight to tape and cut the tape straight to vinyl for a full analogue process. We also have a digital recording of the album which will be available for download and which some listeners may prefer since it does capture certain kinds of audio information from the night in slightly more detail. For me, the changes and forms of ‘distortion’ that tape exerts on live sound are beautiful and fascinating and a deep part of the sound of jazz, and many other kinds of music. I invite the listener to make their own comparison and see what they think–digital downloads are free with every purchase of the LP!

UKJN: What were some of the challenges of this approach?

AB: Well we were forever repairing the tape machine for one thing! The price of doing things this way was that there was no second chance to get the sound right or fix anything that was wrong, since the live mix was the final one. But in a way this created its own excitement, and Pascal Smart did a great job of making it all sound good. Next there was the task of editing the tape itself, since I wanted to play the tape straight into the lathe cutting the master disks at Gearbox Records. They have a 1967 Haeco Scully lathe, and a lot of other incredible vintage equipment, and are really doing amazing work keeping the art of analogue processes alive for the future. This meant physically editing the tape reel itself–with a stanley knife and cutting block.

UKJN: Will you record this way again?

AB: Definitely! And in fact we have a lot of material left from the ‘Mike’s’ sessions which we didn’t have room to include on the record, so I’m hoping to release a ‘volume 2’ of some kind later in the year or in 2026. I’d also like to take some of the other artists that I play with in and around London down to Mike’s and record them this way too. There’s so many great musicians playing gigs week in, week out and their live vibe and personality never gets captured on record or properly celebrated. I’d love to make more of these and present some more folks from this scene, live, and in glorious analogue!

The post Alexander Bryson Trio ‘LIVE AT MIKE’S!’ first appeared on UK Jazz News.

Their album launch at Crazy Coqs, almost two years to the day later, has seen some of the songs they featured in their early days come to fruition with more detail and confidence. 

Both, in their element on stage sharing the stories behind their music and bantering with their bandmates, it’s clear that this project has been a labour of love featuring the talent of their friends and showcasing all the people who helped bring it to life. 

The most engaging part of this concert, over time, has been the order in which their story is told. Elements of these songs As Blue As You Once Were start the concert off with an excited, yet terrifying feeling devoted to that experience of heading off into the real world as a young adult, but also brings such reality to the opening of an album launch – relatable and palpable. 

Both Bland and Gunter use their real life stories, memories, feelings and experiences to write compositions that are touching and creative. You can almost see the cyclers down the L’iseran – a mountain passage in the Alps in France and vocalist Tara Minton’s rendition of Bland’s tune Ruby lifts the surprising melody as though it’s floating, but equally grounds it with a bit of her signature sass. 

Dom Pusey played tenor sax and even bass clarinet, but his forte was on soprano saxophone. Special guest (he’s not on the album, but a welcome dep) Luke Fowler on bass and Filippo Galli held down the fort well, with a good groove and moments to break out.

The track for which the album is named, Gaudí’s Blues, was Gunter’s attempt to imagine what it would be like if Gaudí wrote a blues. Featuring piano and guitar soli lines, moody, funky and haunting bits and some wild trading at the end, I’d say Gaudí would have been impressed. 

The post Glebe first appeared on UK Jazz News.

Clark Terry and Bob Brookmeyer are remembered as an exemplar of small-group jazz from the 1960s, thanks to the strong musical rapport between them. The band masterfully blended Terry’s playful, melodic style with Brookmeyer’s inventive harmonies, creating music celebrated for its wit, interplay, and dynamic performances. 

Davison and Au are the perfect duo to reimagine this relationship on stage. Drawing from the repertoire of both Terry and Brookmeyer as well as tunes by Gerry Mulligan and Roger Kellaway and even some of their own tunes (the first set featured Me Time by both Davison and Au and Two Views of the Blues by Au) the two have their own engaging connection with the music and also a focus on bringing their own humour to the stage. 

