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Tuesday, 15 December 2009

Forthcoming gigs - January and February

Following a successful run in 2008 at Pizza on the Park, I will be returning there with my quartet for two dates only. Live jazz may well be a thing of the past at Pizza on the Park following talks in mid-2010 about the lease of the venue, so this could be the last chance to catch my quartet at this historic venue.
Thursday 7th January
Pizza on the Park, 11 Knightsbridge
Nearest tube: Hyde Park Corner
Music from 8:30; doors open 7pm
£15 on the door
For more information visit www.geddesentertainments.com
Thursday 18th February
Pizza on the Park, 11 Knightsbridge
Nearest tube: Hyde Park Corner
Music from 8:30; doors open 7pm
£15 on the door
For more information visit www.geddesentertainments.com

NEWS - November and December

The most exciting news during these two months is that I have been awarded funding from Jazz Services for my UK Tour next year, which will be to promote my new album. The tour will see my quartet and me visit venues in Bristol, Cambridge, Swindon, Birmingham, Manchester, Cardiff, Kendal, Scarborough, Hull, Leeds, and many more including a long drive to Berwick-upon-Tweed, and probably a shorter flight to Jersey!
The tour will take place in April, May and June, and the tour schedule will be up on my website before the end of January.
In order to secure these gigs, I have spent most of November on the Internet/my phone acting as my own agent in order to meet the Jazz Services funding deadline at the end of November. Therefore, there aren't many gigs to report on, but the ones I did do are definitely worth the blog-space, so here goes...
October 31st - Mark Armstrong Big Band, Wycombe Swan
A wonderful group of musicians, a wonderful theatre, and a wonderful opportunity to sing with a big band again, now that I no longer have NYJO to regularly feature with. I truly miss fronting a big band, as it's the first jazz experience I ever had, so it will always be my favourite kind of jazz singing.
As always, it was a pleasure to sing with Mark's band - he's a fantastic arranger, and had put together a very enjoyable program: for both the band and the audience.
I was thrilled that on that evening, pianist Simon Wallace kindly gave me a songbook of songs that he has written with Fran Landesman. I've been enjoying getting to know them. Certain songs, e.g. "When Your Computer Crashes" will certainly be entertaining the family at the Christmas sing-song!
November 6th - Mark Armstrong Quintet at Blackheath Halls
This evening was in aid of Epilepsy Research, and a very successful evening it was too. Blackheath Halls was packed, and hundreds of pounds were raised for the charity.
November 29th - Tomorrow's Face at Bull's Head
The Bull's Head in Barnes is a great venue. Lovely piano, lovely acoustics, lovely pub and Thai restaurant attached. NYJO's Tomorrow's Face (the small band) play there once every two months on a Sunday evening. The music is always brilliant - NYJO-influenced high-adrenaline tunes played by a small ensemble of 9 musicians is incredibly stimulating. Even more so, you know that you are watching the cream of London's musicians, who are the future of British jazz. So why do we struggle for an audience?! It's only a short (very short) walk from Barnes Bridge station, and the afore-mentioned lovely piano/acoustics/pub/Thai food/musicians should be enough to secure at least half a room full. But alas.
This is a door-take gig, meaning that if we're lucky we'll make a tenner each which will just about cover travel and an interval drink, never mind our fee for playing!!
So if you're reading this, please spread the word that NYJO's Tomorrow's Face will next be at the Bull's Head on Sunday 31st January.
13th December - Jazz Duo at La Porte Des Indes
I used to sing every Sunday at La Porte Des Indes - a gorgeous Indian restaurant near Marble Arch. Then came the dreaded credit crunch, and we were demoted to once a fortnight, then to not at all! This Christmas, we have been booked for two weeks only. Unfortunately, I have only been able to make one of these, as the second coincides with a short weekend break. So, if any of you fancy a bit of the best Indian food I have ever tasted, pop down next Sunday (20th December) and witness some jazz courtesy of pianist Martin Blackwell plus guest singer.
Better still, why not call up with the following conversation?:
"Hello, I'd like to book a table for January... for (6) people. We'd like to sit near the jazz musicians."
"I'm sorry, we no longer have jazz at this restaurant."
"Well I don't want to come then."
Help to re-instate us!
Thanks for reading my November and December news.
Best wishes for a Merry Christmas!

Studio Recording v Live Performance

Studio recording is an entirely different art to performing live. When performing live one can engage with an audience, and can change the performance according to the audience's reaction. Hand movements and facial expressions enhance certain parts of the music, as well as adding to the meaning of lyrics.
Therefore, without the help of hand movements, facial expressions, and the live 'buzz,' a recording session must somehow capture the magic of performance whilst being as musically perfect as possible (this is, after all, an immortalisation of one's songs). It's difficult!
Another problem that a singer must overcome is to listen to themselves on record and accept its sound. There aren't many singers, particularly in jazz, who will tell you that they prefer listening to their recordings than singing live. Somehow, a live performance is always 'easier,' and a recorded session needs 100 more percent effort to come across with the same intensity of delivery. One thing that has made me realise this particularly is that when watching videos of myself on YouTube (for learning purposes, not as a vain hobby!!), my perception of the performance is far less when listening to audio only. It seems that, when watching the picture, one can forgive any mishaps in the music, but when the picture is taken away, the ear is not so forgiving.
So, in time, I will learn to enjoy listening to myself on recording - either by accepting that that's just how I sound on tape, or by striving to achieve a 'live' sound in a recording studio.