A Sentence A Day - 19 January 2015

In 2015 I will be writing a Sentence a Day. You can read more about why here.

Today is the 19 January 2015.

Question:

What is one of your life dreams?

Answer:

To one day have a book published with moderate success (and hold a great big launch party, Sex and The City Season 5, Episode 5 style - whoop!) or at the very least have an article I've written featured by a well-known and respected publication; I've had work published on the Jazz FM website so I'm hoping if I work hard it'll be onwards and upwards from here.

A girl can dream...

Julian Joseph - Masonic Temple, Andaz Hotel London, 11 July 2014

'World-class jazz pianist with large-scale compositional skills and a passport to the contemporary-classic world' - The Guardian

There are some concerts that simply take your breath away.

Ellington at the Temple, performed by Julian Joseph as part of the City of London Festival, was unquestionably a breath-taker. A number of components made it an enchanting evening - the mystical venue, the unmitigated talent of the performer and the power of the music of Duke Ellington.

Julian Joseph was born in London and grew up amongst an exceptionally strong crop of British jazz musicians before taking up a scholarship at the Berklee School of Music in Boston, Massachusetts in 1985. He is a noted solo performer as well as a prodigious composer and arranger of classical and jazz music for big band and strings, full symphony orchestra and opera. To add further to his accomplishments, he is also a respected broadcaster having presented jazz television series and several radio shows. He is also the recipient of a number of music awards, including his most recent accolade - a British Academy of Songwriters, Composers and Authors (BASCA) Gold Badge for his contribution to the British music industry. Julian is also a trustee and vice-president of the National Youth Jazz Collective.

It is widely recognised that Duke Ellington was one of the greatest pianist and composers to have lived. However, it is perhaps less well known that he was a member of the secret society of the freemasons along with some other well-known African-American musicians including Dizzy Gillespie and Nat King Cole. So when a long dormant and beautifully opulent masonic temple, built in 1912, was recently discovered next to Liverpool Street station in London (now the very impressive Andaz Hotel) the City of London's Festival Director, Paul Gudgin, believed it would be 'a perfect place to play tribute' to Ellington.

So it was on a bustling Friday evening that I found myself cocooned in this elaborate, neo-classical venue as a guest of Jazz FM to witness a remarkable performance from Julian Joseph. A 'perfect place' indeed it was - a masonic temple with reportedly twelve types of marble and gold gilt, the space was remained forgotten and walled off for decades before it was rediscovered during a refurbishment of the hotel in the 1990s. A golden pipe organ, monochrome checkered floor laid in marble and hand-carved mahogany furniture evidenced the dramatic craftsmanship. Candles burned around the room to create a formidable yet terrific air of secrecy.

Julian Joseph at the Masonic Temple, Andaz Hotel Liverpool Street for City of London Festival 2014 Credit: City of London Festival

My friend and I had the pleasure of bumping into Julian Joseph in the hallway minutes before the show began. He was cordial and thanked us for coming, a humble response given his status as one of the finest pianists to emerge this side of the Atlantic and a powerhouse in contemporary jazz for over two decades. So when he arrived into the room, with a 'Lovely to see you all' and 'Let's see what I have got for you, I already felt as if we were acquainted.

He took his seat at the grand piano and introduced the first song to be taken from Ellington's considerable repertoire, Do Nothin' Till You Hear From Me. His playing was dynamic and immediately compelling and the noise reverberated around the temple aided by the remarkable acoustics. It was almost the only sound that could be heard in the windowless but far from oppressing temple, aside from my pencil softly but frantically moving across the page of my notebook as I tried to capture the visual and audio experience without making any noise at all. To use an iPhone would have guaranteed silent note taking, but a smartphone was the antithesis to the beautiful surroundings and sensation of being present in another time.

Julian Joseph noted that the next song, Heaven from the Second Sacred Concert album was as equally as deceptive at the beginning and I agreed; the song changed pitch somewhere in the middle and I felt like I was listening to an entirely different song. It was played effortlessly with a depth and vitality that left the intimate audience of around sixty people enraptured, in effect our own little lodge worshipping the sound. Some people had their eyes closed while others elicited a satisfied murmur of approval. As for me, I couldn't conceal a contented smile. It felt somewhat esoteric to be part of the audience but there was no sense of exclusivity.

Guest's chairs for the evening were hand carved mahogany thrones conjoined in a circle around the room. One great throne faced the audience, also framed by candles, as if reserved for a Grand Master presiding over us all and listening to the music. My own throne afforded me a vantage point; as Julian Joseph played his fingers moved across the piano dexterously, as if possessed by the spirit of Ellington himself, and his feet tapped along to the rhythm of the music. The turquoise and gold-gilded domed ceiling loomed brilliantly above the piano, adorned with signs of the zodiac. A beautiful lightbulb in the shape of a stair and four great marbled lights in the shape of scales added a cryptic air.

Julian Joseph at the Masonic Temple, Andaz Hotel Liverpool Street for City of London Festival 2014 Credit: City of London Festival

A Song for my Father was my favourite of the pieces performed that evening. With each pieceJulian Joseph performed he told an anecdote or provided an interesting narrative which embellished the music. Part way through the performance there was a mysterious clatter from somewhere behind the Grand Master's throne, and the official photographer and I looked at each other quizzically and grinned. I like to think the music roused the spirits; maybe it was a pantheon of the all time jazz greats expressing their pleasure of a man honouring their legacy with such skill and respect.