The rest of the band, featuring Liam Dunachie on piano, Adam King on bass and Luke Tomlinson on drums were up for joining in the fun – plenty of opportunities for a familiar quote in a solo or a game of ‘song roulette’ which Au seemed to have invented mid-gig. With Duke Ellington as the category heading, each musician (except Tomlinson of course, as he can ‘only play three notes’) were asked to quick fire a song title in rotation, resulting in a variety of selections: Take the ‘A‘ Train, Mood Indigo, Things Ain’t What They Used to Be and ending with Caravan. This game resulted in an opportunity for each musician to feature on the song they selected. Rather clever, really, as each choice allowed for the familiar to be blended with spontaneity from the rest of the band. Caravan even gave Tomlinson a chance to show-off. The audience loved it and the game was repeated in the second set with a selection of ballads. 

The highlights of the night were some of Clark Terry’s tunes. His arrangement of Battle Hymn of the Republic gave ample opportunity for Au to impress on Slide Trombone and both to play around with their plunger mutes. The Rhythm Changes, Haig N’ Haig, highlighted Davison’s flugelhorn prowess and the lively interplay between the horns was delightful.

To top it all, we had a visit from the wonderful Emma Smith who sat in on Sunny Side of the Street. Her interpretation of a standard is always appreciated and this was no exception. She brought another element of joy and a special energy to the evening.

There is a Terry/Brookmeyer album from 1965 called The Power of Positive Swinging. That phrase sums up the evening. What a great way to start the New Year.   

The post James Davison and Callum Au’s Quintet-à-Tête first appeared on UK Jazz News.

This year’s festival will feature a diverse mix of large-scale concerts, intimate club performances, world premieres, masterclasses, family-friendly events, and free activities across Cheltenham. The heart of the Cheltenham Jazz Festival will be the Festival Village in Montpellier Gardens, complete with the Big Top stage, Jazz Arena, Free Stage, and an enticing selection of food and drink vendors. The Festival will also take over key venues across town, including Cheltenham Town Hall, the Parabola Arts Centre, Dunkertons Tap Room, and Hotel Du Vin, which will host its signature late-night jam sessions.

Over the years, Cheltenham Jazz Festival has established itself as one of Europe’s most exciting jazz events. The 2022 edition, for instance, saw a triumphant return after a pandemic hiatus, featuring stars like Gregory Porter, Jamie Cullum, and Paloma Faith, alongside groundbreaking collaborations such as Gary Bartz with Maisha and the debut of Imelda May with the Ronnie Scott’s Big Band. The festival’s reputation for innovation and discovery is further exemplified by the inclusion of avant-garde performances and a strong focus on the vibrant British jazz scene.

Each Festival edition is known for fostering new talent while honoring jazz legends. Previous Festivals have hosted trailblazers like Herbie Hancock and Mulatu Astatke, while also giving a platform to rising stars such as Moses Boyd and Laura Jurd. These elements combine to make Cheltenham Jazz Festival not only a celebration of jazz’s legacy but also a vital contributor to its future.

With the full programme set to be revealed early next year, the initial lineup gives a tantalizing glimpse of what’s in store. Fans can look forward to the mesmerizing saxophone mastery of Nubya Garcia, whose 2022 Cheltenham performance was a sold-out triumph. The saxophonist, lauded as one of the most prominent names to emerge from the modern UK jazz explosion, is celebrated for her innovative sound and her critically acclaimed album Odyssey.

Adding a global flavor, Malian duo Amadou & Mariam will headline the Festival’s Big Top stage. Renowned for their dynamic fusion of traditional Malian sounds with funk, reggae, and Afro-Cuban jazz, as part of their ‘Best-Of’ album tour for La Vie est Belle. Their electrifying set will undoubtedly be one of the event’s most vibrant moments. 

Other names to feature will be the iconic British singer-songwriter David Gray making his festival debut, performing tracks from his new album, Dear Life, along with classics from his seven-million-selling White Ladder and festival favorite and multi-GRAMMY winner Corinne Bailey Rae will return, this time accompanied by the legendary Ronnie Scott’s Orchestra for a big band extravaganza.

The returning Parabola Arts Centre (PAC) program is one of the festival’s crown jewels. It offers an unparalleled experience of jazz in its most adventurous and innovative forms, known for spotlighting experimental performances and genre-blurring collaborations, and providing a platform for breakthrough artists and avant-garde creations.

