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Reviews

Boogaloo Blues Weekend

BODELWYDDAN CASTLE, NORTH WALES

09/12/05 – 12/12/05

What better place to hear the blues than a beautiful castle atop a hill in the wonderful countryside of North Wales? This was a harmonica-dominated event with four out of the six bands featuring this instrument. Rollo Markee & The Tailshakers fired up this weekend with a set that included a couple of fine original songs: “Julius Junior” and “Baby You Know I Love You”. The former had a Bo Diddeleyish rhythm and the latter, a slow blues, saw vocalist/harp player Rollo Markee using his harp mic as a vehicle for the vocals too – not normally a technique that I am fond of, but it worked well for this particularly plaintive song. The band treats covers reverentially and Louis Jordon’s “Caledonia” was no exception. Rollo and co, with only four players, still managed to maintain the swing element that is the core of the song. The band ended the set with Little Junior Parker’s “Mystery Train which brought Rollo’s considerable harmonica skills to the fore. This was a most enjoyable set from a tight, lively unit.

Next up was The Blues Band. They have been together for 27 years now and have long ago dispensed with a set list; nowadays, they play what they want in no particular order. It’s hard to imagine that Paul Jones, with his encyclopaedic knowledge and obvious love of the blues, once sung “Pretty Flamingo”. I last saw the band around four years ago and Paul Jones’s vocals seem to be stronger now with a better range. His harp playing, as always, was impeccable. A song that he wrote many years ago, “I Want To Know”, which was originally recorded with Steve Winwood, Jack Bruce, Eric Clapton and Pete York, was well appreciated, as was Dave Kelly’s encore, Chuck Berry’s “Nadine”. However, the number that I found most affinity with was Gil Scott-Heron’s “Blue Collar”. I found this very moving, with Paul’s vocals stretched to the limit and emotion to be found in every line. I was still basking in the afterglow of this song when the band launched into: “I’m Dreaming Of A White Christmas”. Unforgivable. All in all though, it was a polished, slick performance. 

The diminutive, but large-lunged West Weston opened the Saturday afternoon’s semi-acoustic session that consisted of four half-hour slots. His harmonica playing showed great tone and sensitivity and it really stood out on Sonny Boy’s “Bring It On Home To You”. Next up was keyboard player Ben Waters, who, if you were just listening and not watching, might think that he possesses more fingers than other players. His version of Jerry Lee Lewis’s “Lewis Blues” was both manic and delightful. There would be more to come from Ben and West Weston in the evening. Depot, comprising Mat Walklate and Faul Bradley came next and what a fine duo they turned out to be. The affable Mat Walklate had a gruff and ready voice and played guitar, bluesy flute and both kinds of harp. His partner, Faul Bradley was an excellent finger picker with a nice voice too: a distinctive vibrato giving a haunting quality to his delivery and J J Cale’s “Cocaine” was a fine example of this. Superb, a real joined at the hip performance. After the Lord Mayor’s show . . . Beth Gardner, a Texan who couldn’t sing very well and who’s guitar playing was even worse. Thankfully, it was only for a few minutes. 

West Weston’s Bluesonics began Saturday evening’s proceedings. Oddly enough, Steve Weston, an avid Little Walter fan, chose to kick off with a Jimmy Reed number, “Shame, Shame, Shame”. Mind you, he didn’t play it like Jimmy Reed, no, this was given the full Muddy Water’s treatment. Double bass player Matt Radford and drummer ‘Chilly’ Mike Watts’s excellent rhythm section provided a fulcrum for guitarist Chris ‘The Kid’ Corcoran and Steve Weston to weave in and out of. During Sonny Boy Williamson’s “Checkin’ Up On My Baby”, Steve, ever the showman, went walkabout (no mic) and this was greatly appreciated by the friendly Bodelwyddan crowd. Encore was Muddy Waters’ “Got My Mojo Working”, an energetic stomper to wind up their set with. Good stuff.

Top of the bill was the Ben Waters Band. Ben has found a good tenor player in Clive Ashley and they gel together nicely. Dr John’s light-hearted number “Never Can Tell” was affectionately reprised by the band who were joined by American Steely Dan guitar legend, Elliott Randall for this particular gig. I thought that he was good, but not that good, though whoops from the crowd suggested that I might be missing something. Willie Dixon’s “Let The Good Times Roll” was as punchy a version as you will ever hear and the band’s last song, “Jailhouse Rock” had more key changes than I can remember. Great fun.

