Helen Pearse - jazzreview.com - Your Jazz Music Connection - jazzreview.com - Your Jazz Music Connection http://jazzreview.com Mon, 22 May 2017 18:34:11 -0500 Joomla! - Open Source Content Management en-gb Gwyn Jay Allen http://jazzreview.com/jazz-artist-interviews/gwyn-jay-allen.html http://jazzreview.com/jazz-artist-interviews/gwyn-jay-allen.html In his Creole tribute to Louis Armstrong, I Love Louis, Gwyn Jay Allen weaves together the lives of the great man himself, taking us on a musical journey from West London to West Africa by way of New Orleans--as this writer discovers the wonderful world of Gwyn Jay Allen, and an album you can’t help but fall in love with. It was not the way any journalist would want to introduce themselves to an artist they’re hoping to interview. A text from my friend, passing …
In his Creole tribute to Louis Armstrong, I Love Louis, Gwyn Jay Allen weaves together the lives of the great man himself, taking us on a musical journey from West London to West Africa by way of New Orleans--as this writer discovers the wonderful world of Gwyn Jay Allen, and an album you can’t help but fall in love with.

It was not the way any journalist would want to introduce themselves to an artist they’re hoping to interview. A text from my friend, passing on Gwyn’s phone number, arrived on Valentine's Day. It read, "Here’s Gwyn’s number, Happy Valentines Day." So I text back, "Happy Valentines to you too, xx! Thanks for this. Can’t wait to catch up." Thirty seconds later, I’m staring at a message from a number that clearly isn’t stored on my cell phone. "Who dis?" it asks cryptically. I stare at the screen in disbelief, realizing the reply to my friend was inadvertently sent to Gwyn Jay Allen's telephone number instead.

The only kind of damage control I could think of was to call his number and try to explain myself. Cheeks burning with embarrassment I pressed dial. Gwyn picked up and was laughing so hard that he could hardly speak. "That’s brilliant" he said, "we’ve really got to do this interview now - let’s call it ‘My Funny Valentine.'" So that’s how we came to be sharing cheesecake and coffee while sitting on plump velvet armchairs in Starbucks, Kew Village, just under a week later.

As a beautiful, golden sunset sank in the sky over the world famous gardens, Gwyn was still laughing as he told me about the launch of his latest album from London’s Pizza Express Jazz Club on Soho’s Dean Street. "I’m telling my story, but Louis’ too," explained Gwyn.

The startling resemblance between Louis and Gwyn’s voices is just the starting point for an evening in Soho that explores all aspects of the men, private and public, sacred and profane. "Back o’ Town Blues" finds ‘Louis’ offering advice to the men in the audience on how to treat a woman right "else it’s gonna bounce right back on you " If you close your eyes, you’re transported straight back to New Orleans and the days when the good times rolled.

Tributes to Louis from his star-struck fan come in the form of "What a Man," the title track, "I Love Louis" and "Satchmo," which tell the story of an African-American man of the humblest origins becoming a world ambassador for jazz. These sunny-side up, swinging tunes are the fans’ eye view of the world of Louis Armstrong.

The wonderful Lauren Dalrymple, aka ‘Sista Big Cup, is drafted in to explore Louis’ complicated relationships with women. She and Gwyn recreate Louis and Velma Middleton’s twenty year partnership in "Someday," with just the right amount of appreciation of her dangerous curves from her co-star. The combination of Gwyn’s deep velvety chocolate, voice with Sista Big Cup’s honey-dripped caramel tones, is musical magic. She floats her high notes over the audience, releasing them like beautiful balloons. Fantastic! Quite the double act.

The exploration of the interior worlds of Allen and Armstrong provide the underlying emotional trajectory of the evening. "Black and Blue" was Louis’ take on the race issue. It’s a searing indictment of discrimination. "My only sin is in my skin " sings Gwyn. He explains, "It’s a difficult song to sing. It takes people to a place they don’t want to be, but it seemed important to play it. Louis got involved in a case of eight black students being denied access to higher education in Arkansas. He spoke out against inequality and paid the price. His licence to perform was taken away. It’s a side of the man that most people have no idea about."

In 1957, Louis visited the newly independent state of Ghana, embracing his West African roots. Gwyn’s own name is proof that his descendants had also been transported to the United States as slaves. They were part of a small group of freed slaves that made it back to Sierra Leone and formed the aptly named ‘Freetown,’ where his parents still live today. In his native tongue, Creole, Gwyn sings "Na So Dem Say," a song for anyone who has been told that they’ll "amount to nothing" in life and have gone on to prove their critics wrong.