In 2025, audiences can expect a thrilling mix of improvisational duos, bold new compositions, and dynamic international collaborations, all designed to showcase jazz as a living, evolving art form. Whether you’re a fan of daring improvisation or curious about jazz’s experimental edge, the PAC program promises something extraordinary.

Festival programmer Alex Carr describes it as “a slice of the brilliant music being created in the UK with a sprinkle of international magic.” For those seeking to explore the future of jazz, the Parabola Arts Centre will be a must-visit​.

Tickets are now on sale for the first wave of performances, with the full program announcement expected early next year. Whether you’re drawn to the punchy sounds of a big band, the energy of experimental jazz, or the intimacy of small ensemble performances, Cheltenham Jazz Festival 2025 promises an unforgettable celebration of music. Don’t miss your chance to be part of this extraordinary experience.

The post Cheltenham Jazz Festival 2025 first appeared on UK Jazz News.

This unique event, led by award-winning saxophonist Dan Forshaw and the Jazz Vespers group, blends the soulful, improvisational sounds of jazz with beloved Christmas carols, creating a truly uplifting and festive experience. The stunning Great Hall (the venue for the first meeting of the United Nations in 1946) is known for its rich acoustics and architectural grandeur, making Jazz Carols a celebration like no other.

Since its debut in 2016, Jazz Carols has grown into a cherished holiday tradition, captivating audiences of all ages. Each year, the event offers an unforgettable evening of carols reimagined with a jazz flair, classic Christmas readings, and unique arrangements of timeless songs. This year’s program promises to be no exception, featuring fresh takes on traditional carols by Bob Mintzer, Wayne Shorter, and Dan Forshaw. A highlight is a special rendition of ‘Silent Night’, originally commissioned in 2018 by Methodist Central Hall and arranged for jazz sextet and organ by renowned German saxophonist Birgitta Flick. New arrangements by Guy Dempsey and two beloved Yellowjackets carol arrangements from last year further enhance the programme.

The evening also boasts an exceptional lineup of vocal performances. Libby Key, a versatile artist celebrated for her work across jazz, pop, and gospel music, brings her soulful interpretations and dynamic stage presence to the event. Becca Wilkins, a graduate of the University of Birmingham and Guildhall School of Music and Drama, has toured the UK with her collaborative project wilkins/harris and frequently works with award-winning composer Olivia Murphy on critically acclaimed projects such as moonrise (2022). Helen Bond, deeply involved in worship singing, regularly performs with the King/Cave project and is part of the worship team at Soul Survivor Watford, where she appeared on Songs of Praise in 2021 as a backing vocalist.

Adding to the richness of the evening is the ensemble, featuring three exceptional musicians. Drummer Lewis Isaacs was a runner-up in the International Percussion Youth Competition in Belgium in 2017, and twice a national finalist in the Young Drummer of the Year Competition in 2019 and 2020. He is now in his final year at Royal College of Music. Isaacs is joined by Guy Dempsey on bass and Lewis James on piano, both students at the Royal Academy of Music’s jazz programme whose names will likely be ones to watch out for in the next few years. All three honed their craft as part of the Guildhall Centre for Young Musicians at Saffron Hall. The trio performed at last year’s Jazz Carols and during the 10th Anniversary celebrations of Saffron Hall in 2023, showcasing their talent and chemistry.

What sets Jazz Carols apart is its ability to combine the traditions of a church carol service with the vibrant energy of jazz. The event invites audiences to sing along with beloved classics while enjoying a concert-quality performance. The improvisational nature of jazz brings a fresh, dynamic element to the carols, ensuring no two performances will ever be the same. The results have always been a deeply moving experience that connects the festive spirit with the artistry of live music.

This year’s event is especially significant as it is free for the public to attend, making it accessible to everyone. Whether you’re a jazz enthusiast, a Christmas music lover, or simply looking for a joyful way to celebrate the season, Jazz Carols has something for you. The Christmas spirit will be in full swing (pun intended!) by the 15th of December, and this event offers the perfect opportunity to immerse yourself in the magic of the season. With its stunning venue, talented performers, and a programme that seamlessly blends tradition with innovation, Jazz Carols promises to be a highlight of the festive calendar. Don’t miss this chance to be part of a unique celebration that truly captures the joy and wonder of Christmas.