With one more beautiful piece played, Julian Joseph bowled graciously, smiled at his fraternity and left the room while the intimate audience kept up a steady stream of applause. 'That's a long way to go to make a point' he quipped as he returned for a well deserved encore before making his exit.

The biography on Julian Joseph's website provides a perfect synopsis.'The multi-faceted dimensions of his artistry are plain. As a pianist he is unsurpassed, as a composer he has brought new vitality to the music, and as a descendent of the jazz greats, he is not only fulfilling their legacy, but continues to honour their ground-breaking spirit into the twenty-first century.'

Ellington at the Temple enabled me to get lost in music, escape modem life for an hour or so and experience something so special. Julian Joseph is a true champion of the music.

Credits

A special thank you to Paul Gudgin (City of London Festival Director), David Lasserson (Associate of Brunswick Arts Consulting LLP) and City of London Festival for assistance with this article and for the photographs as credited. 

References

1. 2 July 2014 - the guardian.com - The Secret history of the jazz greats who were freemasons
2. 9 December 2009 - Londonist - In pictures: The Masonic Temple of Liverpool Street
3. Date unknown - Atlas Obscura - Masonic Lodge of the Andaz Hotel

Links

City of London Festival

Julian Joseph

The Julian Joseph Jazz Academy

Jazz FM

AVERY*SUNSHINE - ISLINGTON ASSEMBLY HALL, LONDON, 20 JUNE 2014

Upper Street, London, N1 didn't feel quite as exuberant last Friday night. England's premature exit from the World Cup, thanks to Italy's defeat, had hit the nation hard and dark clouds seemed to be forming.

Thankfully there was Sunshine on the horizon...

Last Friday I had the pleasure of reviewing Avery*Sunshine, supported by Anoushka Lucas, on behalf of Jazz FM. The gig was held at Islington Assembly Hall, a stunning Grade II listed venue in the heart of North London that has retained much of its original architectural detail and Art Deco interior, that everyone must visit at least once in their life. I insist.

With a perfect view of the magnificent stage, reserved tables with comfy seating and a disco ball that created a coruscating kaleidoscope of light, this was a classy way to hear live music after a week in the big smoke.

The evening began with British jazz singer Anoushka Lucas, deserved winner of the Love Supreme Discovery Competition in 2013. She plopped herself down at the keyboard and with no other introduction needed than a cheerful 'hello' and a beaming smile, she sang Daydreams. Anoushka's voice is beautifully raw; it can be both powerful and velvety and her impressive set was eclectic. Far From Here recounted holiday romances and conjured up images of balmy nights and impulse kissing while Get Up was soulful and uplifting and a solid delivery was met with appreciative head nodding from the crowd. Her solo piano playing gave the illusion of a big band when in reality it was just her, supported by Ben Reed on drums and Rick Biddulph on guitar.

As well as possessing a voice of great depth and quality, Anoushka is an accomplished guitar player and her beautiful strumming and makeshift drum beat ensured that Brixton Hill was a stand-out track for me. A sultry love letter to where she used to live, she welcomes the change in summer season and celebrates the sunrise on Brixton Hill (with no sirens today). Her cool London inflection and catchy lyrics reminded me a little of a jazzy Kate Nash and she is instantly likeable. Something About You is, by her own admission, something a bit sexier and was intoxicating. With her closing track, The Easiest Time, she seamlessly transitioned a low-tempo introduction into an upbeat track and the crowd were buzzing. Listening to Anoushka for the first time had the same impact on me as hearing Andreya Triana at last year's Love Supreme Festival - it gave me an appetite to hunt down her music and discover more.

A hugely important UK talent and I look forward to tracking her rise to stardom.

Jazz FM's Chris Philips popped up on stage to introduce the main act and invited us to give a London re-welcome to Avery*Sunshine; confirming there was no auto-tune to be had here, just real music. Avery was in town for the UK launch for her second studio album The Sun Room and we were promised a night of soul, jazz and gospel.

For those unfortunate souls who don't yet have some Avery in their life, she is a singer / songwriter / pianist with a powerhouse gospel-trained voice and a style that beautifully blends soul, jazz, gospel and R&B. Before releasing her self-titled debut album in 2010, she had already built an impressive musical career as a choir leader, a vocalist for Paramount Pictures' The Fighting Temptations and a choral director for the theatrical production of Dreamgirls among other great things.

Avery was as beautiful in the flesh as she is in pictures, glowing in a bright lemon top and dazzling drop earrings, and backed by possibly the most well turned out band I have ever seen in white shirt / black tie / black glasses combo. She launched straight into the infectiously catchy I Got Sunshine and crowd-participation was encouraged from the outset as she sat centre stage at the keyboard and asked us to identify whether our voice type was soprano, alto, tenor or bass and partake accordingly. Aided by a very strong double rum and coke (thanks, friendly bar staff), I  convinced myself I was an alto. Fortunately my flat tones were drowned out by the most harmonious, impressive-sounding crowd I have been part of - and a very good job too.

