Cecile Mclorin
Salvant (vocals); Enrico Tomasso (trumpet/cornet); Jean-Francois Bonnel (ten/alt sax and clarinet); Martin Litton (piano); Roly Veitch (guitar); Manu
Hagmann (bass); Richard Pite (drums). (Review by Ann Alex).
What a good time
was had by all! Nearly every seat on all
three levels of Hall 2 was occupied for this tribute to Billie Holiday, sung by
Ms Mclorin Salvant, who was an attractive, elegant lady in red, with
large-framed spectacles. Her voice has
many vocal colours, sweet and persuasive, pleadingly sad, then wonderfully dark
and rich in the lower ranges. The
emphasis was on the songs that Billie sang in the 1930’s, a relatively happier time
of her life. Our singer brought her own
style to the songs, with effective interpretations. I felt that she could have had an alternative
career as an actor.
And what of the
musicians? To say that they were well up
to the job would be an understatement.
They were a great band in their own right, very entertaining and
skilled, teaming well with the singer.
Outstanding solos from Bonnel, of whom one person said was the nearest
thing to Lester Young he’d ever heard, and Tomasso on both trumpet and cornet, they
looked as if they were really enjoying themselves – we certainly were!.
The Swiss bass
player hummed along gently to his own bowing in a manner, one of my colleagues
said, that was reminiscent of Slam Stewart.
Litton, a skilled pianist of many styles, Pite, a drummer who knew
instinctively when to be discreet with cymbals and brushes and when to let rip
for his solos. Towards the end of the concert he even juggled with the drumsticks. I thought I’d had too much to drink, then
realised it was really happening. And of
course, on guitar, our own Roly Veitch, who acquitted himself with honours,
especially in the trio number featuring Cecile accompanied only by acoustic
guitar and clarinet - I Can’t Believe
That You’re in Love With Me. Roly's chordal solos, I'm told, brought to mind Carl Kress or Dick McDonough. Whatever, they sounded good to me!
In a performance
which was rich in evocative songs it’s difficult to pick out specials, but the
first song boded well for the rest of the gig - A Sailboat in the Moonlight and You. Lover Come Back to Me opened with just voice and bass, and I
wondered how on earth the singer knew when to come in! The trumpet on this was tremendous! There
were 2 lighter songs, some would call them novelty songs, Twenty Four Hours a Day and
Miss Brown to You. I wish more
singers would do these little gems, as they add lightness to the more serious
material. On The Sentimental Side was
played with the sax following the voice and some tender trumpet. The second half opened well with a gutsy
version of I Gotta Right to Sing the
Blues. If Dreams Come True was dedicated to Lester Young, and “The nearest thing to Lester Young” certainly
is a “presidential candidate”. The gig rounded off with a lively Them There Eyes. A well deserved encore,
On the Sunny Side of the Street, gave
band and singer a last chance to let rip.
This was a great
pre-party event before the main Whitley Bay Classic Jazz Party, which starts
today (Friday October 26). Fully booked
now, sorry, people who missed getting tickets and, please note, already tickets
are going fast for next year. Feel sorry
for me, I’m working this weekend.
Ann
Alex
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