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

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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.

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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”.

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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.

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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.

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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.

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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?

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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

FACEBOOK, I AM BREAKING UP WITH YOU. (For a bit).

Facebook lowers your self-esteem and helps you get on everyone's nerves.


I've been on Facebook since 2007, joining originally to stay in touch with my sister in Sydney. Her response:

Hey Nic, glad you've joined Facebook! I normally hate this kind of shite but honestly this is great for finding people you haven't spoken to for a while. Love you loads, chat soon M xxx 

Thus, a new affair had begun. 2007! That's seven whole years and, incidentally, the longest relationship I have ever been in to date. From day one of our kinship, I threw myself right in, got involved and gave it my all. I shared, I posted witty (read: annoying) statuses, I drunk-posted, I SHOUTED USING CAPITAL LETTERS, I over-shared, I collected in excess of 480 friends and reconnected with people I first met when I was just five years old. FB and I hooked up in the morning, over lunch, in the early hours after a night out with the girls and I told it (everyone) everything.

I thought it was the best thing ever, a game changer, and wow we've had some good times together. Facebook has helped me document my life in photos and declarations; capturing those heady party days in my twenties, sunny holidays, boozy weekends away and monumental gigs. It diarised my time living in Australia, tracked how I met my husband and records life-changing events such as - the happiest day of my life so far - my wedding. It helps me share this here blog and increase its reach and exposure. It cultivates my networks and allows me to stay in touch with friends and family, capturing these heady party days of my thirties (Tut. FB, stop judging. You're eleven years old and no spring chicken yourself, thank you very much!).

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Looking back on old posts, especially from your formative FB years, is a hoot. You could easily waste half a day getting tangled up in the past. (I should imagine, I've not actually tried it. Ahem). You barely recognise your younger self; gadding about and never going to bed and adding something witty after 'Nicola is…', back in the day when we were restricted by third-person singular present tenses and the like.

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Ah, the reckless posting without abandon. 'Nicola has just spotted 'News in Briefs' in The Sun being read by the man next to her and is astounded. I don't care what you think about Iran, YOU HAVE NO TOP ON.' and '...is experiencing the sort of hangover where even your teeth ache' and 'winter = disaster. After hitting head on a taxi door last night I now have mild concussion. No work and minimal reading/pc-screening. Ah'. It all feels so new and heady and exciting and where on earth did you get the energy to do that and the time to post, and add captions to things and categorise photo albums and what in the name of God are you wearing?! (Shut up grumpy 30-year old).

Things recently though have got a little tepid. Some of the shine has come off. It's not been seismic, more a gradual separation over the past few months and I think we're drifting apart. A quick iPhone check, the odd half-hearted status, that's all we've got left. I still love you, I'm just not in love with you. It's not you, it's me and I'm hoping we can work things out.

WAIT. No, actually it IS you! It's you. You used to be fun. Once it was all about sharing and poking and joining silly groups and nosing around at what your exes were up/not up to (haha, wanky profile photo!), saying nice things to each other and painstakingly arranging Events with a photo and everything. It was positive and collaborative and jolly.

Now it's all showy, and shouty and LOOK AT ME and egotistic. It's crammed full of superfluous adverts and saturated with selfies that once were groupies. It's got too big for its corporate boots. We're not connecting or sharing with people in our life, we've becoming virtual recluses and getting on each other's wick.

So, I'm taking a break from you and I think it's best for the both of us. I'm self-enrolling on a one month FB detox plan to purge you from my system. I've checked the small print and this plan comes with some unwanted side effects (niggling curiosity, withdrawal-shakiness, feelings of exclusion) but hopefully it'll be worth it.

Here's why:

1. It gives me the right hump

In fear of sounding like a jealous, resentful old moo, FB sometimes makes me feel a bit crap. Since teenage I've experienced what my Mum used to call 'Missing Out Syndrome' which has been rebranded for the Aughts as FOMO [Fear of Missing Out]. In an age where celebrities are visualising absolutely everything us mere mortals will never have, suddenly we're all at it. Sharing sunny holidays in exotic climes, flaunting bronzed tans, toting new huge designer bags, pointed freshly pedicured feet in soft sand, or simply taking Mondays off work with a big HA in your face!

Guilty as charged. I've done it too and once the momentary satisfaction eases, I often feel anxious and sick and worry that people will think I'm being a billy big bananas and so I consider hitting delete. Then forget (see point 2).

Who hasn't been there; work's draining the life out of you, modern life is rubbish and you're in on a Friday through sheer exhaustion and poorness. A quick swipe down the Newsfeed and it's all shiny new relationships, exciting jobs in far-flung places and Insta-filtered beach shots, selfies in full-face slap and falling out of the latest bar in Peckham. You sob into your pillow and think I'm utterly shit, and why oh why aren't I volunteering in Malawi right this minute, or sky diving or wearing limited edition Nike Air Max that cost a million squillion quid? Why?! Sob.