With her organic and soulful voice and adept keyboard skills, All in My Head cleverly transitioned into Anita Baker's gorgeous Sweet Love and this was met with rapturous applause from the audience. She performed tracks from 2010's Avery*Sunshine album including Pinin' and the fact she was having a ball was clearly visible.

2014's The Sun Room was produced by writer and classically trained guitarist Dana 'Big Dane' Johnson, who also wrote all tracks with Avery, and our very own Jean Paul 'Bluey' Maunick of Incognito / Citrus Sun fame produced all horn sessions. We were privileged to hear tracks from this album for the first time with her perfectly correlated band - Johnson on guitar, Orefo Orakwue on bass and Wesley Joseph on drums.

Nothing to Something is an exquisite ballad about finding love again that was sophisticated and sultry and with Call My Name (introduced with a rally cry of 'NORTH LONDON!) she talked about how much work it takes to be in love - reminding us to be nice to each other, conversational not confrontational. We all squeezed our partners hands a little bit firmer here.

On stage, Avery is funny, sweet and self-depreciating, and she lays bare her soul with a set peppered with motivational talks and heart-to-hearts. 'Find that thing you love passionately!' and 'No one should tell you how to fulfil your dream and don't let voices on the outside be louder than the ones on the inside!' she commanded and it was impossible not to feel compelled and motivated as she lifted us out of our seats with the rocket power of the her voice. The cover of Maroon 5's Sunday Morning had a latino-samba feel and it was one of the best covers I have ever heard showcasing a sparkling crystal-clear voice.

You know when you discover a great new artist or buy a new album and it takes a good few listens before the tracks distinguish themselves from each other? Absolutely not needed with this lady. For me, each track was unique and instantly likeable particularly Ugly Part Of Me and Safe In His Arms which heralded a gospel flavour to the set. Chris Philips returned to help dish out instruments to the crowd to form Avery's percussionists. I was again in awe of such a talented bunch of people - thank goodness I didn't let my excitement get the best of me and resisted the urge to dash up to the stage to shake a tambourine. Disastrous.

(Love) Won't You Try was a funky ode to Al Green and we gave the band a much deserved hand. With Time to Shine she invited us to clap, smile and take our shoes off and I honestly felt so relaxed and caught up in her luminosity I would have happily flung them off and lay on my seat - it was like being at home. The band departed leaving just Avery playing with her new mates, us the crowd, and only her hand clapping, the piano and us singing 'Shine' could be heard echoing powerfully through the Hall.

A standing ovation was a given - it would have been a travesty if she didn't return for an encore. She did, and what an encore it was. An Aretha / Michael / Luther medley was outrageously brilliant. She masterfully orchestrated sections of the crowd to sing rounds of 'When my baby calls, gotta jump to it' from Aretha Franklin's Jump To It (which I have played on repeat ever since), 'Never too much' from Luther Vandross' Never Too Much and 'Rock with you (All night), Dance you into day' from Michael Jackson's Rock With You (which sounded just like the Jazzy Jeff's Rock With You Mix ). Genius.

Stevie Wonder's All I Do formed part of the encore and everyone did the Soul Clap resoundingly, clapping on the eighth note of the beat, and Avery finished triumphantly with Carole King's You've Got a Friend with everyone singing heartily in the rows.

At the end I was fortunate enough to meet Avery*Sunshine and she was even more beautiful in the flesh. Unfortunately I trod on Big Dane's foot in all the excitement but he was incredibly gracious and super cool, phew. Avery complimented my husband Alex's hair and he grinned from ear to ear all the way home and who could blame him. I too found myself smiling broadly - she performed with such irrepressible power and star quality that it will be impossible to forget the first time I saw her perform in this beautiful venue.

As for the football? There's always 2018. For now, I've got Sunshine on my mind.

Anoushka Lucas

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Coachella - Early festival fashion forecast

The desert dust may have settled, but with UK festival season warming up nicely on the sidelines … I still have Coachella on my mind

Coachella, the Valley Music and Arts festival held annually in the Colorado desert, informs my festival fashion choices.

Paying close attention to what the cool girls and boys are wearing at Coachella is the equivalent of an early fashion forecast - the heads up for what's on the style horizon, something to chew over for a few weeks and inspiration for your own custom-built festival wardrobe.

Jazz FM's Love Supreme Festival is first up on my summer festival programme. Described by The Guardian as 'the British jazz world’s Glastonbury', Love Supreme combines a class jazz, funk, soul, fusion and blues bill with a modern, green field boutique experience and top class DJs. This year's line up includes De La Soul, Gregory Porter, Soul II Soul and Incognito and if last year's inaugural festival is anything to go by then my confident prediction is that it will be epic. Cannot. Wait.

Festivals have many awesome components. Essentially, amazing live music you can dance to without abandon, singing in cheery unison with the crowd. Cold beer and cider in plastic cups that goes down just a little too easily. Quite good food, especially with veggie and street food options. Mates you know and love and new weekend mates you make.

For me, without question though, Festivals are about FASHION. A fantastic platform to express yourself and experiment with new looks - after all, it's a festival, not work, and you have sartorial free rein. For the past few years I have meticulously researched, planned and plotted my festival outfits, accessories and makeup weeks in advance. Sometimes, it's worked. Other times, I've looked like a plonker and I'll spare you the photos. But, it's intrinsic and I take influence from a variety of sources: Kate Moss, Stevie Nicks, Grace Potter, Kate Bosworth and Solange to name a few.

