Using well-chosen stories to link the elements of the programme together is another area where her craft is developing. Whether telling us vivid stories about the origins of Tin Pan Alley, or the love-lives (and drink-lives) of the great songwriters, she held the audience’s attention and kept us entertained and focused with this history lesson that included many laughs.

She is irresistibly drawn to create pairings of songs, mini-medleys, and to make the joins between them invisible so we as the audience suddenly find ourselves in a new song before we are aware we’ve left the old one. It is quite a feat. So “Slap that Bass” somehow segues seamlessly into “Fascinatin’ Rhythm”, “Summertime” magically morphs into “It Ain’t Necessarily So”. It is alchemical, it is clever, but it always feels right. And her co-conspirators and accomplices do a fine job too: expressive pianist/MD Paul Higgs, strong-toned bassist Alex Keen and wonderfully propulsive drummer Jason Campbell.

There were some stand-out moments. The uncertainty, the questioning, the emotion of Sondheim’s “Losing my Mind” were conveyed touchingly and sincerely. By contrast, Rodgers and Hammerstein’s “Gonna Wash That Man Right Out of My Hair” had energy, sass…. and high quality diction.

A very fine evening, and another impressive step forward for Catherine Lima.

The post Catherine Lima – ‘Love Letter to Broadway’ at Crazy Coqs first appeared on UK Jazz News.

Yazz Ahmed and the BBC Concert Orchestra: It was a delight to host the Yazz Ahmed Quintet and the BBC Concert Orchestra concert, conducted by Bramwell Tovey, on the final night of the London Jazz Festival which featured original arrangements inspired by Bahraini pearl divers and legendary women such as Rosa Parks and jazz saxophonist Barbara Thompson. Garnering a well-deserved standing ovation, it was an extraordinary way to end the festival. Recorded for broadcast on BBC Radio 3 & available on BBC Sounds. (Jumoke Fashola)

Tony Allen: A Retrospective at the Royal Festival Hall, with Damon Albarn, Remi Kabaka, Femi Koleoso and Ben Okri. It was very moving as he was the last artist I had seen live before the pandemic. It very much felt like closing a cycle. So is life… (Mariana Curado)

James Allsopp, John Edwards and Shaney Forbes at the Vortex. This was a stupendous opener for our LJF programme (and indeed one of my gigs of the year). Two musicians of the younger generation working together with Edwards, the modest improvising bassist – and showing how lucky we are to have one of the best in the world here in London. He inspired them, on their first play together, to a beautiful, intense and technically-adept performance. They proved that this music can be accessible, something appreciated by the warm reactions of a sold-out audience. Can’t wait to hear them again. (Oliver Weindling, Director, Vortex)

Paul Booth’s HOOP at the Spicejazz: The festival finale at SpiceJazz Soho was a scorcher! This high-calibre septet, HOOP (Ubuntu Records) was led by saxophonist, Paul Booth – the line-up speaking for itself: trumpeter Tom Walsh; trombonist Nicol Thomson; guitarist Chris Allard, keyboardist Ross Stanley plus the unbeatable rhythm team of bassist Laurence Cottle and drummer Ian Thomas, purveyed good humour, inspired blowing and tightest of arrangements.  (Paul Pace – Music Manager, Spicejazz)

Bossa Nova with Strings at Cadogan Hall covered Sinatra (portrayed by Ian Mackenzie), Jobim (Gui Tavares) and Doris Day (Georgina Jackson) . Richard Pite was formidable at the drums and also in pulling the whole thing together. Ian Bateman had done wonderful and characterful arrangements. Mark Crooks guested impeccably on tenor sax. A really joyful way to end the Jazz Festival. (Romy Summers)