Sunday afternoon and time for the SPIKEdrivers’ workshop: A History Of The Blues. This was a real pleasure because band members Ben Tyzack (guitar, vocals, harmonica); Constance Redgrave (vocals, electric bass, percussion); and drummer Maurice McElroy are clearly passionate about the blues music they play. Ben Tyzack gave us his idea of what the blues is by way of comparison with folk music. He said: “Folk music is about the world that we live in, while blues music is about what it feels like to be in the world that we live in.” Ben gave us a demonstration of the Diddeley Bo, a forerunner of the modern day guitar – basically just a piece of wood with a single string nailed to it – crude, but effective. Constance played washboard and Maurice got percussive on what looked like an old tea chest in another example of how the blues was played in the early 20th Century. So much more could have been written about this fantastic two-hour programme but space does not permit it. They crammed in a lot of really interesting stuff and I reckon the SPIKEdrivers should put this on CD.

Sunday evening and it was time for the Ian Siegal Band. Ian has great stage presence: he always looks pleased with himself, and ultimately, so were we. He took centre left stage, well away from drummer Nicolai Pierre and dep bass player Carl Stanbridge, who, by the way, did an excellent cover job. In my view, Ian Siegal was the best singer of the weekend. His voice has a good edge to it and his range is considerable. His slide playing has a sweet feel to it but why did he deem it necessary to play one particular four-note riff for 36 bars? Ian sang Lowell Fulson’s “Reconsider Baby” beautifully and surprisingly chose to follow it with a Dylan song: “She belongs To Me”; this number went down really well with the appreciative audience.

Final act of the weekend was The Yardbirds. Their two roadies must earn their corn, judging by the amount of gear that was on stage and I warned the drums in my ears that they might be in for a pasting. Still, the band are rock first and blues second, and it is not very often that you hear a quiet rock band is it? Just for a moment, I wondered what the bongos were doing on the stage and then it clicked, “For Your Love”, which, in due course, they played – very well as it happens. Ben King, the Yardbirds’ latest guitarist, following in the footsteps of Clapton, Page and Beck is taller than most people and has exceedingly quick fingers. Naturally, he used a lot of sustain, but, as the band originated this genre, it was expected. The band played “I’m A Man” at a much quicker tempo than the original and most of the audience seemed to really like this revised version. Billy-Boy, the harmonica player, was a real showman and did have the talent to match. This was a good end to a great weekend.

BOOGALOO BLUES FESTIVAL - SUNDAY 13TH NOVEMBER

Review from Blues in Britain

It was not a good start. A sensitive fire alarm which the kitchen staff were unable to turn off meant that a loud, clanging noise pervaded all four stages on and off for a couple of hours. But then came pure, unadulterated blues’ music.

One of the first acts that I saw was John Crampton who plays his 1938 National with plenty of gusto and in compelling style. Howlin’ Wolf’s “Smokestack Lightnin’” was well executed and there were other original songs, that were also worth listening to, in particular, “The Raven” and, bringing back memories of Sonny Terry, “The Train Song”. It is an act well worth watching.

Nicky Moore, big voice, big body, takes close control of the Blues Corporation. He writes strong, original blues material mixed with carefully selected covers: there’s no middle ground, every song goes straight for the throat. The bass player, Pete Shaw, is excellent, as solid as they come, so too, drummer Ed Collins. Danny Kyle, on acoustic guitar, is an interesting and worthwhile addition to the line-up, bringing a light counterpoint to the grittier guitar work of lead guitarist Timmy Moore. A couple of years’ ago Timmy was playing in Tommy Allen’s shadow, his occasional solos purely rhythm-based. Now, he’s creative and expressive, such an improvement. There were lots of good tunes but I particularly liked the self-penned “300 lbs of Joy” and the old favourite “Rock Me Baby”. Great stuff.

Ben Waters: what a superb boogie player this man is. He had very man, woman and one child, tapping their feet. He played slow blues and he played quick (very quick) blues but his unique style was present in all tempos. Ben played Chuck Berry’s “Johnny B Goode” and I have never heard a version like this one. Somehow, he managed to incorporate a James Bond theme and Tchaikovsky in this one-off novelty tune. Great fun. Clive Ashley joined Ben on stage, a really nice tenor player who bought some real melancholy to the softer numbers – he was no slouch on electric bass either. Deservedly, Ben and Clive got a fantastic reception from the crowd.