Here's what I learnt from Coachella this year...

 1. Denim cut offs and white look good together, especially with a print belt. Probably best for the beginning of the day though, and take a stylish layer for warmth and spillage-cover up later on when the sun goes down. We do not live in the desert and we'll have a beer rather than a water, thanks.

2. Any type of scuffed boot - be it Cowboy or Chunky Lace Up - is great and guaranteed mud / water / stamped-on-foot proof. However, utilitarian practical flats, chunky 'fuglies' and sliders have emerged as a covetable alternative. If it's good enough for my other favourite Kate then I'm willing to give it a try.

3. Tartan is not going anywhere soon and Jared Leto wears it well, casually pared with ombre hair and clash-print trousers. Gingham is summer's alternative to tartan and looks particularly good in sugary shades of lilac and pink or vibrant red. A roughed up battered leather jacket and boots will help it avoid looking too saccharine or that you're off to see the wizard.

4. 90s-cool is showing no signs of abating which is music to my ears. Chokers and vintage T-shirts make interesting additions to your festival wardrobe. See Francis Bean looking effortlessly cool circa 1993.

5. Fringed leather whether in jacket or bag form looks great with shorts, dresses and bared legs. Reference: Poppy Delevingne at her envy-inducing hen do at Coachella (oh to be part of the #Popchella crew) or my favourite Kate in her Kate Moss x Topshop version.

6. Coordinated top and bottom sets provide a great alternative to the trusted festival dress or playsuit. It is a look I have coveted for months and is fun and stylish. What Would Beyonce Do? She'd wear a matching top and bottom set from Topshop Boutique, of course.

7. Let your inner tomboy loose in understated sports chic. Possibly my favourite look to emerge from this year's Coachella and channelled effortlessly by Zoe Kravitz. It looks chic, understated and insouciant. You: 'oh, this old thing?' Reality: spending hours deciding exactly which shade, length and fit of tank dress will work with those boots. They'll never know.

8. Kimono coats made an appearance. Floaty, fringed and printed they look great with denim or clashed with a print. Helpfully, they can be squished into a bag and popped on later when it gets a bit nippy. I'm still partial to a slogan sweatshirt but may just dabble on one of the festival nights to mix things up a bit.

9. White lace looks pretty lovely, and accessorised with simple jewellery is uncomplicated but still striking. Same rules apply, keep it interesting with sliders (see 2), leather (see 5.) and plenty of jewellery.

10. Never ever underestimate the power of a great dress. Especially one with an unusual print, that covers you up tastefully but still makes heads turn. Vintage is always a winner as there's less chance of outfit clash.

So, ladies, the fashion forecast is looking very fine indeed at this stage.

Coachella provides a great source of inspiration, a covetable look-book and a chance to see what the cool Californians are wearing. Now it's time to turn what you've seen on its head...English-style.

Good luck with your research.

Jazz FM's Love Supreme Festival takes place from 4-6 July 2014 at Glynde Place in Sussex.

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Reference: Coachella Street Style - Style.com

Citrus Sun - Under The Bridge, London, 17 April 2014

Oh, I do love a pre-Bank Holiday gig.

Easter's right up there as my favourite Bank Holiday weekend ever.

It's not as gluttonous as Christmas, bar the odd Creme Egg or two (ten). Not as pressurised as the last-hurrah-before-winter August one that forces you grudgingly outside despite it being a bit nippy, and more fun than so-so May. It's an extended break packed full of family and friends, with added chocolate.

Anyway, I digress. Gig.

Live music on a Thursday, especially one preceding a few days off work, is my new favourite thing and Citrus Sun performing at Under the Bridge proved to be the perfect opener to the Easter celebrations.

For those who need acquainting, Citrus Sun are an eight-piece band founded by Incognito's Jean-Paul ‘Bluey’ Maunick, featuring renowned guitarist Jim Mullen and Incognito's very own rhythm section. Their music is contemporary jazz-based, the sound described by Bluey as "more sparse, as it features the sole trumpet reminiscent of the late Donald Byrd, and there is a cool Latin jazz flavour on some of the cuts”.

Under the Bridge is a great little venue tucked discreetly beneath Stamford Bridge, with a great sound system for amplified soul and framed photos of eminent musicians lining the walls. Jazz FM's Jeff Young warmed up effortlessly and got the cheerful crowd in the mood as they milled in and took their positions.

Bluey, his usual affable and very cool self, introduced the opening act, Francisco Sales, by describing his sound as "of real beauty". The young musician/composer who perched on his stool shyly, tuned his guitar and truly did produce a sound of real beauty; a clear, smooth acoustic tone. With tracks from his debut album available soon, he moved seamlessly between emphatic strumming and a more ethereal, mellow sound, using a loop pedal to great effect. One to watch.

With everyone suitably warmed up and refreshed (thanks easy-access bar), Citrus Sun took the stage. Bluey spoke of the 'legend' Jim Mullen - giant of British fusion jazz and jazz funk - and that the project was born of his love of Mullen's music and his desire to be part of a band with him. He introduced Mullen, Valerie Etienne (Jamiroquai) on vocals and the Incognito rhythm section and with that the show had begun.