FOMO and the negative impact of the toxic digital world we live in is reportedly leading to depression, anxiety, lack of self-esteem and very tragically, even suicide. The thing is, very rarely will we say bad stuff on FB. It's embellished and magnified, not real life - most of us are actually lucky beyond belief if only we'd stop and look around us for a bit.

So, I'm stepping away in an attempt to try to feel better about myself and not compare. The happiest people don't have the best of everything, they just make the best of everything. I'm going to talk to friends and find out what they're up to face to face and listen and smile. Because real friends are candid and funny and say what they really mean, and you get to hear the real stuff (like 'my new job is pretty cool so far, but the people are trendy-scary and yesterday I was too afraid to ask where the loo was so held it in all day') as well as the amazing.

By checking out I'm also abstaining from Checking In. I'm choosing to savour the moment in real-time, rather than grabbing my phone and telling the Facebook world where I am and what I am eating and wearing and feeling the moment my husband / friend go to the loo, then putting it away furtively when they return.

2. It drains my brain

Hello, my name is Nicola and I'm a social media addict. I wake up and spring out of bed to check my email / Facebook / Instagram / Twitter and Whatsapp. All before 6.30am. All before I've tackled the commute. All before I've had a hard day at work.

Yesterday I couldn't even remember the name of - oh God what was it? Important facts and details disappear, gone. Names on the tip of my tongue escape me. My brain races. I wonder why I find it hard to concentrate on one single thing at time, why I have such a terrible short-term memory.

I've realised that hitting the big blue F icon on my iPhone and sucking up all the random incessant news hurts my head. A lot. It makes me irritable and unnecessarily exhausted and irrationally feeling like I have lots to do. A red number on the Notifications globe used to make me smile, now it makes me panic. When will I have time to reply? Will they think I'm rude? Is a one-word answer arrogant? I only left one kiss, they left two! Facebook anxiety at its worst. (Fanxiety?).

Yesterday's ES reports gloomily that symptoms of tablet addiction include a loss of interest in other activities, lack of control, deception, furtiveness and irritability. Weight gain and RSI are also on the list. Yikes! So I hope that withdrawing from FB will lighten the load, air out my brain a bit. Like opening a window and letting all the dust out and fresh air in.

I intend to measure the impact of my detox to see what I can achieve instead. Like reading a pile of books I'm eager to get through (incidentally one is called Get Things Done).  Looking outside at the sky, the grass, the stars and the sea. Freeing up my head space and tapping into my creative side to allow writing and writing and more writing. I've neglected those things quite badly so hopefully I'm back on the path to non-digital enlightenment.

My head will be grateful for it I'm sure, and my health.

3. Advertising overload 

There I am happily looking at that-girl-who-never-talked-to-me-at-school's photos of her Auntie's dog when BAM, in my face is a random advert for William K Gray sunglasses, purveyors of the worst cheap Ray-Bans ever. It's a Suggested Post or a Suggested App or something, recommending that I might like it or may want to click on the link and part with my hard-earned money. Err, no I won't and I don't. I don't like it at all. Stop trampling all over my page, you are trespassing. Get off my land!

Another one of my pet hates is unintentionally ridiculous corporate Facebook pages. LIke Wickes (the trusted name in home improvement and the building trade). 109 people are talking about Wickes and I am curious to know what on earth they are discussing. Blinds? Tiles? The advantages of paint brushes versus paint rollers?

Tonight I learned that 2, 933, 597 people have joined the Colgate Facebook Community. Erm, I'm sorry, did you say Colgate Facebook Community? IT'S TOOTHPASTE. IT CLEANS YOUR TEETH.

I know all too well that businesses need a boost but really, the world's gone mad. This wasn't what I signed up for.

4. Women get a raw deal

Back in 2013 the Guardian reported on Facebook's big misogyny problem. It's 2014 and in my (dry and tired) eyes that problem still exists.

LIke the repulsive Women Who Eat On Tubes, which thankfully is now a private group only. Yuck. Its creator Tony Burke, hit with a widespread backlash, has bottled it and says 'his decision to focus on women was based on his own personal observation that more women eat on the tube than men and that it was not intended to be sexist'. Twit. I still found it a revolting intrusion of privacy and a sneering, sarcastic pop at women who were probably working 5-9 and eating at the only opportunity they had between meetings, sleep-deprived busy mums or someone who felt a bit peckish and unwittingly became the victim of harassment via that load of old nonsense. High art it is not, you utter morons.

