Over recent years I seem to
spend more time in church than in my local pub. That's in line with most of
the population, it has to be said, but not as a Sunday attendee. The reason
for my non-sabbatical attendance is music. I thought I’d begin on a confessional
tone.
The use of churches and cathedrals of all denominations has become an
ever-growing trend for artists and promoters when selecting gig venues for
forthcoming tours. These respected, iconic institutions have become more than
buildings passed by without a thought, as part of our daily routines. They
have become buildings where the devil's music can be heard, and in most cases
enjoyed.
One of the more humorous religious faux pas’s I've witnessed was at the Union
Chapel in London. A certain Americana dude was clearly relaxed by the liquid
refreshment he was partaking whilst on stage. Looking up to the chapel's
ceiling, he announced:
“Man, this place is fucking awesome." Putting his hand to his mouth, as
in realisation of his utterance, he followed it up with, “Fuck, I don’t think
I'm allowed to swear in here. I mean, shit." I’m sure St. Peter was
smiling.
On a cold Saturday night, I once again joined the local brethren. I take my
place on the wooden pews of Cores End United Reformed Church in the leafy (in
summer) village of Bourne End, nestled between the local towns of High
Wycombe and Maidenhead. Tonight is a jazz concert headlined by the acclaimed
singer Sarah Moule, along with, as the programme notes state…”some of the
best local jazz men around today”.
The last time I saw Sarah Moule perform was at the Stables in Wavendon on the
outskirts of Milton Keynes. She was elegantly attired in evening dress,
accompanied by her husband Simon Wallace on piano, not to be outdone in his
dapper evening suit and crisp, white shirt. If that show was more akin to
black tie and champagne, this evening is cardigans, tea and homemade cakes.
The church setting is small, cosy, comfortable and relaxed, with dress code
erring to casual and wrap up warm.
Tonight Mark Aston on saxophone is compere and band leader, welcoming the
small thermally wrapped audience. He is accompanied by John Coverdale
(guitar), Nigel Fox (keyboards), John Monney (stick bass) and Mike Jeffries
on drums.
The band open the show with a couple of Duke Ellington numbers: 'Don’t Get
Around Much Anymore' and 'Take the A Train'.
Moule steps up to the microphone, having shed her cardigan. With Nigel Fox on
keyboards, she offers a wonderful rendition of 'Prelude to a Kiss'. In just
one song she demonstrates why she has established a reputation as one of the
country’s leading jazz vocal talents.
The band are clearly having fun when they mash up the 1944 classic, 'You’re
Nobody 'til Somebody Loves You” made popular by Dexter Gordon.
The Frank Loesser composition 'If I were a Bell' from the 1950 musical 'Guys
and Dolls' has been covered by many jazz greats: Miles Davis and Stacey Kent
quickly come to mind. Moule’s stylish version brings a freshness to the song
due to her timing and phrasing. A cardigan replacement is required whilst
John Coverdale takes a solo slot with the 1941 Lane/Freed composition 'How
about You?' Coverdale's electric guitar chords stir up memories of Julie
London’s spine tingling version of 'Cry Me a River'. He takes a well-deserved
and enthusiastic round of applause from the appreciative crowd.
Next we are back to Duke Ellington with 'Cotton Tail', a tune from 1940.
Although the tune is based on varied rhythm changes the band swings it with
touches of New Orleans blues and ragtime. Who said it was cold?
Moule and the band close the first half with the Ella Fitzgerald classic,
'That Old Black Magic'. They offer a swing version which works really well,
with Moule's pitch and range spot on.
During the break, I catch up with tonight's concert organiser Geoff Cronin.
He tells me, “On the whole, I’m pleased with the size of tonight's audience.
One can never tell with jazz who has seen the adverts, etc. Most jazz people
don’t seem to like prebooking tickets, which leaves the organiser with no
feeling of safety! Jazz is a spontaneous kind of music, and I suppose the
audience is therefore made up of a more spontaneous kind of person.”
"Another factor is the age range of people who like jazz. It’s more on
the mature side, certainly in this area I would say! If younger people became
more exposed to jazz, then they would find jazz performed live so much more
interesting than they might imagine. Lots of young musicians are coming out
of the colleges and universities, but because of the small number of venues
to play in, they can't get to play and get paid enough to live on."
Cronin has been associated with the local Hedsor Jazz Club for over a decade,
which has built up a regular and enthusiastic following.
“We struggle to pay the musicians enough, but most guest musicians like to
come and play jazz at Hedsor because they can. Because you are always running
with poor financial backing, you can hardly ever pay for advertising, which
makes it all a vicious circle. As an organiser, I have often lost
money."
Which begs the question, what is the motivation to continue?
His wry smile confirms he’s been asked this before.
“I carry on because I want people to actually hear live jazz. Like Duke
Ellington, I think jazz should swing. I think within the improvisation there
should be some tune. If people can identify with what they hear, you can
usually see them smile, which is great. Jazz is both art and entertainment.”
Band and audience collectively refreshed with tea, wine and nibbles, they set
off again with the popular jazz standard 'Just Friends'. Clearly this is a
set of musicians who have played professionally and for fun over the years.
They sound good with a limited amount of practice time for this particular
gig. When it came to their solo slots, they excelled. No more than the
keyboards of Nigel Fox on his rendition of Leonard Bernstein’s, 'Some other
Time'.
They bring proceedings a little more up to date with Van Morrison’s
'Moondance', Mark Aston taking centre stage on clarinet. His rendition of
Dave Brubeck’s 'Take Five' was “interesting” as he struggled with sticky
clarinet pads!
Moule closed off the show with two Ella Fitzgerald classics: 'Where and When'
and 'Cheek to Cheek' from the 1935 film 'Top Hat'. For once, I’m pleased Fred
Astaire and Ginger Rogers didn’t dominate proceedings.
One of the pleasures of attending small concerts like this is the ability to
appreciate an artist's talent up close. Sarah Moule is on top of her game,
it's a sheer pleasure to watch and hear note perfect phrasing throughout the
evening (with or without cardigan). Yes, the programme notes were right, she
was backed by some of the best local jazz men around today.
There is a nice touch at the end with a prayer and blessing offered by the
church minister. Now you don’t get that at Ronnie Scott's.
Mainstream jazz programmes on various radio stations are viewed by many to be
scheduled either too late in the day, or plonked in a badly selected noon
slot. Unless you have a recording device, or access to iPlayer radio, many
programmes can be difficult to capture.
Last year we had two films featuring the jazz greats, Miles Davis ('Miles
Ahead') and Chet Baker ('Born to Be Blue') at multiplex screens across the
UK. Whilst the films reminded, rekindled or introduced jazz to mass
audiences, nothing really compares with a live set.
So when a church, a passionate jazz sponsor, a leading jazz vocalist and
local musicians come together, what do you get? Answer: A concert to
remember, one which will bring warmth and smiles throughout those long winter
nights.
Owen finished the article with some YouTube of Sarah, which can be found at
https://www.youtube.com/watch?list=SRSarah%20Moule&v=IHOGBc4KKWc
It was all published at
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