The post Dan Forshaw’s Jazz Carols first appeared on UK Jazz News.

Carmen Lundy has been on the scene for the last four decades. She has played with everyone from Robert Glasper to trombonist and conch player, Steve Turre and is widely respected in the instrumentalist community for contributing original songs to the jazz idiom. 

She was featured in the Jazz Voice opening festival gala (reviewed here) and played 3 shows at Ronnie’s, sharing a wide range of her original music on the Sunday night. She shared personal stories or backgrounds behind some of her songs: The Island, The Sea and You being written after a trip to Hawaii and Jazz on TV being a ‘polite complaint’ about the fact that jazz isn’t broadcast on television anymore. She even played Good Morning Kiss, which was the title track from her first album, released in 1985! Stunning, groovy ballad that highlighted the rich, creamy textures of her voice.  

Her band were incredible – Darryl Hall, probably the longest standing band member, was joined by Terreon Gully on drums. The two chordal instruments – piano and guitar – were featured heavily throughout the evening. Andrew Renfroe on guitar graduated from the Kennedy Center jazz program where Lundy taught was recruited due to his playing and Trevor Watkis, who is English but is based in NYC, happened to be in London to play these special shows.

Hearing so much original vocal jazz music that could have easily fit in with some of the ‘standard’ repertoire audiences are so used to was such a treat. Hopefully this secret will be one that Ronnie’s won’t keep to themselves, as having Lundy back again would be so amazing.

The post Carmen Lundy first appeared on UK Jazz News.

She graduated from the Frost School of Music in Miami in 2016 and really started to impress audiences with her vocal ability and bebop scat stylings. Since graduating, she has performed or recorded with everyone under the sun, from Emmet Cohen to Wynton Marsalis and came second in the prestigious Thelonious Monk Competition in 2015. 

Her career in the last 5 years, however, has really begun to evolve. Youtube foragers may or may not have stumbled upon her most recent restructure when buying their ticket to her concert in the Jazz Festival at Cadogan Hall on 16th November. She’s gone from singing scat lines with Chris Botti and a full symphony orchestra to headbanging over Queen’s Keep Yourself Alive and Nine Inch Nails covers. 

Swift tries to label herself as a “trans-genre” artist who is blending jazz with musical theatre, rock and “even heavy-metal”. And her most recent album release – self titled and released in 2023 does give a little insight into the direction she’s heading, but this particular concert was far more heavy metal than anything else. 

Credit to her is due, as she and her band gave more energy than anyone else in the building. The entertainment factor was high, with gold emblazoned jackets and knee-sliding and mic-flipping galore, it’s just a shame she wasn’t being billed as a jazz concert as she deserved to have her own jumping, screaming, mosh-pit in the front of the stage. 

Sadly, her soundman wasn’t able to make the gorgeous Cadogan Hall acoustics work for them, and while London (recent Guildhall graduate) Jack Tustin held his own on bass, it overpowered most of the evening. There were momentary glimpses of Swift’s mega-chops, hearing her sing a pared-back introduction to Cry Me a River and her original tune Room With A View gave insight into her capabilities but her husband, Brian Viglione, on drums was able to shine more than Swift’s vocals. It would have been nice to hear more of Alexander Burke on the piano, too. His energy was there, but his instrument was overpowered throughout the evening. Guitarist Gary Joseph Potter Jr. was highlighted throughout and played an excellent set of rock solos and riffs. 

I think the real shame is that Swift’s management haven’t cottoned onto her desires to entertain in this way and aren’t booking her stages where this style of music will be properly enjoyed. The audience was trying, but the church-hall style balcony was really killing the vibe. 

The post Veronica Swift first appeared on UK Jazz News.

Ndegeocello (Swahili for “free like a bird”) has always been known for mixing spoken word and poetry with her memorable bass lines and soulful melodies, but this ambitious new project is a conceptual album that draws inspiration from the life and writings of James Baldwin to honour Baldwin’s centennial. It explores themes of identity, spirituality, and social justice which are central to Baldwin’s legacy. Ndegeocello only spoke briefly about the impact that Baldwin has had on her life – mostly stating gratitude for his teachings. 