This was the launch for Citrus Sun's sophomore and largely instrumental album, People of Tomorrow (Dome Records), and the first song was the opening track from the album, Mais Una Vez (One More Time) with a light and breezy jazzanova feel. What's Going On showcased a rich, beautiful vocal from Etienne, as did a cover of the late Terry Callier's What Colour is Love, with whom Bluey worked with as a producer on several tracks and Mullen toured and recorded with. In my humble opinion, going to a Jazz FM gig is a musical education for the unacquainted and my mind is always opened.

The mid-tempo, latin-jazz feel was unabashedly evocative of Incognito, which Bluey acknowledges in saying that "at times it is obvious that this is the Incognito rhythm section and for that we make no excuses, instead celebrating the fact that this is a new project by the same band with me at the helm”.  Cooking with Walter (reportedly inspired by Breaking Bad - for the fans) really got the crowd dancing and funked up the atmosphere. You know it is a good night when even the security staff are dancing, giving it some to Let My Feelings Show, from Bluey's 2013 debut solo album Leap of Faith, co-written with Richard Bull.

Boasting velvety vocals from Bluey and Etienne, distinctive thumbing guitars from the legendary Mullen (readers of this blog will know how cool I think Jim is, after having seen him play alongside Mario Biondi and Guida de Palma and Jazzinho) and the sole trumpet from Dominic Glover, Citrus Sun's set was always going to be tight and consistent, with their trademark fusion blend that straddles soul and groove. On stage, the band were exuberant; Matt Cooper nearly bounced of his keyboard stool and everyone was smiling and dancing in sunny delight.

The Donald Byrd tribute section was undeniably a highlight, and although the Citrus Sun album tracks definitely held their own, this was epic. Etienne's voice was perfection on Wind Parade and Think Twice was effortlessly delivered with added crowd-participation on the 'I really love you, you know I do' lyric.  Change (Makes You Want To Hustle) and Love Has Come Around were skilfully delivered. Bluey admitted that The Mizell Brothers production is like the bible for Incognito, and with their spirited version of (Falling' Like) Dominoes it was clear the band live and breathe music.

Sadly, all great things have to come to an end. Bluey ended the night emphatically by thanking '"all the radio stations that play tunes like that, and Jazz FM for being able to celebrate with you. Long may you play jazz, soul and funk!" and bowed to his adoring crowd, before Citrus Sun closed the gig with the album's self-titled track People of Tomorrow. It was a triumphant end.

This was a zingy, uplifting gig and as I left there was a palpable sense of 'YES! IT'S BANK HOLIDAY WEEKEND!' and 'WOO HOO, NO WORK TOMORROW!' and 'HURRAH, I CAN EAT UNLIMITED EASTER EGGS!' in the air. Mostly though, it was the cool, sophisticated music that got us all in the mood, ready to celebrate and think of warmer weather and good, good times.

In the words of Bluey, "The Citrus Sun is rising - come catch the sunshine!". 

Now, who could ever turn that offer down?

The full line-up of Citrus Sun is Jean-Paul 'Bluey' Maunick (guitar and vocals), Jim Mullen (guitar), Valerie Etienne (vocals), together with Incognito members Matt Cooper (keyboards), Francis Hylton (bass), Francesco Mendolia (drums), Joao Caetano (percussion) and Dominic Glover (trumpet).

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Citrus Sun - People of Tomorrow is available via the Jazz FM shop

Reference: Blues and Soul Magazine Issue 1065 (Online) - Citrus Sun: Sunny Delight

Guida de Palma and Jazzinho - Rich Mix, London, 28 February 2014

A drizzly Friday evening in London can get right on your nerves. Travelling across town's a pain what with drip-dripping umbrellas and steamy tubes and buses. Pubs are packed to the rafters. Your hair's ruined, your shoes squelch. You arrive at your final destination flustered, disheveled and in need of something to make it all a bit better.

Luckily then this rainy Friday I was seeing Guida de Palma perform live with her band Jazzinho - the perfect antidote to the weather.

The gig was highly anticipated after my recent interview with Guida, and I had been listening to the third studio album - Veludo - on repeat the last few weeks to inject some soul into an otherwise sterile commute. Plus, I love the intimacy of Rich Mix. The crowd's cool, the bar's only a quick step away from anywhere and there's usually room to dance.

Femi Temowo - renowned jazz-guitarist, producer, broadcaster and ex-musical director for Amy Winehouse - warmed up in fine style with his hypnotic bass and instantly likeable character. Anecdotes about his Oyster card and tales of Nigeria provided a colourful backdrop to the music. His face etched with deep concentration, he produced a beautifully distinctive sound and played tracks from his critically acclaimed second album Orin Meta. Blackbird by The Beatles performed in the Yoruba language was an impressive cover brilliantly executed. The audience was mellowed, any former memories of hectic work or reminders of gigantic to-do lists obliterated.

Guida made her entrance elegantly swathed in a gorgeous tan tie-dye patterned dress with a gold collar detail and draped sleeves. With a shout of 'this is for the music lovers' the show began with the track Ready to Feel Again and the crowd instantly responded with appreciation for the bossa and samba infused sounds.

Abraco da Bossa was the first track of the night sang in Guida's native Portuguese and gracefully soulful, and followed by April's Fool. Her enthusiasm on stage was infectious and the music so uplifting that the crowd joined in willingly when invited to participate. Guida spotted me in the audience and, mid-flow, called out 'Hello Nicola!' which, I can't lie, was pretty special.