Sierra Leone was also the inspiration behind the choice of "Nobody Knows the Trouble I’ve Seen" on his I Love Louis album, a track that Louis Armstrong also recorded on his sacred album, Louis and the Good Book - Decca 1958. In 1999, Gwyn travelled home to see his parents during the bitter civil war in Sierra Leone. He was kidnapped and interrogated at gunpoint and was forced to escape through Guinea, Senegal, and the Gambia before finally getting on a flight back home to the UK. "It was surreal. I just kept thinking about my wife and my two boys back in London. That, and my faith, got me through. It took me over a year after I returned before I could begin to talk about what had happened," explains Gwyn.

On the album, and live at Pizza Express, Gwyn gives the traditional, spiritual African drumbeat, insistent and full of portent. It’s music that sends chills up and down your spine. And after all this, Gwyn ends on Louis’ "Wonderful World," mopping his brow with a trademark white hankie just like Louis, and telling us that ‘life is for the living’. The arrangement is beautifully pared down, with a lovely, laid back guitar solo and shimmering piano accompaniment.

The recording of the album and the putting together of a formidable bunch of musicians all came about through Gwyn’s musical director/pianist and musical maestro, Alex Wilson. "We’ve been working together on and off since about 1995," Gwyn says. "He’s half Sierra Leonian and half English, and he’s got that mixture of cultures too. We understand each other so well. He lives through his ears. It just wouldn’t be possible to find anyone better."

The band Gwyn and Alex (Wilson) put together include Grammy award-winning trumpeter, Roy Hargrove, Neil Charles on bass, Troy Miller on drums, Barnaby Dickinson on trombone and Jo Caleb on guitar, plus Quentin Collins also on trumpet. They’re a fierce line-up as they’re happy to demonstrate on the swinging "Now You Has Jazz, arranged to showcase their talent. The track ends on a blistering rap from Sean Allen, one of Gwyn’s multi-musically, talented sons. Nathan Allen is a drummer who has shot to fame with Amy Winehouse, featuring on the award winning Back to Black album . He joins his father on stage at Pizza Express alongside Sean. Gwyn himself is a natural born entertainer, starring as Cab Calloway in a West End version of the Blues Brothers and wowing millions with his ‘Stars in their Eyes’ TV performance of Louis’ "All the Time in the World." They’re a musical dynasty in the making.

Gwyn and Alex also collaborated on a trip to Melbourne, Australia in 2006 to launch I Love Louis down under. It was all a bit last minute, "A producer from Australia rang and spoke to my agent, telling me that they wanted me out there in three days time! So Alex and I put a band together in two days and spent two and a half weeks out there. I loved it. Australians say what they mean, and mean what they say. I gave my first concert on the first day out there. There was a big after party and then they asked me to record an advertisement for TV I nailed it on the third take!’"

Gwyn and Alex played all over town to sell-out audiences in theatres, jazz clubs and on live radio. There are plans afoot for an Australian tour now, taking in Melbourne, Sydney and Brisbane with a stop-off in Japan thrown in. A two week tour of Malaysia is also in the offing. There’s talk of a documentary too. "The BBC has taken an interest, and an independent documentary maker. They’re asking the question, 'Why hasn’t the Louis Armstrong life story been told yet? How has this been missed?’" Gwyn tells me. There has been talk of shows on Broadway and Las Vegas too.

It seems that the threads of Louis and Gwyn’s lives are destined to ravel out together for quite some time to come and they both have quite a story to tell.

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morrice.blackwell@gmail.com (Helen Pearse) Jazz Artist Interviews Sat, 29 Jan 2011 11:37:44 -0600
Liane Carroll http://jazzreview.com/jazz-artist-interviews/liane-carroll.html http://jazzreview.com/jazz-artist-interviews/liane-carroll.html Liane Carroll was the UK's best kept, jazz secret. Not any longer. In a week that saw her win ‘Jazz Musician of the Year’ at the Parliamentary Jazz Awards, I met the multi-award winning artist and discovered that lunching with Liane is very much like hearing her play live. One moment you’re laughing along with her, sharing her joy, the next moment you're fighting back tears as she breaks your heart with the sadness of her stories. Liane and I meet in London’s foodie hotspot, Bo …
Liane Carroll was the UK's best kept, jazz secret. Not any longer. In a week that saw her win ‘Jazz Musician of the Year’ at the Parliamentary Jazz Awards, I met the multi-award winning artist and discovered that lunching with Liane is very much like hearing her play live. One moment you’re laughing along with her, sharing her joy, the next moment you're fighting back tears as she breaks your heart with the sadness of her stories.