Damon Brown at the MAP Cafe in Kentish Town: Damon Brown’s first date in England for two years, thanks to being marooned in Seoul because of Covid, was a really nice surprise. A last-minute addition to London’s riches. Linking up with old, familiar  mates Leon Greening, Mick Coady  and Matt Home meant that this was no dreary trudge through over-worked jam session territory but lively, hard-driving readings of tunes like Benny Golson’s ‘Killer Joe’ and ‘Stablemates’, as well as giving Brown the chance to exercise his vocal chops in a small intimate room on gorgeous material such as ‘Autumn In New York’ and ‘When Sunny Gets Blue’. I was reminded of the dryly humorous title of one of Damon’s albums with Korean musicians Sorry, It’s Just Jazz about three years ago. Far from the glamour of the QEH or Ronnie’s this is still the life  for so many fine players. (Brian Blain)

Olie Brice, Tom Challenger and Will Glaser Downstairs at The Vortex. Versatile drummer and thoughtful curator Will Glaser hosts a restlessly inventive series. Joined by stalwarts Olie Brice & Tom Challenger, this was the premiere of a new work by Brice featuring dedications to Dolphy, Andrew Hill & Johnny Dyani. Brice’s writing has an elegant economy of line, his melodies are emotive without ever falling into sentimentalism. An intense and intimate listening experience. (Paul Lewis)

Lauren Bush and Marco Marconi at Pizza Express: I attended one of the best live jazz nights of the festival with the magical pianist Marco Marconi and the equally magical vocalist Lauren Bush in their ‘Portraits of Gershwin and Porter’ at Pizza Express. The duo elegantly captured the essence of these iconic composers through their own virtuoso renditions from the Great American Songbook, leaving us with a nourished soul. A night to remember! (Ahmed Harfoush)

Quentin Collins Sextet (minus Quentin due to illness) at SpiceJazz Soho: Monday night at Spice Jazz, Soho was one of those rare gigs that will stay with me for a long time. A roll call of London’s finest led by Tony Kofi and Leo Richardson (with Deschanel Gordon, Larry Bartley and Winston Clifford), the band played a last-minute show, re-configured at short notice into a tribute to Cannonball, Coltrane & Monk, as if their lives depended on every note. Blindingly energetic and full of joy – I’m still buzzing! (Tara Minton)

JPN Conference / ‘Holding a Mirror up to Jazz’ Panel Session: Great to see an all-female intersectional panel for the Jazz Promotion Network conference ‘Holding a Mirror up to Jazz’ with Cassie October Raine (Parents and carers in the performing arts), Natalie South Law (Attitude is Everything), Estee Blu (The F List), Mahaliah Edwards (Black Lives in Music), Paulette Long OBE (Chair) discussing ‘slashers’, ‘side hustles’ and the importance of working with the whole person not just the title. (AJ Dehany)

Take Five Showcase on the Southbank Centre: Demonstrating the talent-development success of Take 5, in three short sets, we heard: From Newcastle, the sparkling John Pope Quintet;  from Leeds, the punkish electronics of J Frisco; and finally, from London, the powerful Samuel Eagles Quintet. Such an array of styles left something for everyone to rave over – exactly what a good festival should strive to offer. (Peter Slavid)

Guildhall School’s Gala Concert featuring female songwriters including Björk, YEBBA and Kate Bush – with Natalie Williams, Emma Smith, Fini Bearman, Cherise Adams-Burnett a forty-piece studio orchestra. “Wow! Singing my fave Bjork song ‘Hyperballad’ with an orchestral arrangement by the amazing Ryan Mackenzie for the London Jazz Fest at a place I’d not performed at in a loooong while.” (Natalie Williams)

HIPPO at the Pickle Factory in Bethnal Green : An astonishing 45 minutes set of HIPPO, a futuristic nu jazz from Bristol, “a future jazz vision” of Doug Cave (sax, keys, electronics) buried in a nest of beefy electronics and bouncing rhythms. Saxophones, synthesisers and drums go in, hippo comes out. Just bought their two EPs on BandCamp. (Leonardo Pavkovic)

