NYJO - worth saving

The future of NYJO is uncertain in today's financial climate. The main trouble it faces are expressed in the following Times article

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article6988522.ece

which hosts some interesting discussion from NYJO members both past and present, and representatives from the jazz-loving public. Feel free to add your own views!

NYJO for me has been the foundation upon which I have been able to build my jazz singing career.

Through NYJO I have learnt how to front a band (in terms of singing, speaking between numbers and even what to wear - to my first NYJO gig, I turned up without any make-up to the horror of then-principal singer Annabel Williams, who dusted and drew on me until I looked stage-presentable. The following rehearsal, Bill Ashton gave her 20 quid to take me to the market and buy me the necessary war paint. Now I'm a fully-fledged fake-eyelash-sticking, eye-liner-painting, red-lippy-sporting, wig-wearing band-fronter).

I have learnt a host of songs - over 350 at the last count - which have given me endless enjoyment on countless gigs, and the ability to turn up to many a gig and be able to sing whatever the band leader called.

But the main two things that I can thank NYJO for are these: I have met 90% of musicians in London through its very impressive alumni list, and I have learnt how to be a better jazz singer by watching and being inspired by a host of talented NYJO singers.

Earlier this year, the "Sponsor A chair" appeal was launched, in order to secure the necessary funds for the organisation to keep running. Guy Barker was there and made a short speech, attributing much of his success as a professional trumpeter to NYJO and its excellent foundation.

I expect many a past and present member would whole-heartedly agree.

If you feel that you would be able to contribute to the Sponsor A Chair appeal, then please contact Nigel Tully by email: info@nyjo.org.uk

Album Launch - Darning the Dream

My album was launched on Wednesday 17th March to a packed 606 club. We had the pleasure of album-guest Jim Hart playing live with us which added an extra dimension to the regular jazz quartet sound. Jimi Hendrix's "Little Wing" became awash with lush harmonies and hard-edged mallet timbres; "I only have eyes for you" was transformed by the mesmerising speed of a vibes solo. Highly enjoyable! I can't wait to get on the road and play the album material for jazz audiences around the country. All the tour dates are listed here. The album is available from: AMAZON http://www.amazon.co.uk/gp/product/B00380PDFG?ie=UTF8&tag=propemusicd05-21&linkCode=as2&camp=1634&creative=6738&creativeASIN=B00380PDFG

iTUNES http://clkuk.tradedoubler.com/click?p=23708&a=1531261&url=http://itunes.apple.com/gb/album/darning-the-dream/id355423468

NAPSTER http://home.gb.napster.com/#cgi-bin/searchXML?type_id=albumtracks&result_type=track&select_by=album&select_value=13559235&format=json&count=10&index=0

TESCO http://clkuk.tradedoubler.com/click?p=898&a=1531261&g=18158604&url=http://ad.doubleclick.net/clk;206589205;33747258;p?http://www.tescoentertainment.com/store/mp3/sarah-ellen-hughes-darning-the-dream/2%3a37466337/

You can also buy or download it directly from my website.

Polite Singers

Ever since the review of my Sept 09 gig at the Spice of Life by Sebastian Scotney (LondonJazz blog) I have been thinking about singers and their capabilities of getting an audience to shut up! "But she had a battle on, to win over the attention of a loud birthday group who had taken a table right in front of the stand" (click http://londonjazz.blogspot.com/2009/09/review-sarah-ellen-hughes.html to read the whole thing) Sebastian thought I was too nice, and should have told them to be quiet and listen. In fact, they did quiet down during one of the numbers... with a quiet piano/vocal intro, that presumably made them feel fairly self-conscious. I went to the Spice again a few weeks later... and delightfully one of the 'sitters-in' at the end was Gwyneth Herbert. She knew how to capture the audience. The song was accompanied only by Ian Shaw on the piano, and this did help to bring people's conversation down to a minimum. However, she also had a magical way of getting eye-contact with each and every person in the place - and would pause after certain words, not continuing until the person she was looking at returned the favour. Spellbinding. I have heard a report of Lianne Carroll, performing once at Ronnie's, turning to a noisy table at the front and asking them to quieten down 3 times before belting out a sharper-sounding request which sent them fleeing from the place! Cleo Laine also is someone who wouldn't stand for noise during her singing. So should I be someone who glares and belts? It's not really in me, but there must be a balance to be found between timid/nice (not particularly desirable qualities but ones that my personality dictates) and authoritative/not standing for disrespect. I did a gig the other week at Boisdale Cigar and Supper Club - in Belgravia - with the Boisdale Rhythm and Blues Orchestra. During a ballad - after the piano solo - I wanted to re-enter at the middle 8 rather than come in again at the beginning. So I leaned over and said 'can we go back to the middle 8 please.' The band were aghast at my politeness! So there we are... back to a nice singer. Perhaps this harks back to some advice I was given as a student about to make the daunting journey down from Lancaster (big fish) to London (big pond)... "It doesn't matter how good you are... people will only book you if you're a jolly nice chap!"