Liane and I meet in London’s foodie hotspot, Borough Market. We were surrounded by stalls laden down with pungent French cheeses, glistening Spanish chorizo, mountains of artisan bread and coffee beans plucked from remote corners of the globe. The smell was heaven.

As we sat and admired the view from our first floor restaurant table, Liane brought me up to date with her week thus far. As well as picking up the ‘Musician of the Year Award’ at the Parliamentary Jazz Awards, held in the House of Commons on Tuesday night, she had also seen her husband of eighteen years, bassist Roger Carey, play with his band, ‘Engine, Clutch and Gearbox’ twice ‘a treat for me, because I hardly ever get to hear them,’ - and had been present at the birth of her daughter Abi’s second child, granddaughter number two for a very proud Liane. All this and it’s only Thursday

Events in Liane’s professional life have been gaining momentum since the release of the critically acclaimed Billy No Mates in 2003 on the independent ‘Splash Point’ record label, although she was a regular fixture at Ronnie Scott’s throughout the nineties. It was after this that the awards started arriving like London Transport buses a bit of a wait and then five arrived all at once. "It’s been brilliant," Liane says, "I’d been asked to sing at the BBC Jazz Awards in 2005. Suddenly, I’m being given two awards. I think I was the first person to win two in one go. It was lovely. I hadn’t been expecting it at all. I got ‘Jazz Vocalist of the Year’ and the ‘Best of Jazz’ award. The following year I won ‘Best Vocalist’ at the British Jazz Awards and then in 2007, I picked up ‘Best British Female Singer’ at the first ever ‘Ronnie Scott’s Jazz Awards’. It was fantastic. I ended up getting really drunk and jamming with Jeff Beck!"

"The Parliamentary Jazz Awards were the same," says Liane. "Three years ago I played for them and last year I presented an award. This year I won one!" It was a brilliant night by all accounts. Jazz legend Jack de Johnette was playing, and Ken Clarke was there too, a former Chancellor of the Exchequer and massive jazz fan. Liane’s great friend Ian Shaw was also on hand to give out the gong for jazz journalist of the year. All in all, quite a night.

Success hasn’t always come so easy for Liane. "I’m really glad it’s happened this way, that I went the road I went, learning stamina and hearing songs by chance along the way. I love hearing songs like that, in a little jazz club somewhere. In the early days, I played a place where a girl mistook the piano for the bar and sat on it while I was playing--then tried to balance her drink on the top. Another time, I was about sixteen, I got booked to play the organ for a couple of hours on a Sunday lunchtime in a Hastings nightclub. I thought it’d be a family show, when I suddenly found myself playing ‘Blue Spanish Nights’ for a stripper. I just had to keep looking at the organ stops I was so embarrassed and not nearly as worldly wise as I liked to think I was "

Then there had been a struggle with alcohol. Liane explains, "I feel very settled now within myself, just recently really, and family has done that in a way. Drinking was on its’ way to being a problem. I had such wild times at gigs whilst I was on it. Wild times, full of wild abandon and I thought that all that would go .infact, I’m having more fun. It’s actually better without the booze, and I’m so glad that’s happened. I need to feel the hurt of the sad songs. I thought that passion would disappear if I stopped drinking, but it didn’t. It enhanced it. Having grandchildren has really helped too. It’s made me grow up. I’m writing a lot of songs for them now. A lot of these songs are coming about from that kind of joy," she smiles irrepressibly, "so I’m a really cheap date now, and Smirnoff’s must be heading into receivership!" Liane pauses briefly to sip on an exotic pink and orange non-alcoholic cocktail.