Robin Bibi/Robin Bibi Band. I listened to Ben’s solo acoustic set earlier in the day and he has an unhurried, natural style, well suited to the Delta blues genre. The “Mystery Train” / “Got My Mojo Working” medley I liked too but, it was later, when teaming up with Hans Ferrao on bass and drummer David Innes that he really came alive. No wonder the band is so popular – promoters really do get their money’s worth – the band plays non-stop, energy-packed numbers from start to finish. “Down In The Valley To Pray”, was a real spiritual experience. Robin showcased the rhythm section. Frequently, this well-trodden path can be dull but, not on this occasion. Bass player Hans Ferrao’s technically brilliant and melodic solo was mesmerising and there was much putting of hands together by an appreciative audience. Drummer David Innes’ input was well received too. They finished with Fleetwood Mac’s “Oh Well” which was a super finale to a super set.

Apart from the obvious, Connie Lush & Blues Shouter, is one of Liverpool’s finest exports. Connie Lush is a voluptuous, vibrant woman with a truly great voice. Full of energy, she struts and stomps across the stage, radiating sheer joy because, quite simply, she loves what she’s doing. Guitarist John Lewis, a southpaw, plays fine lead guitar and he and Connie have a real rapport going. Terry Harris, bass; Carl Woodward, drums and Fred Skidmore on keyboard make up the rest of the band. Etta James’ “Blues Is My Business” and Chris Smithers’ “Love Me Like A Man” were pretty special. However, none of the band’s songs could be considered ‘ordinary’.

  The Sonny Black Band gave a fine performance in the Barley Room. Sonny, an elder statesman in the world of blues, put his experience to good use; he has a delicate touch, stroking the guitar rather than hammering it. His finger picking on an instrumental version of “I Cried Me A River” was exquisite. Overall, the band’s interpretation of songs was impressive and their cover of Sonny Boy Williamson’s “Don’t Start Me To Talking” was one of the better versions that I have heard. He paid tribute to Peter Green giving lead guitarist ??? free rein on “Albatross” who made a very good job of it. “We’ll Get By Some Day” was a fine song well played and on this one, Sonny’s guitar playing reminded me of Lonnie Johnson. All in all it was good entertainment.

I should mention Funky Dory even though I only heard the encore, which was an original called “Free And Easy”. It was a really punchy number and from what I’ve been told the rest of the set was pretty good too. The band have not been around all that long but from the comments of some (best act of the day some said) it seems that a lot more will be heard from them in the future.

Tommy Allen’s Trafficker filled the Cellar Bar with a solid fan base – the band was loud, strident even and the material is much more ‘rock-orientated’ than it used to be, rock on Tommy. When I went outside the building I could still hear every note. If the music had been a little quieter I might even have liked it! I must be a minority though because most other people loved it.

Because there were so many bands to see I only got a sniff of Ruthless Blues but the aroma was good. Others who saw the whole act were impressed. Again, I did not see too much of Delta blues’ band Blue Thunder but if Robert Johnson’s “Come On In My Kitchen” was any yardstick they must have been pretty good.

In my opinion, the performance of the day came from Station House. Sam Kelly has to be the best blues’ drummer around and in the band now there are no weak links. Vocalist Root Jackson is surely the happiest front man in the business and he is a real communicator. It’s not always easy to get an audience to join in on a chorus but on Bobby Bland’s “Ain’t No Love In The Heart Of The City” they just didn’t want to stop. “Too Much Trouble”, an original Root Jackson song went down really well too. The music of Station House is a wonderful fusion of reggae, blues, jazz and a much else. T. J. Johnson on lead guitar didn’t waste a note in his solos and Paul Jobson on keyboard gives the band an extra dimension. Bass player Dave Clarke has a really funky style singing James Taylor’s “Steamroller Blues” rather well too and rhythm guitarist Winston Delandro helps to keep the whole thing running smoothly. Although many musical influences have been thrown into the crucible, Station House have succeeded in creating a groove all of its own.

  All in all it was a great day for the blues in Surrey.

Brian Cushion
Blues in Britain

LITTLECOTE HOUSE BLUES WEEKEND 21-24 January 2005
Hungerford, Berkshire

I have now recovered from what turned out to be a superb weekend of great blues music, booze and late nights. There were some knockout acts and in particular, the Sean Webster Band who kicked off the weekend was outstanding. Sean is a great vocalist and guitarist and the band is hot too: excellent arrangements of both original and non-original songs ensured lots of contrast with the additional bonus of some really tight, non-formulaic endings. Since returning from this weekend I've read February's Blues in Britain and it seems that Ken Bell feels the same way about this outfit: see his review on page 12 and an interview on page 23.