Then there's the more sinister stuff that I'd rather not go into too much detail about on this post, like the representation of rape and domestic violence which is too awful for words. I still don't understand why Facebook continues to allow this kind of content to be published. Not cool, Mark, not cool. I do not intend to be on the same platform as these vile beings (not human) and they can stick freedom of expression where the sun doesn't shine.

Sheryl Sandberg may be Leaning In but I'm clearing off until it's sorted out.


Facebook, I've thought about this carefully and it hasn't been an easy decision to make. I'll miss you and all the nice stuff. Admittedly, you've helped me launch my blog and for that I am very grateful. That is why, despite my main page being inactive for one month from today, Material Whirl's Facebook page will be hanging around - solely for the purpose of sharing my blog posts as most of my friends are yet to embrace the Twittersphere. Think of it as my naughty, toxic side if you like, drinking wine and falling out of bars at the witching hour while I sip wheatgrass and perfect my downward facing dog.

For now, I have new digital buddies to hang out every now and then with to help me boost my blog pages, albeit on a minimal and controlled basis - Instagram and Twitter Much more importantly, though I shall associate myself with fresh air and books and real people and writing. In abundance.

So, my one month trial starts from here. My account will be suspended, my status will read 'From 16 April 2014, I am Facebook Detoxing for 1 Month. See you on the other side (or on Twitter).

I'll let you know how I get on. Wish me luck.

Oh, hello life...

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The Canonbury Pub - London, N1

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Apparently there are over 7,000 pubs in London.

'Wow, that’s a lot of pubs!' I hear you exclaim. Yes, it is, but if you're a Londoner or someone who has spent any time at all in our great city, you will be well aware that Londoners do love a good public house. London pubs come in many guises, including ‘old man’s pub’, ‘gastro-pub’ and ‘packed new hip place in Shoreditch with Bingo on a Wednesday, pale ale and achingly trendy people in sweatshirts’.

Personally, I find it hard to slot The Canonbury into any kind of category other than ‘a good one’. It's part-gastro, a-little-bit-posh and very stylish indeed. Situated a stone’s throw away from the highly desirable Canonbury Square in Islington and tucked secretly away from the wonderful buzz of Upper Street, it offers a well stocked bar and restaurant in relaxed and elegant surroundings that remain in keeping with the village-like, leafy area it nestles in.

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It is also a discreet piece of London literary history. A regular haunt of George Orwell, the Canonbury was one of the pubs the author amalgamated for his classic 1946 essay The Moon Under the Water (reference: London's Top Five Pub Gardens, Robin Turner, the Guardian, 27 July 2012)

I have frequented The Canonbury on New Year’s Day for a glass (or five) of celebratory fizz with friends, for a three-course lunch with family young and old on a bustling Saturday afternoon and for a pint (or five) while watching the rugby. This is partly why I return – on any occasion the tasteful decor, friendly staff and delicious food never disappoint. If the weather is behaving, the roomy garden with distinctive brown wicker seats is a great place to while away an afternoon in the sunshine. This is London of course, so admittedly it is inside where I have spent most of my time sampling cider in the cosy warmth.

A perfect Saturday afternoon in my eyes starts with a leisurely stroll around Canonbury taking in the grand homes and New River Walk. Then slip into The Canonbury for a pint and some cracking food. Stay awhile to experience some real ale or a good bottle of vino, and then, contentedly leave with a happy heart and a full belly… and go in search for more fun on Upper Street.

Your night has only just begun.

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The Canonbury Pub

21 Canonbury Place

London

N1 2NS

020 7704 2887

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Reference: London's Top Five Pub Gardens, Robin Turner, the Guardian, 27 July 2012

Like A Prayer

madonna "...as close to art as pop music gets."

Rolling Stone 

Madonna's Like A Prayer turned 25 years old this month. I repeat, 25 years old.

Allow that to sink in for a minute. Shake your head, despair at where the time has disappeared to, embrace the sharp pang of nostalgia that wallops you in the face and then - rejoice. Find it on iTunes. Dance liberally. Dig out your beaded crucifix and faded denim and channel late 80s / early 90s. Remind yourself what an incredible album it is.

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I was 11 years old when Like A Prayer was unleashed on the world with a distorted guitar riff, a church door slam and an oo from the euphoric gospel choir. It was a simple, carefree kind of time for me with cassette tapes and record vouchers, Smash Hits magazine and hanging out at the Streatham Ice Rink disco looking for boys (I mean perfecting my skate) before hopping on the bus home for dinner and Saturday evening TV.

I thought I knew everything I needed to know, but really I didn't know very much at all. But when I heard the album, I knew, just KNEW, it was something really very special. I already loved Madonna: The First Album, Like a Virgin and True Blue but in my opinion this was her seminal work. Madonna had grown up.