Jazzinho is comprised of musicians who have played with an impressive range of artists including Eric Clapton, Incognito and the Brand New Heavies, and so you would expect them to know what they are doing. What you get is a lot more - a tight band that makes exemplary music and it felt like an education as well as a treat to be there. Guida seemed genuinely excited and proud to introduce them - Richard Bailey on drums, Julian Crampton on bass, Jim Mullen on guitar, Graham Harvey on keyboard and Femi Temowo back on bass.

Jim Mullen, effortlessly cool and like his fellow band members a seasoned professional, rocked a tucked-in Blue Note Tokyo - World's Finest Jazz Club & Restaurant T-shirt, and it was the best T-shirt ever. I need that T-shirt.

With Whispers in the Darkness, written by Luis Barrigas and Guida, she showcased the incredible range of her voice - moving flawlessly from high to low and with both sensuality and strength. She sings in both Portuguese and English, switching masterfully back and forth between the two languages without any jaggedness.

A vantage point at front of stage afforded me a sneak preview of the great soul legend and artist, songwriter and composer Leon Ware hanging out at the sidelines with Jazz FM's Chris Philips and clearly enjoying the show as much as we all were. A pinch-yourself moment if ever there was one. 

Guida has an inspiring stage presence as well as an incredible voice and Papao, written by Graham Harvey and Guida was an uplifting and jazzy performance.

When it was time to introduce Leon Ware, Guida described him as 'the man who kickstarted the album, a musical genius, and a lovely man'. He seemed incredibly humble given the enormity of his success that has spanned over six decades. He said he listened to Guida's music every night, embraced her warmly and together they sang the delicious Anglo-Portuguese blended track and samba-embellished A Seed in You, the song that was an instant hit with Jazz FM and given the airtime it deserved.

The show ended on a high with a cover of I Wanna be Where You Are which Leon Ware co-wrote for Michael Jackson and which I have not stopped playing ever since.

Seeing Guida de Palma and Jazzinho in London goes down as one of my favourite gigs to date and I left with a sense that anyone who didn't know of them or hasn't had the pleasure of being introduced to their music was greatly missing out. This is quality music, tirelessly recorded and passionately performed for music lovers and London (and the world) needs more of it.

After the show I got to meet Guida in person, and she was as warm, enthusiastic and engaging off-stage as she was on it. 

Alex Lloyd, Head of Live at Jazz FM proudly said on his Facebook page 'Yes that is Leon Ware and Guida de Palma together on stage for the first time ever and at my show. Made it happen.

Proud he should be.

You can read a Jazz FM review of Veludo here

Guida de Palma

Leon Ware

Femi Temowo

When Material Whirl met Guida de Palma

I recently had the honour of interviewing Guida de Palma for Jazz FM. Guida is the force behind the band Jazzinho and has collaborated with prestigious artists from all over the world, most recently with the legendary Leon Ware. Let me introduce you to the wonderful Guida and Jazzinho...

I understand you were born in Portugal, classically trained and were only 16 when Jaco Pastorius joined you on stage during one of your very first gigs in Paris. That sounds very exciting - what did that feel like?

I was born in Setubal in Portugal and moved to Paris to study but started to gravitate towards the music world. I found myself being offered a few gigs at a Jazz Club called The Sunset, and there is where Jaco Pastorius came for three nights in a row when I was playing, and it was just an amazing experience; he was an incredible man. I sang with him on stage for the three nights and afterwards we chatted at the bar.

I have this image in my mind; I was playing and then I see Jaco Pastorius coming towards me and grabbing the bass from my bass player… everyone was gob smacked! I still have a tape somewhere as we were recording that night, and a friend of mine was there taking photographs. You can hear me on the mic saying 'Ladies and Gentleman, Jacob Pastorius is coming towards me, oh he is going towards my bassist, he is grabbing his bass, he is PLAYING it!'. It was incredible.

What first brought you to the UK? What were your first impressions and where did you live?

When I was in France I was already singing professionally. There was a band called Heaven 17, who were recording music for a film. I went there to demonstrate to the classically trained singer how to sing a classical piece a little more soulfully. Martin Ware then invited me to sing on the British Electric Foundation [BEF] compilation in London. That was my reason to move to England really. I was based in London and always have been. My first flat was in Queens Park and I stayed there throughout really. A lovely part of London.

In 1991 you featured on BEF's Music of Quality and Distinction Volume 2, alongside Terence Trent D'Arby, Lalah Hathaway and Mavis Staples to name a few. What was this experience like?

It felt incredible because at that time Terence Trent D'Arby was really going very strong and Tina Turner too. To be on the same compilation at the same time as them was incredible. Unfortunately we were not at the studio at the same time but just knowing I was part of that compilation was a great honour, and I will be forever thankful to Martin Ware for having thought of me to be part of it. It was a great album and a wonderful experience.

I love Terence Trent D'Arby, one of my favourite songs is Holding On To You.

You are described as the force behind your band Jazzinho. How did the concept come together and where was the album made? 