Anthony Joseph & friends at Kings Place: Anthony Joseph with Denys Baptiste, Jason Yarde and co. was my festival stand-out, along with Irreversible Entanglements with Moor Mother (FULL REVIEW HERE). Both proved that the poetry of protest delivered on a molten wave of high-energy free jazz gives it a explosive power – it’s a unique alchemy. Unforgettable. (Helen Wallace, Artistic & Executive Director, Kings Place)

Soweto Kinch and the London Symphony Orchestra at the Barbican and London Sinfonietta at Queen Elizabeth Hall: Jazz musicians working symphony orchestras is definitely a theme this year. These two concerts, both consisting entirely of major premieres, which I reviewed for the classical section of The Arts Desk (HERE) were fascinating reminders of what versatile and protean talents inhabit our jazz scene. (Sebastian Scotney)

Charles Lloyd and Nérija at the Barbican: Charles Lloyd is so impressive, particularly at 83! His generously flowing, mellifluous tenor sax found like-minded spirits in outstanding pianist Gerald Clayton – a revelation, the beautifully poised bass of Reuben Rogers, and Kendrick Scott’s subtle percussive touch.  The brightly inspired, tight young seven-piece, Nérija, opened with their glowing, technically accomplished set interspersed with splendid, crafted solos throughout. (Geoff Winston)

Shai Maestro Quartet at Cadogan Hall: The Israeli pianist Shai Maestro and his group proved to have an infectious sense of communication. I was particularly struck by the musicianship between all 4 players. They were clearly enjoying themselves and responded incessantly to each other as the music ebbed and flowed with a transparent quality between them. (Sisi Burn)

Rebecca Nash at the Spice of Life This was a celebration of original music, both old and new. The first set was music from her 2019 album “Peaceful King”. After a short interval, the music took a different turn and presented music from upcoming album “Redefining Element 78”; only the second time this music had been heard. Inspiring original material, a gripping balance of inevitability vs suspense and left many in the audience eager to get their hands on the album once it’s been recorded (the original recording session was put on hold because of Covid-19). Rebecca Nash – piano, Jamie Leeming – guitar, Nick Malcolm – trumpet, Paul Michael – double bass, Matt Fisher – drums (Nick Brown)

NYJO plays John Zorn’s Masada Cafe Oto: This was one of three concerts I attended that received a standing ovation, the others being Irreversible Entanglements and Soweto Kinch’s White Juju.  Sam Eastmond conducted with great passion a large NYJO ensemble playing his arrangements of material from John Zorn’s Masada songbook.  The music was fiery, dramatic and very exciting, and played with great gusto, enthusiasm and precision by the group.  (Tony Dudley-Evans)

Cecile McLorin Salvant at Cadogan Hall was utterly impressive and her mesmerising vocal register is something to witness. The young singer who dazzled at Ronnie’s in 2013 (OUR REVIEW), now has 3 Grammys under her belt. She doesn’t just sing, she tells a story and the audience are transported on her musical journey. Cecile left us all just thinking “wow!” Marvin Sewell‘s stunning slide guitar acted as another voice, effortless flautist Alexa Tarantino joined in on beautiful vocal harmonies, Yasushi Nakamura and Keito Ogawa kept a triumphant rhythm section going whilst master pianist Glenn Zaleski was just too good! Support came from saxophonist/flautist Xhosa Cole and bassist Joe Downard. (Romy Summers)

Ian Shaw at Lauderdale House. Completely sold out a week before, Lauderdale House celebrated the LJF with a unique Ian Shaw event, the first 15 minutes of each set consisting of an interview with Mike Vitti from Jazz FM. Fascinating stuff, which brought out Shaw’s great sense of humour- “I went from being the only gay in my North Wales village to being the only gay on the London jazz and soul scene.” Actually this was a serious point about the history of jazz being deeply embedded in a heavily macho culture and it was interesting to hear that it was Ronnie Scott, partly a product of that culture, who gave him a great deal of support following his first engagement at his Club. No doubt that this would be helpful in easing Shaw’s entry into the ranks of the more sceptical of the heavies. Apart from the music Ian became active in the Gay Rights Movement, and later came work with refugees in the. Calais ‘jungle’ – all that misery just 26 miles from my home’ – as well as beginning to record albums with the likes of Cedar Walton. But of course there was wonderful music, beginning with a couple of older style Southern rootsy songs to the closer, Here’s To Life, a composition that Shirley Horn has made her own but just as applicable to the life and work of this remarkable artist. (Brian Blain, Jazz Programmer, Lauderdale House)