Recorded readings in between some of her songs gave insight into some of Baldwin’s words and context to the themes of this album but paved the way for the music to hold the spotlight.

Vocalist Justin Hicks featured throughout the evening, both doing the opening support set and joining her on stage for the entirety of the performance. His voice was smooth and soulful and blended beautifully with Ndegeocello’s bass playing which provided a rich, grounding element throughout the show, effortlessly blending groove and melody. Her unique approach just focuses on subtlety and emotion, allowing the instrument to convey profound narrative depth while anchoring the ensemble’s sound.

The “heavy” nature of some of her material – for instance, the song What Did I Do? was still conveyed in such a way that the emotion reached the audience without adding weight. Her message was seen as only positive even though the lyrics were filled with pain and confusion. 

There was such passion on stage, resonating through the lyrics of songs like Trouble, referring to the overall state of the world and On the Mountain, full of chaos and frantic solos and Hatred which called out the root of hatred as the alternative to “dealing with pain”. 

The evening was truly cathartic and hopefully the aftershock – those waves of emotional release – will be felt by all in attendance for a little while.

The post Meshell Ndegeocello first appeared on UK Jazz News.

The choices are staggering, and overwhelming, some might say, but with this highlight on a well known special venue, the daunting task can be made a little bit easier for jazz lovers to veer away from the big concert halls to hear something equally great. Also, as an arts council supported venue and an overall ethos towards making theatre and music accessible, their ticket prices are extremely reasonable and they even offer discounted tickets for students and MU members.  

The Cockpit, located near Marylebone station, advertises itself as a “theatre of ideas and disruptive panache” and while they host a myriad of different events from workshops to festivals to new works, their “Jazz in the Round” series has been one of the longest standing and most successful elements of their programme. Started in 2015, and hosting shows for the LJF since 2016, they have become a stalwart venue to hear anything from emerging artists to legends, large ensembles to intimate solo performances and new collaborations to reunions. 

This year, the programme is as eclectic as ever. 7 shows on offer, every night except Monday 18 November.

• Sunday 17th November – Chiminyo Presents: Uniri

Uniri, a term coined by chiminyo, means “one unified dream” and really encapsulates his approach to crafting this extraordinary musical venture. It is a psychedelic, synth-laden, groove machine that taps into the vibrant influences of the Beat and Jazz scene, crafting a distinctive interpretation that is unmistakably unique. This gig features chiminyo on drums, Alex Wesson on synths, Al Macsween on synths and Luke Wynter on bass.

• Tuesday 19th November – Songwriters in the Round 

A showcase of some of the city’s finest jazz and jazz-adjacent vocalists, instrumentalists and songwriters presented by London-based artist and frontwoman of 10:32, Bridget Walsh. Artists Isobella, Sofia, Momoko, Inês and Bridget will take us on a free-flowing journey, reimagining each others’ songs and holding space to explore their original music with new voices, new arrangements and new instrumentation.

• Wednesday 20th November – Jazz On The Box

Jazz 625 ran from 1964 to 1966 and was the most iconic jazz programme on BBC TV.  For the 60th anniversary, this is a tribute featuring Robert Mitchell on piano, Jean Toussaint on saxophone, Larry Bartley on bass and Rod Youngs on drums. As well, legendary UK bass player Dave Green, one of the only people still alive who appeared on the show, will play a special solo set and join the band for a jam. Host Jez Nelson will also be talking to a Jazz 625 expert.

• Thursday 21st November – Bridge The Gap Take-over 

Drummer and producer Myele Manzanza and songwriter, singer and producer MADELEINE join together to put on a show….

• Friday 22nd November – Tomasz Bura Group featuring Rouhangeze

This project started as a collaboration with Guthrie Govan on guitar as well as (appearing on this date) Laurence Cottle, bass; Mark Mondesir, drums; and featuring Mauritian-born Rouhangeze, Vocals. They create what has been described as “hard-hitting fusion á la Chick Corea or Ursula Dudziak, with vocal improv from the enchanting Rouhangeze Baichoo, reframed for today.”  