Liane’s relationship with Splash Point Records has been a real strength for her too in terms of her career path. "I’ve been with Splash Point from the word go. They’re perfect for me--an outfit run by musicians, for musicians and a lovely, independent label. Over the years, I’ve had offers from bigger labels, but I’m not ready for that yet, for a ‘big name’ contract. I’m really happy with this organic company, and if that means that I don’t get my face on big posters on the underground and sell millions of CD’s, that’s fine. My ambitions don’t run to that type of thing. My ambition is to learn more songs, listen to more songs and write some more "

Liane’s life has been full of music from the word go. She was taught piano by concert pianist, Phyllis Catling, from the age of three. "She was a real, old dragon," says Liane, "She used to keep a pair of scissors handy to snip bits off your hair if you made a mistake so I used to turn up with my hair in a beret! I did all my grades on piano, but it was jazz that I loved. My parents were both semi-professional singers and the gramophone was always on with Sammy Davis, Sibelius, Stan Kenton, Aretha, Nina Simone. Their sounds made me feel different in my body, this kind of ‘fizzing up’ feeling. Jazz was the sound track of my life. I feel that momentum now with the music. One lifetime’s just not enough. I’ll have a lovely evening sitting writing stuff, feeling really inspired--and then the gremlins arrive in the middle of the night and when I wake in the morning, I’m not so sure about what I’ve written. But, I just have this feeling that I have so much work to do."

Music has seen Liane through the dark times too. She takes a deep breath, "The way it was, was like this my nan and granddad, they had a little hotel on the seafront at Hastings called Sunshine House. It’s where I was made. Then my mum got ill, and my nan and granddad being the parents they were to my mum, sold up and bought a transport cafe to be near us in Carshalton. Sadly, my dad was violent. He beat the stuff out of my mum. Terrible! I can still remember it. They split up when I was six, and that’s how my mum, my half sister and me all ended up living over the café with my nan and granddad. No one was shy in our family. Good manners and discipline were important, but you were always encouraged to express yourself and to never be afraid to do that. I’d go downstairs at age four or five and sing ‘Hello, Dolly’ to the truck drivers."

Liane continues, "My nan had the most amazing record collection. She had all the musicals and she took me to the cinema to see them--West Side Story, The Sound of Music, The King and I, all of that amazing stuff. They make me cry still. We had this little corrugated lean-to that my nan called the ‘conservatory.’ It was about 1972 or ‘73 and that crepe paper was all the rage. My nan was a little whippet of a lady and my granddad the most gentle man I’ve ever known. He looked like Stan Laurel. She turn the conservatory into a Hawaiian beach with grass skirts, pineapples, a fancy jug full of orange juice that she’d call a ‘posh cocktail’ she had such an imagination. Sound and vision for her was a visceral experience. She was always, always singing. That’s how I remember her, being wrapped in a big towel and sitting on her knee and her singing to me. And then I came downstairs on my sixth birthday and there was a piano for me in the lean-to. It looked like something out of The Munsters, with candelabras on it and everything, but it was my lifeline and they couldn’t get me off it!"

By a cruel twist of fate, Liane went on to marry a violent husband. "I got married very young to an entrepreneur who promoted music. We went up North and by the time I was twenty one, I’d had Abi [Liane's daughter], but he was really violent. He really, really hurt me a lot--badly, unbelieveable! I gave up playing completely after Abi was born. I just gave up. To have had that love that I’d experienced as a child taken away, made me feel utterly worthless. I was made to feel so worthless. I got out when Abi was quite young about eight months old. I was so frightened for her too. We escaped and went back to live in Hastings. But, I’m so grateful that I had the chance to have Abi. I have found it very hard to write about it musically, but I’m getting there "

Right on cue, our puddings arrive. We have a moment over rhubard crumble and possibly, the most lemony posset ever made. We’re sharing baby photos, talking about our children, and Liane’s joy at being a grandparent. She mentions her nan and the track from Slow Down, her 2007 album that is dedicated to her, "If I Loved You" by Rodgers and Hammerstein. I ’ve heard Liane sing it live twice and a hundred times on my much-played CD, and she tells me that it is all about her grandmother’s love for her. For once I forget my professional self. "It’s all in there, Liane," I tell her, "‘it’s just all in there." And this is her gift, that in telling her story through her songs, she makes them all of our stories.