The Elevators Biggish-Band followed, a lively set featuring front man / guitarist, John Whippy. It was energetic and nice to hear the brass but although everyone else's feet clearly enjoyed the danceability of the music, I found the output a little on one level for my taste.

Saturday night featured Kate Periera and her band - she has a big voice and uses it well. During the set, the band took a break leaving Kate to perform one song a cappella and another with just acoustic guitar for company. Both were moving songs and the change of mood sat well with the crowd.

Saturday night's top act was Bad Influence and what a fantastic band it is. Val Cowell is lead singer, a lady who struts her stuff magnificently and whose roaring vocals make the hairs on the back of your neck stand on end. The band is really tight and Richard Hayes's penetrating guitar is noteworthy. The band plays all kinds of 'classics', from Janis Joplin to ZZ Top, plus their own excellent material. (I know that to some people's way of thinking, ZZ Top does not constitute blues music. However, my feeling is that if you have blues running through your veins, that most primitive of emotions will make its presence felt - whatever the material.

And, finally to Sunday night which was opened by Station House. Let's be honest, if you've got Sam Kelly at the back and Root Jackson at the front you can't really go wrong can you? Sam is a drummer's drummer, the ultimate stoker who leads from the back. The band did slow ones, fast ones, mid-tempo ones but, whatever the pace it always had a groove. T J Johnson's highly rhythmic, forceful guitar playing was a delight and as for Root Jackson, he really is one of the best vocalists around. (Root is always smiling and no wonder, he has amazingly white teeth - and so many of them!)

The last act of this weekend was Geno Washington & the Purple Aces. Geno is a real showman who has been on the road for what seems like forever. Originally, he was a blues singer from Louisiana and for this particular event he went back to his roots. I last saw him many years ago and thought that perhaps time had caught up with him. But, he has still got a good voice, he can still get people off of their bottoms and on to the dance floor and in between songs, with his uniquely anecdotal style, is still very funny.

In addition, we had the jams. These started around midnight and were hosted by Tim Aves and Bob Hokum and it was nice to see some of those who had performed earlier in the evening contributing.

Apart from listening to the music, there are many other things you can do at these Warners / Boogaloo events - boredom is not an issue. Littlecote House has a sauna, a steam room, snooker rooms, indoor bowls, table tennis, air-rifle shooting and much more. This Grade 1 Listed Tudor House is set in beautiful surroundings in the Berkshire countryside - it really is a great place to be. Good food, good accommodation and above all, kindred spirits. I paid £186 for my three-night, half-board stay and it was well worth every pound.

For further information about other weekenders see www.boogaloopromotions.com

Brian Cushion

JUMP JIVE & BOOGIE WEEKEND @ GUNTON HALL, Lowestoft June 2004.

The party started in fine style with Pete G & the Magnitones and their swinging Chicago blues and boogie that encouraged the dancing from the first number "Give Me Give Me All Your Love" and kept it going for 90 minutes. Pete Welland's splendid harp and vocals hit their stride with the rocking "Lonesome" and the Fab T's "I Believe I'm In Love With You", driven along by Dave Sims and Simon Reid on drums and bass. Guitarists Steve Moore and Chris Corcoran delivered fine blues and boogie with "I Can Tell" and the slower "You Can't Be The One For Me" and the dance floor was heaving by the time "Look At That" finished their set all too quickly.

Friday's climax was provided by The Duchess and her Dukes delivering predominantly 40's and 50's style jazz and blues, that delighted fans of Louis Jordan, Duke Ellington and more. The Lindy Hoppers and jivers were in their element from the first few chords of "Good Rockin' Daddy", through classics like "Saturday Night Fish Fry" and "A-Train". The Duchess, Deborah Noelle, has a sublime voice with a range that lent itself perfectly to the band's choice of material, supplemented by vocals and tenor sax from Kit Packham and Tracey Mendham on baritone sax, especially on "Ain't Nobody's Business". Kenrick Rowe and Chris Rodel kept the beat for the dancers, augmented by some vintage guitar from Nigel Price and boogie piano, notably on "One Monkey Don't Stop No Show", courtesy of Perry White. Like to jive? Go see the Duchess!