Like a Prayer was released on 21 March 1989 by Sire/Warner Bros. Records, and was Madonna's fourth studio album. Praised by critics and fans, it reached the top of the charts all over the world staying at the top of the Billboard 200 chart for one month and reaching No.1 in the UK Albums chart. Produced and written by Stephen Bray and Patrick Leonard, Madonna co-wrote and co-produced every song on the album and it went on to sell over 15 million copies worldwide.

Like a Prayer is a multifarious collection, and it is the variety that keeps it fresh 25 years on, layered with celebrated pop classics, deeply personal ballads and candy sweet lullabies. Introspective, it covers a multitude of themes including religion, empowerment, crazy love, unbearable pain and family loyalty over 11 brilliant songs.

When I first heard the title track Like A Prayer I didn't know quite what had hit me. This was of course pre-downloads, before the immediacy and easy availability of iTunes, Google and Twitter, and I waited impatiently for it to be played on the radio, then listened over and over on cassette when I finally had my own copy. It was a captivating, innocent time when you waited with excited anticipation to buy a single or album on the release date. When MTV would proudly announce the UK PREMIERE of a naughty Madonna video NEXT MONDAY AT 10PM, and you would wait a week and stay up late to watch it rather than simply YouTube it.

It is a powerhouse of a song; a rapturous gospel choir, Madonna's euphonic vocals and the evocative lyrics. My own religious belief extended only to a casual Sunday Service and winning Explorer of the Year at Girls' Brigade a few years back, but Oh God, I thought I was falling. Then I saw the accompanying music video.

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Teeming with Catholic iconography, Madonna dances in THAT dress in front of burning crosses, shows bleeding stigmata as though she has survived a crucifixion, and kisses a black saint played by Leon Robertson. Condemned by the Vatican and causing Pepsi to cancel its sponsorship contract with Madonna, it was provocative and brilliant. To this day Like A Prayer remains one of my favourite songs ever recorded. It hasn't corroded and still sounds as fresh now as it did then.

Express Yourself is bold and fierce, channelling female empowerment and telling us girls to never settle for anything less than we are worth. I defy any woman not to smile when they hear 'Come on girls / Do you believe in love?'

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Love Song, the duet co-written and performed with Prince, tends to be regarded as the dud one on the album by fans and critics alike, but I disagree. I quite like it, with it's come-hither attitude and smart lyrics. Dear Jessie was a little too saccharine for some people, but not me. With pink elephants and lemonade, it conjures up soothing thoughts of being a child and living in a land of make believe, and the violin piece is undeniably beautiful even if it did precede the rather more sombre introduction of Oh Father.

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The album is confessional as well as entertaining. Till Death Do Us Part is about the violent dissolution of Madonna's marriage to Sean Penn and so should be gloomy with it bitterly sad lyrics  - The bruises they will fade away/ You hit so hard with the things you say - but it isn't. Instead it is a great pop song, revealing that Madonna just wanted to be loved, and don't we all?

Cherish is an absolute corker, a beautiful and carefree song that makes me ridiculously happy and buoyant. The music video, shot in black-and-white and directed by Herb Ritts, depicts Madonna looking breathtakingly beautiful frolicking in the sand while mermen whisk up the sparkling foamy ocean with their tails.

Keep it Together is sassy, funky and a nod to Sly & The Family Stone's A Family Affair. As a middle child with a big and little sister not too far apart in age, it really resonated with me. Growing up there were squabbles and involuntary room sharing and the usual craving for our parents attention but the song preaches the importance of family. They are a reminder of your history and blood is thicker than any circumstance.

Like A Prayer has no fillers. Autobiographical, it provides a fascinating insight into Madonna's life, loves and losses at the time and illustrates her compelling artistry and creativity. It still makes me want to sing out loud on the tube, dance around, leaves me unexplainably happy and then gives me a lump in my throat before I know it. It empowers and guides me, reminds me that women are not BOSSY they are dynamic. Like Hadley Freeman cites in her piece for the Guardian, naming it her favourite album, I have an emotional connection to it. It is part of me.

Madonna continues to endure; an idol, an inspiration and a creative force to be reckoned with and Like A Prayer remains culturally relevant after 25 years. It is quite simply an incredible piece of music.

Happy 25th anniversary  - here's to many more.

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References and Credits:

'My favourite album: Like A Prayer by Madonna' by Hadley Freeman for the Guardian

Madonna Producer Patrick Leonard Talks 'Like A Prayer' at 25 by Keith Caulfield for Billboard

Like A Prayer: Album Review by J S Considine for Rolling Stone

Lansure's Music Paraphernalia: Madonna

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

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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. 
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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