The final surprise of the afternoon was the arrival of her long time friend, fellow artist and collaborator, the wonderful Ian Shaw. Ian plays piano on ‘If I Loved You’ for Slow Down, and duetted with Liane on Carole King’s "You Got A Friend" for the 2005 ‘Standard Issue’ album. In no time at all, we’re swapping stories about favourite seventies TV re-runs of Will and Grace, and a very special recipe for chocolate mousse - all over glasses of fresh mint tea. Lunch finally over, and I headed off towards home, glancing back over my shoulder to see Liane and Ian arm in arm in the market behind me. They were brimming over with laughter and looking every inch as if they’re about to launch into a "My Fair Lady" song and dance routine in the middle of the flower stalls. Liane’s nan would have loved it.

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morrice.blackwell@gmail.com (Helen Pearse) Jazz Artist Interviews Sat, 29 Jan 2011 11:37:39 -0600
Claire Martin http://jazzreview.com/jazz-artist-interviews/claire-martin.html http://jazzreview.com/jazz-artist-interviews/claire-martin.html Claire Martin, ‘UK’s best jazz vocalist,’ made her debut at The Oak Room of the legendary Algonquin Hotel, on New York’s West Forty Forth Street this summer. Coinciding with the release of her twelfth album, He Never Mentioned Love, a tribute to the late, great Shirley Horn. We spoke with Claire on her return to the UK about The Algonquin, her musical friends and returning home again to the sea. Claire Martin’s Algonquin debut had been a long time in …

Claire Martin, ‘UK’s best jazz vocalist,’ made her debut at The Oak Room of the legendary Algonquin Hotel, on New York’s West Forty Forth Street this summer.

Coinciding with the release of her twelfth album, He Never Mentioned Love, a tribute to the late, great Shirley Horn. We spoke with Claire on her return to the UK about The Algonquin, her musical friends and returning home again to the sea.

Claire Martin’s Algonquin debut had been a long time in the planning. It turns out that a mix up between her manager, and the powers that be at The Algonquin, led to an identity crisis that was to hold Claire back for years. She describes how "A lady came up to me at The Algonquin and explained that she had thought I was another British jazz singer with a similar sounding name. Every time we put in a request for me to perform the answer came back 'No!' It’s been a long time coming, but I eventually made it there, and it was all very exciting "

There is a distinct feeling of ‘standing on the shoulders of giants’ to Claire’s Oak Room debut, both in the choice of venue - once home to the legendary Dorothy Parker and her fabulous Round Table - and the fact that Claire’s latest CD, He Never Mentioned Love, is a tribute to Shirley Horn, her inspiration and musical muse. An album track entitled "Slowly, But Shirley" was written by Claire herself. As we talk, it’s clear that Claire has had the time of her life at the Algonquin. She’s sassy, direct and very, very funny with a lack of guile that is totally endearing. "I had really good people around me," says Claire. "I took my own bass player and pianist, Laurence Cottle and Gareth Williams, and the whole thing was amazing. Tony Bennett is a great friend of mine and he came along to my first night. It was a golden seal of approval. He said fabulous things about me that I could dine out on in the press. Friends of mine had flown in from all over the world from LA to Ireland, which was fantastic because with audiences of just eighty people, there was an intimacy to the venue, and I loved that. That immediacy with an audience is fantastic, I like to see the whites of their eyes," she laughs.

The venue itself, with all its’ history, was something of a challenge, but Claire was unphased. "The L-shaped room really tested my ability to work a space. There is a slightly museumy air to the Algonquin and a genteel crowd to be won over, but we took in an electric bass and brought the whole place into the twenty-first century," Claire says. And as if that wasn’t enough, this beautiful, smoky-voiced blonde carried off a number entitled "My Dissipation," which raised elegantly shaped Oak Room eyebrows. "I told them that it had been translated from the Portuguese by my Brazilian au pair," says Claire. "It’s a novelty song, all about smoking crack cocaine - and yeah, it was a bit naughty, but the more they didn’t get it, the more I had to do it." The reviews came thick and fast, with New York critic Will Friedwald commenting wryly, "A world class performer jazz can be sung with a British accent." Whatever next, Shakespeare in an American one? Claire’s response? "Oh, you know, I’m aware that it’s a bit ‘coals to Newcastle’ bringing jazz to New York, but I was proud to be flying the flag." And how.