Archie Shepp and Jason Moran played a beautiful duo concert filled with intimate dialogue. Although from different generations they both seemed to share the same innate understanding of the African American cultural tradition. ‘Let my People Go’ was a wondrous discourse between the older Shepp and the younger Moran. A very fine collaboration. (Sisi Burn)

Cleveland Watkiss and Django Bates at Kings Place: The ‘jazz boom’ of the ‘80s had me cycling around London ‘sittin’ in’. The scene was pretty segregated: ‘Warriors’ and ‘Tubes’. Tonight celebrated two masters, Impeccably united by mastery and shared experiences. Highlights included angelic vocals on ‘What’s going on?!’ and a delicate rendition of Bates’s ‘Horses in Rain’. Two men playing without bravado. Open, honest, strong… otherworldly. Best £20 I’ve ever spent! (Nikki Yeoh)

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Vimala Rowe has the knack of being able to spring surprises with her vocal range and the breadth of different styles, and also the vividness with which she can inhabit and act out different characters and moods.

With Bessie Smith’s “Nobody Knows You When You’re Down and Out” the singing had power and rasp, particularly when she swoops down to a powerful and wonderfully colourful lower register. But she also acts, almost dances the song with fabulous stage energy. It was a vivid, memorable experience.

In complete contrast was “It never entered my mind” This was beautiful, deeply affecting. When singing songs that have been immortalised Rowe said she hopes to do her best….this was truly touching and sung with deep feeling. One could sense the audience being completely captivated. And a further stylistic surprise was the Swahili pop song Malaika, which Vimala Rowe remembers learning… in Hong Kong.

Gunther Kuermeyer and Nigel Price dovetailed and co-operated brilliantly on guitar and piano. Price played some commanding solos. And Richard Pite and Adam King were underpinning everything brilliantly. There was an amusing moment when Pite stepped unexpectedly into the controlling “gaffer” role, and made absolutely sure that the audience were not going be short-changed. When Vimala Rowe announced what she said would be their penultimate song…..

“Penultimate…? ”, Pite said. “It had better be a long one. You still have 20 minutes to fill!”

This Monday Lunchtime series is taking shape. Next, on 25 October, is Pete Long with Nick Dawson. Then alto sax maestro Greg Abate with Jack Honeybourne Trio on 1 November, and a Jobim day on 8 November with vocalist Iain Mackenzie and that magical Brazilian, guitarist/singer Gui Tavares.

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Back in the day, Catherine Lima somehow always seemed too assured and too professional to inhabit the open mic scene where I first got to know her. She had and has an appealing stage manner, she finds the mood of a song, looks into a character. And her Peggy Lee show ‘The Allure of Miss Lee’ is a very fine piece of work. It is manifestly a labour of love – but only in the positive sense. She has packed the set with insights and great performances. In the show Catherine Lima eloquently describes Peggy Lee’s drive and determination and what she has described as the “consummate professional ….with a very vulnerable side to her that she wasn’t afraid to have exposed on stage”. These are attributes not dissimilar to Catherine’s own.

Lima is a confident bandleader, and in Paul Higgs as arranger MD and pianist/ trumpeter, she has a great foil onstage. I also enjoyed the contributions of Alex Field on guitar, bassist José Canha and drummer Jason Campbell (pictured below).

The last item of her programme, “I’ll be seeing you”, was incredibly moving; I am sure I wasn’t the only one with a tear welling up in my eye. And the encore “Some Cats Know” sent us all away happy.

Congratulations Catherine. I hope Ronnie’s invite you back – and very soon!

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