I am the only one of the band not based in the UK! The rest of the band are British; it is like an all-star dream team. You have Ian Thomas on Drums, Laurence Cottle on Bass, John Parricelli on Guitar, Thomas Dyani on Percussion, and Gareth Lockrane on Flutes. Martyn Shaw on flugel horn and also Femi Temowo who came to do a solo and play on one song.  They are all amazing! Graham Harvey produced the album.

[youtube https://www.youtube.com/watch?v=jaU2Q6nerzI]

At my gig at Rich Mix on Friday 28 February, on stage we will have Richard Bailey from Incognito on Drums, Julian Crampton on Bass, and on Guitar the incredible Jim Mullen - aren't I lucky! Graham Harvey will be with me on stage too. The part that we did in Portugal, and the only part that is based outside the UK, is the strings. It was the Philharmonic Strings section of the Lisbon International Symphony Orchestra, from the National Opera, and we recorded it here under a master conductor called Pedro Amaral. That was also an amazing experience and it brought tears to my eyes.

The musicians you play with come from a variety of backgrounds and have played extensively with other artists such as Clapton, Winehouse, Incognito and the Brand New Heavies. I can only imagine the stories and anecdotes they have to tell!

Yes! Anecdotes come up as these are people who have a lot of humour and such a long experience of life, mixed with the playing, and there are a lot of amazing stories to tell.  So, I am sure if we had the occasion of getting all together it would make an interesting programme!

It would make a great documentary!

That is a great idea actually! 

What is the best venue that you and Jazzinho have played at, and why?

I love the Jazz Cafe in London and I am really looking forward to playing at Rich Mix too. In Lisbon we also did Rock in Rio so that was quite a good venue! We have played New York, Chicago, and The Montreal International Jazz Festival in Canada. I am looking forward to going to Japan which we have not played yet.

Your third studio album, VELUDO is currently No 5 in the UK Soul Chart - congratulations! Have you toasted your success?

Yes! With champagne - it is not very original but that is enough for me! I am so surprised because of all of the other names in the chart; at some point I was just under Lalah Hathaway who I love, and I thought, this is the best position to be in! Being in the Top 5 from the Top 30 UK Soul Chart is a great honour and I am really over the moon with that.

Can you tell me more about the background to making the album and what your inspiration was?

What kickstarted the album was the duet with Leon Ware - A Seed in You. Singing that song with that amazing African-American singer  / songwriter / musician extraordinaire since at least six decades, well it is amazing. That definitely motivated me to write more and to want to more.

After the duet, we thought about the songs we had already done with a friend of mine here in Portugal and we contacted Graham Harvey because we love what he does and love his sound. He also had a few songs he wanted to co-write with me, so we had all of that in common. We wanted to have a song-based album - each song with a beginning, a middle and an end and all arranged, and to make it sound souly, jazzy and with a symphonic sound with strings.

We did the rhythm sections at Clowns Pocket Recording Studio with Derek Nash, an amazing recording sound engineer. We started off with four tunes, then afterwards we did crowd funding and we thought we could have eight tunes instead of four. After that we managed to get financing to finish off another four rhythm sections and then we thought, 'why not do it big', and go the full shebang and use a real string orchestra! All of a sudden we had another thirty people to pay so we were really broke, but we are really happy and really proud of this amazing album! Because there was no sampling involved, it was all a labour of love from everybody - from the producers to the musicians to the mixing (Richard Bull) and to the persons who did the graphics and the cover.

The cover was designed by Todd Marrone, a street artist from Philadelphia. Unfortunately he passed away this Christmas and is survived by his lovely and courageous wife and their two young children. He was a very young man, a brilliant man and gave talks on TED. There is a silent auction taking place at the end of March with his art work to help his family.

The album uses each person's artistry at its best to suit my music, and so I am very proud of this album.

Your Manager and Executive Producer Stephan Chalangeas Lauwereis (Stef) described the album as 'a labour of love'. 

Absolutely. Stef is my partner in crime and in life! Another labour of love was the digital mastering. It was mastered by Pauler Acoustics, the last company in the world doing Direct Metal Mastering. They were doing it the same way as they do it for the philharmonic orchestras so it is very precise and very minuscule. It is all very specific and you have to be very good at it, as you only get one try! It was really was an amazing experience.

You appealed to fans through a crowd funding internet campaign to get the album made. Was this the first time you'd chosen to make an album in this way and do you see this as the future of production?

Yes, I do think that because basically artists are poor but they still have ideas. Even if you have the equipment to record music, at home or in a basic studio, you always need financing. Very few record companies exist and if they do, they do not have the same means as before. Many artists decide to put their music out there, directly to the people and with YouTube and the Internet they do have the technical means to do it. You obviously still need money to do the financing and the promoting and you need help!

Yes. It is about appealing to real music lovers, people who genuinely love music and want to hear good music being made.

Absolutely. It is a specialist thing, but even Spike Lee is doing it now!

When did you start working with Jazz FM and do you listen to the station yourself? 

Yes, when I used to live in London I listened a lot! I started working with them because Chris Philips heard the duet with Leon Ware (A Seed In You) and began pushing the album. He chose it as Record of the Week and tweeted about it - that was amazing for us! He is such an idol of mine;  a wonderful music DJ. These people have a passion for their music, they are pushing it and educating the masses - and I love that. They have no constraints; they play the music they want to play and people love them for it.