Forthcoming gigs - February and March

Thursday 18th February Pizza on the Park, 11 Knightsbridge, London SW1 8:30 start (doors open 7pm) Booking is advised: 08456 027017 or www.pizzaexpresslive.co.uk Darren Altman (drums), Rick Simpson (piano), Matt Ridley (bass) We will be previewing material from my new album - and I will be able to sign exclusive pre-release copies after the performance and during the interval. Wednesday 17th March ALBUM LAUNCH The official launch of my album, this gig will feature the quartet and a special appearance from vibes virtuoso Jim Hart. I will be signing copies of my album during the interval and after the performance. The show starts at 7:30, and will be finished by 10pm, giving you a chance to catch a train home in reasonable time! Either this, or stay to catch the late-night band. 606 club, 90 Lots Road, London SW10 0QD 7:30 start (doors open 6pm) Booking is strongly advised: 020 7352 5953 or www.606club.co.uk Darren Altman (drums), Rick Simpson (piano), Tom Farmer (bass), Jim Hart (vibes) The club has excellent food at fair prices. Sunday 21st March Hugo’s restaurant, 25 Lonsdale Road, London NW6 6RA 8pm Book a table: 020 7372 1232

News - January

Snow! What an exasperating weather condition. A sprinkling too much, and our transport system shuts down, we run out of grit, and people are forced to stay in. Such a situation presented itself in early January, coinciding with my first gig at Pizza on the Park. A stalwart few were in the audience, including a gentleman who I happen to share a birthday with, making the total tally of shared birthdays in the room 3 (including my twin sister). My next, and last performance at Pizza on the Park is Thursday 18th February. Hopefully snow will not be a problem. This month, I visited a great new jazz venue called the Hideaway in Streatham. The performance was from Julian Stringle and his band. Breathtaking. The Hideaway is a fantastic little place, aptly named because it’s hidden away from the hustle and bustle of Streatham High Road. Top-class London jazz acts are featured here every Friday, Saturday and Sunday night. More information is on www.hideawaylive.co.uk. This month’s Tomorrow’s Face gig at the Bull’s Head was very successful - a bigger audience than usual, and it gave me a chance to practise my piano skills as our pianist didn’t show. This venue still needs great support, and we’ll be there again on Sunday March 28th.

Gill Manly review

To start 2010 in style, I spent an evening at Ronnie Scott's listening to the outstanding singer, Gill Manly. She was doing a tribute to Nina Simone. Gill is someone whose singing is superb in every style - whether it be a heart-breaking ballad, or a swinging bop tune. In fact, on my iPod shuffle today, her version of Ellington's 'Daydream' made me stop on the King's Cross Station concourse and turn up the volume... and play it twice in a row. Read my review of the performance here: http://londonjazz.blogspot.com/2010/01/review-gill-manly.html

Learning to sing jazz

People have recently been asking me about my background in vocal training and how I came to be a jazz singer. I have never had any formal training, although in my late teens I had several lessons with a family friend (Alison Bryan) who taught me things about vowel pronounciation and breath control which shaped and improved my singing technique. This had a classical focus - Alison was not a jazz fan - but it was an essential and valuable education. I grew up in a household listening to Radio 3 and The Carpenters. Many jazz musicians spend their childhood with Ella Fitzgerald or Miles Davis in the background, but my parents - despite being excellent musicians themselves - were not into jazz, nor were they very knowledgeable on the subject (my Dad had never heard ‘My Funny Valentine’ until I sang it at a gig last year). It was when singing in The Orpheus Choir of North Herts, that one day we were rehearsing an arrangement of ‘Every Time We Say Goodbye’ and I remember thinking ‘This isn’t how it’s supposed to go!’ I longed to be freer with the melody - putting an emphasis on the important lyrics. The jazz was in me! My secondary school housed a jazz band (North Herts Youth Jazz Orchestra) for weekly rehearsals, and I joined as a flautist (although it started off as a way to kill time whilst waiting for a driving lesson. I soon changed my driving lesson time!). One day the singer was absent. I thought to myself, ‘Well, I can sing,’ but had never before sung jazz, or listened to anyone singing jazz, so I wish I’d thought twice before volunteering. The song was Billie Holiday’s beautiful ballad ‘Don’t Explain.’ I’m good at sight-reading, so I sang exactly what the copy said - complete with full semi-breves and crotchets rigidly in time. Where had my inner-jazzer gone?! The following week, the band’s singer returned and sang it properly. I was very embarrassed at the thought of my attempt! But still I didn’t learn. Another time the singer was absent and this time the song was ‘Wave,’ a Jobim bossa. The melody on the copy starts on a B above middle C, and quickly rises to a top G/A. As I shrieked out the notes, the bandleader stopped the rehearsal and quickly relegated me back to my flute seat. My first exposure to real jazz was hearing an old NYJO album - Shades of Blue and Green - which I found to be a fine record: exciting, moving, thrilling and awesome. By this time I had made new friends with other jazz musicians, and they introduced me to recordings of Natalie Cole, Carmen McCrae, Ella Fitzgerald, Peggy Lee and Sarah Vaughan. My jazz education had begun. It soon developed with the discovery of Nancy Wilson, Shirley Horn and Kurt Elling. As a professional I have had lessons from several singers whom I admire and find inspiring, including Claire Martin and Georgia Mancio. And still I continue to learn - at every gig I go to you’ll find me scribbling notes at particularly inspiring moments. I try to listen to a wide range of vocalists performing different genres, so that I might emulate the things I enjoy about what I’m listening to. Hopefully in the future, young singers will be listening to me for the same reason!