Saturday evening found JP & the Wiseguys giving us their larger than life brand of 50's R & B, featuring a great set of covers and their own original material. They had the audience with them from the off, opening with some rocking blues and rock 'n' roll, in the shape of "Key To The Highway" and "Reelin' and Rockin'", powered by the strong rhythm section of Paul Atkinson and Tony Ferlisi,. The dancers strolled to Chuck Berry's "Almost Grown", featuring Tony Pow on guitar, eased back on "Let's Get High", before going into overdrive with the stomping sax of Andy MacDonald for "Mad At You" and "Good Morning Judge" by Wynonie Harris. You also can't ignore the lively Neil JP Flowers fronting the band on vocals and humour. He knows what the punters want and gives it to them, no more so than on an energetic "Twenty Flight Rock". Nice one JP!

Half an hour later, the Cadillac Kings put the "F" into fun and hit the stage with a rousing version of "Tiger Man" that had many people on their feet. These guys clearly enjoy playing live and the feeling is infectious. Mike Thomas has a rich vocal delivery, made for the blend of blues and swing they play, duelling with Gary Potts on harp and vocals, notably on "Highway 17" and their tribute to Hilda Baker, "Hilda's Hop". Young guitarist Oliver Darling coaxed fine rich tones from his Gibson on Champion Jack's "Shake Baby", whilst the seemingly calm backbeat from Roy Webber contrasted the bouncing bass of Orlando Shearer, particularly during a swinging "You Never Know". Throw in the keyboard and accordion virtuosity of Mike Adcock and you have a superb show. The slower "Trick Of The Blues" allowed us a breather, before a rollicking "I Believe In You Baby" worked us up to a rousing "Ice Pick Confession" as a deserved encore. Saturday sure was FUN!

Sunday featured Mo Indigo and their particular brand of blues and R'n'B, heavily featuring the terrific piano playing of Fraser Wigg from the outset on "My Babe" and "I'm Ready". Harry Lang on vocals lead the band through a number of standards by Chuck Berry that was great for jiving, ably assisted by the ringing guitar of Robin Carr. Their pedigree as a backing band for the likes of Charles Walker was evident, given the foundation of John Bulpitt's bass and Alan Watkin's percussion, the latter playing his final gig for the band. The Earl Gaines penned "Every Night In The Week" got a good airing and by the time they finished with an extended "Leaving This Old Town", an initially sceptical crowd had been won over.

Ultimately, Big Boy Bloater and His Southside Stompers closed the weekend's live entertainment in grand fashion. They are a big band for a big occasion and delivered a succession of three-minute slices of pure energy. Big Boy's vocals and guitar playing were a joy from the initial "I'm The Man", whilst "Sapphire" highlighted Deacon Turner's rocking piano playing. Darren Richards and Dave Terrey provided the powerful back line of bass and drums throughout, with the "Hook Line And Sinker" filling the dance floor. Stir in the twin sax attack from Clive Osborn and "Lil" Lisa Jane, the latter also singing a few numbers including "Mama Treat Your Daughter Mean" and you have a dish to satisfy the most demanding jiving audience. What a way to finish a superb weekend!... Darrell Parsons

WARNER BLUES WEEKEND @ Bodelwyddan Castle, North Wales April 2004.

As Warner venues go this is the furthest I have to travel, but it is certainly well worth the effort. It has become my favourite venue, partly for the surroundings (though they all pass that test), but also for the entertainment suite. This is long and narrow rather than the more usual wide and shallow and has a balcony (with it's own bar which avoids unnecessary downtime!). The jam sessions are held in the same room so apart from turning chairs around no effort is required to gain full value.

Most of the bands were familiar to me so I knew what I was letting myself in for and I certainly wasn't disappointed. The journey went smoothly on a lovely sunny day (weather which held nicely for the duration) and I soon met up with some friendly faces. One of the features of these weekends is the real pleasure of mixing with like-minded people from across the country (and this time Carole, over from Budapest to keep me pinned to the dance floor virtually the whole time). The whole occasion is virtually a family gathering and the "family" continues to grow!

The music could not have been started by a much better band than Tommy Allen's Trafficker. Although this time lacking the considerable skills of Sam Kelly, whose cover Nick did a fine job, the band produced a cracking show featuring many of Tommy's own compositions from both CD's together with a sprinkling of covers. The first slot is a difficult one, but they judged it well with a fairly gentle introduction before kicking on with more of the feet-twitching variety.

Dutch band The Juke Joints were next and have become firm favourites for their punchy rocking music. They can be guaranteed to get people dancing. They are slightly unusual in having a singing drummer (Pete Kempe). Harp player Sonny Boy also lends a hand on vocals and gave us our first accordion demonstration of the weekend. There are quite a few covers, but the band write some great songs and we heard Mojo Hand. Walkin Down Memphis and others.