Yes, it is a tireless passion. Chris Philips was a legend when I was younger and he still is for me now! 

Yes, they are still on top of their game and still miles ahead.

Last summer I went to the inaugural Love Supreme Festival and have my 2014 tickets. Do you play at festivals, and is this something you enjoy doing yourself?

Yes, I love playing at festivals. I think the format is amazing, because people come for one day or for three days. With Jazz FM organising  a festival you know it is going to be all incredible. So yes, I will be purchasing my tickets to go there too.

Brilliant… will see you at the bar! You have a rich and extensive discography, featuring your own material and collaborations with other artists. Do you have a favourite song in your own discography that you really like to perform?

It is always my new baby; my new album but obviously I love of all of them. It is a really difficult question for me as all the songs I do are a labour of love. I spend a lot of time doing the music, doing the lyrics, and so it is very difficult for me to pick up truly a winner!

I am looking forward to hearing Jazzinho live at Rich Mix. What does playing live in London mean to you?

It means a lot because it means that what is the heart of music, at least for Europe if not the world, wants me there and wants me as part of their scene. This is the town where everybody from the entire world wants to play and now they want me there too. I will be playing for the kind of audience which is educated, vibrant and exciting. You guys are curious. I am very honoured and very flattered, and really excited.

You shared the band line up earlier and also hinted on your blog we can expect a few surprises on the night. Can you give us a clue?

I am hoping that we will have a big surprise and it will be somebody that will come to sing with me on stage. That would be really big and really exciting, but obviously I cannot reveal too much!

Is there anything else you wanted to say about working with Graham Harvey, Richard Bailey, Julian Crampton and Jim Mullen?

Jim Mullen already played on my previous album, Atlas, produced by Ed Motta, and so we got him one morning to do a couple of songs. He listened to them just once and produced his magic. I was in such awe of him that when we thought we could get him for this new album and with us on stage, we jumped at the chance. We couldn't be more pleased; he is such an amazing musician and a great guy.

Graham Harvey had played on the previous album too. He was a musician and I loved his playing. He stayed on our minds - mine and Stef's. When we were looking for somebody to produce our new album, we thought of him. He has done great music studies and he knows not only how to write but to arrange. He is a genius and a lovely man too so when he accepted and was really excited, we thought that was great. Great musicians were saying yes to this project so that was really encouraging.

On Twitter, you describe yourself as ' a mother, a singer, a teacher and a sinner - you play your music in the sun'.

Yes, that is what I do. I sing a little bit, then I do the cooking, then I sing a bit more, then I take the dog out!

How do you balance all of these important roles,  that can take you across the globe, and how do you relax?

They can be very long days but then on the other hand, health wise I am quite reasonable. I suppose that I am like a cat - I have lived some of my lives, but I guess that I still have some more to live!

You've also been described as a free spirit. What does this mean to you?

I have always been independent, I do not know what it is like to work for a company from 9-5. I have been very lucky in my life as I have been able to do what I have wanted to do. That is something I would advise everyone -  if you really like something go for it! The most important thing is to be happy in your life - doing what you love doing.

You quoted that your musical inspirations have included Stevie Wonder, Chaka Khan and Ed Motta. Is there anyone else you would like to meet or collaborate with?

There are loads of people who I would love to meet. I would love to meet Stevie Wonder and Chaka Khan. There are so many wonderful musicians in the world! I would also love to work with Dianne Reeves, Lalah Hathaway and Gregory Porter and to try and make music with them. Between musicians, that is our language and how we communicate with each other.

What other styles of genres or music do you take inspiration from?

I am inspired by Brazilian music so I listen to a lot of that. I am also inspired by Jazz and by classical. I love to listen to Maria Callas, and I also like Parveen Sultana, an Indian singer. I like really different styles but all of these things enrich and colour my musical world.

Is there a modern artist out there at the moment who has really caught your attention?

Yes, there is an English guy, a very young man, called Jacob Collier who is amazing. He is a multi-instrumentalist. He sings also and does all of his own arrangements. I discovered him as a friend posted something about him doing a cover on YouTube of Stevie Wonder's Don't You Worry 'Bout A Thing. If you look him up, he is out of this world. He really deserves to be up there with the greatest.

How are you planning to spend your time in London. How are you planning to relax around your gig?

Basically from the time we arrive to the time we leave, I am going to rehearse, then do the gig. The following day we are doing an album signing at Soul Brother Records in Putney - on the 1 March 2014 at 1.00 pm so please come and join us! After the show, we are planning to go to a jazz club, maybe to 606 Club.

Sounds like a perfect London day and night! Thank you Guida, it has been an absolute pleasure to speak with you. I wish you all the very best and look forward to seeing you on the 28th February at Rich Mix.

It was a pleasure talking to you Nicola, you are lovely. All the best. The pleasure was mine.

You can watch an excerpt of my interview with Guida de Palma here: 

Guida and Jazziho will be playing at Rich Mix on Friday 28 February 2014. For tickets and more information please visit the Jazz FM website.

On Saturday 1 March 2014 from 1pm, Guida will be signing copies of her album Velduo at Soul Brother Records, 1 1 Keswick Road, East Putney, London, SW15 2HL

You can check out more of Guida's music on her blog: http://guidadepalma.com

Follow Guida on Twitter:  https://twitter.com/jazzinho