• Saturday 23rd November – Chris Dowding’s #BEACHfest

The ‘BEACH’ project by Chris Dowding – in solo, duo and trio groupings, including renowned UK musicians such as trombonist Annie Whitehead, guitarist Anton Hunter, trumpeter Charlotte Keeffe, drummer Johnny Hunter and others. #BEACHfest celebrates the music that Dowding recorded for a monthly subscription project where people signed up and received a piece of his music each month for a year. 

• Sunday 24th – Golding/Edwards/Noble plus Special Guests

Tenor Sax player Binker Golding, bassist John Edwards & Drummer Steve Noble teamed up to record Moon Day during the pandemic and, using the first major moon conspiracy of 1835 as a launching off point, have created a captivating, varied and inventive album that showcases each musician’s abilities equally. Hearing it live will be an exciting opportunity.

Everything from seasoned favourites to the fresh faces emerging from some of the best music schools around, The Cockpit’s Jazz in the Round offerings are well worth checking out. Special mention to the Female Songwriters in the Round (19.11) and Jazz on the Box (20.11).

The post EFG London Jazz Festival 2024 at The Cockpit first appeared on UK Jazz News.

On the inside jacket of the CD, it says: A selection of my favourite songs, arranged by some of my wonderful colleagues and musical collaborators, past and present. ~Elaine

Starting with those in the present, her current band, Barry Green, Simon Thorpe and Jim Mullen are responsible for getting the ball rolling on this project. With so many arrangements of songs made especially for her, Delmar decided to curate a selection of her favourites, showcasing new takes on some of her most beloved memories through the last fifty-odd years. 

She had me ‘round for tea, and when we walked in the house, the stereo was already on, playing Nat King Cole. Surrounded by photographs and sheet music, and souvenirs from her travels, she regaled me with stories of travelling around the country singing in cabaret and working men’s clubs and her career in theatre, acting and singing in musical reviews like “Cowardy Custard” and “Bubbling Brown Sugar”. 

Her fascinating career in music has taken so many twists and turns (three years in Hollywood, a live-recorded album in Bulgaria…) but the best thing about Delmar is her dedication to a song. She chatted most enthusiastically about finding a song with lyrics that spoke to her, and sharing it with an audience in its true glory. 

This is why Delmar does not really fancy herself a ‘jazz singer’ – more a jazz influenced singer. And why she stated that Lorenz Hart’s lyric in You’re Nearer touched her more than Ellington’s I Let a Song Go Out of My Heart ever could because “Ellington’s songs were not conceived as songs – they were instrumental first.”

Her song choices for this album are full of wonderful lyrics, of course, including one of Hart’s lyrics on Yours Sincerely. Not to mention, the classic Stephen Sondheim song, Send in the Clowns and a special new arrangement of Stars which features lyrics by the acclaimed Norma Winstone. 

Close Your Eyes, is a lovely bass and voice duet between Delmar and Thorpe with this mysterious relationship developing between Thorpe’s rich, low notes and Delmar’s hypnotising, almost smirking, voice. 

If You Love Me, a ballad originally written in French by Edith Piaf as ‘Hymne à l’amour’, sung here with accompaniment from Jim Mullen, carries the weight of the original feeling of heartbreak; Piaf wrote the song after the love of her life Marcel Cerdan was killed in a plane crash. 

In a 2021 London Jazz News interview of Delmar for International Women’s Day by the much-missed Tina May (link below), she spoke about learning how to “inhabit a song”. From chatting with her now, it is evident that she has mastered this skill. Her ability to convey the emotions and the intention of each lyric as well as the harmonic movement by manipulating her voice is uncanny.

She’s included songs arranged by her previous band members, Pat Smythe and Brian Dee and even shares a new, not been recorded, arrangement on Tea for Two. With a few other treasures to be discovered, Delmar’s band members were right. It was about time she recorded some of these songs to capture her brilliance for generations ahead.

The post Elaine Delmar – new album ‘Speak Low’ first appeared on UK Jazz News.