On to the jam session, but my advancing years got the better of me at around 2.30. I understand that others survived until well after 4!

Next morning was warm and inviting so Carol and I went off to Colwyn Bay for some sea air. Excellent therapy.

Saturday afternoon is acoustic time and Tommy Allen was solo this time. He is perhaps better known for his electric playing, but he is also a highly accomplished acoustic guitarist. His voice has developed significantly over the last 2-3 years. Highlights for me were his own Set Me Free (quite beautiful) and Robben Ford's Look What You Done. The Juke Joints again followed and their set featured Rory Gallagher very strongly. Tonight's headliner Trevor Burton and his co-guitarist Maz Matrenko did an excellent set of varied songs including a country style version of Walkin Alone With The Blues. The afternoon was concluded by The Hangover Blues Band in rare acoustic mode with a variety of rocky numbers.

The Hangovers were back on the main stage for the evening and showed no respect for the fact that we had just had to eat vast quantities of Warners' delicious dinner. It's a bit much when you have to get up and dance straight away!! They kept us at most of the way through, culminating in a manic version of Can't Afford To Do It. There was another dose of accordion (from keyboard player Mark Steeds) during their set.

Trevor Burton (founder member of The Move) was then back with his band for a particularly varied collection of music, even a bit of reggae!! A great evening was followed by some of the best real blues music of the weekend. Tin Pan Alley from Cardiff were running the jams over the weekend and formed the nucleus for a session which saw Trevor Burton and Mark Steeds combine superbly for a fine collection of songs including You Talk Too Much. As a non-musician I am always astounded by the way that people who have usually never met before get together to play such wonderful music. Perhaps that's what makes someone a musician as opposed to being able to play an instrument? My congratulations to all concerned. For me the night finished soon after 4 am with a stunning version of Can't Afford To Do It (which I had to dance to didn't I? I couldn't have looked Sister Feelgood in the eye again if I hadn't!).

Up for breakfast shortly after going to bed is a feature and this breakfast was followed by a leisurely walk through the woods and fields of the castle grounds. The first pint of the day the clearly a necessity, but then rest beckoned. However my mates from Essex, Doug and Sue, are staunch Arsenal supporters (no, I can't imagine why either) and by chance they were on Sky at a local pub so rather than do the sensible thing (you can't do that at a Warners weekend) I tagged on to their red shirt tails. By the time we got back it was time for more food and, all too quickly, our last night.

The one band new to me were Never The Bride (apart from one song played by Ashwyn Smyth on his Digital Blues). Well, they were very different, but quite brilliant. After only two or three songs they got a standing ovation. Not strictly blues, perhaps, but fine musicianship...and that voice! Nikki Lamborn has real stage mastery and tremendous power. The audience were spellbound. Nikki and Catherine "Been" Feeney write all the bands material and they certainly know how to write moving songs. Been also sings, plays keyboards and 12 string guitar! She sang lead on her own composition Kiss Kiss. The whole set was full of emotion. There was an excellent version of Led Zep's Whole Lotta Love, tremendously powerful, and their own Loser In Love was top quality. The highlight undoubtedly was The Living Tree, their finale. A very moving song which brought out the best in Nikki and had Been moving purposefully about the stage with her guitar and back to her post for supporting vocals. This was drama, this was theatre, this was fabulous.

I guess only Connie Lush could possibly follow that, and she did! She and Blues Shouter were soon in their stride and put on a great show. Johnny Lewis must be one of the most underrated guitarists around and Terry Harris a wonderful bass player. Carl Woodward on drums sews it all together. This band is really tight. From their ever-increasing repertoire songs such as Dog and Shopping were to the fore, while their version of Nina Simone's Feelin Good finished the evening in great style.

The night was yet young though! When you have two such amazing vocalists in the house you just have to stick around. It often is, but certainly this Sunday jam was one of the classics (there have been many!). You usually have to be patient, but tonight we had the very special occasion of Connie and Nikki singing together. Route 66 was followed by I'd Rather Go Blind as you wouldn't believe. This was special. Nikki later came back to sing House of The Rising Sun. The memory fades a bit after that, but I know I was still up and dancing until the close of proceedings at 5.00 (having vowed to go to sleep several times before that). Great credit is due to Nick, Mark, Steve and Jamie of Tin Pan Alley who did a fantastic job running the jams all weekend, with good humour too.