Claire’s connection to Shirley Horn is a virtual one. "We never met, our paths never crossed, I did have an opportunity to meet her towards the end of her life, but no it never happened," Claire laments. "I ‘knew’ her through my best friend who managed her, so I know all about her, all kinds of little details about her, but we never actually met. She became an obsession of mine." Claire admits that the ‘mistress of slow-slow-slow’, "moves me more than any other singer. Her phrasing is sublime, so’s her choice of material. She’s hip and she doesn’t know it. She floors me. I’m very, very moved by that." Claire continues, "She taught me so much. I analyzed, studied, watched and re-wound videos and DVD’s. I even took to trying her signature ‘beer with Drambuie chaser’ before gigs for a while to get that authentic ‘Shirley’ sound, but I couldn’t get away with that now. Plus she smoked like a chimney. Not something I ever managed."

Claire’s real life collaborations with other musicians are many and varied and her choice of material reflects this ability to defy categorisation, whilst remaining true to her jazz instincts. She moves effortlessly from Harold Arlen, to Artie Shaw, Tom Waits, via Hendrix, Todd Rundgren, Noel Gallagher and Nick Drake to Elvis Costello, Joni Mitchell and Leonard Bernstein, making them all her own. A chance meeting with the legendary composer, Richard Rodney Bennett, was also the catalyst for three albums: Too Darn Hot, Secret Love and When Lights Are Low a ‘dream team’ collaboration for Claire. "We were both at the same concert hall and got talking in a little club at the back of the venue. I just fell in love with him. He bigs me up at every opportunity. I really owe him a lot. There have been many, many major concerts with him all over Europe. He worked with Shirley Horn too."

On tracks that I listen to, their voices meld seamlessly with breathtaking ease. Another, much shorter lived collaboration also proved a great success in the form of a duet with the great John Martyn. He and Claire perform his "Man in the Station" on her Perfect Alibi album to great critical acclaim. Claire remembers it well, "When John turned up at the session, he’d been in a fight, had hurt his hand and was so drunk that he fell off his chair. But he was just gorgeous and kept saying, "Thanks, this is lovely." I’ve been so lucky like that. He’s a genius. It was such a big deal."

Claire’s singing roots take her back to her London childhood. "I joined a Saturday morning dance and drama club and they discovered that I could sing. I found my voice at the age of eight, nine, ten it wasn’t ‘hey, check me out, I can improvise, just more that I had a big mouth and I could project. I remember being lead singer in a production of ‘Cats’ in Wimbledon Town Hall. That was it really, then I was always their lead singer " Serious lessons with Verona Chard in London and Marilyn Johnson in New York followed.

Claire is based in Brighton now, an hour away from London by train, nestled by the sea on the South Coast. It’s where she goes to recharge her batteries and spend time with her little girl, aged four. "We’ve been here for eleven years now. It’s like Toy Town compared with London, and there’s a terrific pace of life here easy living."

As well as singing and songwriting, Claire is a co-presenter on the Radio 3 ‘Jazz Line Up’ show. "I got the job when it first started seven years ago. It really is a ‘dream job’ and has led to me meeting some of my absolute heroes, including the late, great Michael Brecker, Tania Maria, Mike Stern and Andre Previn, to name just a few. I split the show with Julian Joseph. We do a month turn around and record two shows at a time. We sometimes do live shows, which is always a thrill, and the programme is now an hour and a half long so we’ve got a great listenership."

Those wanting to catch Claire on the other side of the pond won’t have to wait long for her return. She’ll be at the legendary Lincoln Center in New York City in late September. "The show with Ian (Shaw) has been on the cards for a couple of years," Claire explains. "The producer, Todd Barkin, has been a fan of mine for a long time, so it was great to meet him at long last on my last trip to New York and sign the contract! It’s all part of the prestigious ‘Women in Jazz’ festival and some great names are playing all very exciting."

Other exciting dates for the future include a show at London’s Barbican concert hall, opening for Kurt Elling. "I’m a big fan of Kurt, and have interviewed him for Jazz Line Up so maybe we’ll do a duet? I hope so! Anyway, I’ll be frocked up and in killer Jimmy Choo’s so he better watch out " And with that the least diva-ish of all divas is off to pick up her daughter from the childminder and head off to her home by the sea. Maybe it is just possible to have it all. Shirley and Dorothy would most definitely approve.

  • For further information check Claire’s website, www.clairemartinjazz.com
  • BBC Radio 3 Jazz Line Up every Saturday 4.00pm 5.30pm.
  • For Claire’s back catalogue and most recent CD check out Linn Records on www.linnrecords.com
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morrice.blackwell@gmail.com (Helen Pearse) Jazz Artist Interviews Sat, 29 Jan 2011 11:36:09 -0600