There were huge cheers as the curtain came down, and rarely have they felt so poignant
English National Ballet: Manon
Music
Brown often stopped singing, preferring to gyrate to his records
Chris Brown
Comedy
Take a pinch of gothic, add cabaret, dancing and animation and the result is more than a little bit ingenious
Between The Devil And The Deep Blue Sea
Having lived, worked and still regularly stay in Mayfair, I can enthuse about Ye Grapes until ye cows come home
Bhere was a noticeable lack of emotional weight from the deservedly-popular principals
This is a fantastic pub. The only problem is that it's too good and too popular!
London,




Description: The swinging baritone vocalist pays homage to the classic album with lush piano and strings, plus top notch support from the sax and piano pair.
Phone: 0871663 2500
Website: www.southbankcentre.co.uk
Email: customer@southbankcentre.co.uk
Trains: BR/Tube: Waterloo
Extra info: Telephones, Food, Air Conditioning, Pub
Singer with style: Kurt Elling
Everything Kurt Elling does has style. Back by public demand, this dapper Chicago supercrooner unveiled a suite based on the recordings of John Coltrane and singer Johnny Hartman. Recalling that one was a superstar and the other almost unknown, Elling added: “But we remember them both, because we’re jazz people.”
Elling was already speaking in rhythm, setting his prologue to an atmospheric vamp by his US trio and a London string quartet. The Solid Strings, led by violinist Sonia Slany, made tidy work of pianist Laurence Hobgood’s canny arrangements.
Playing Trane was Bennie Maupin, the rock-blasting tenorman of Herbie Hancock’s Headhunters. Few would have expected sensitive jazz balladry, yet his dry, unsentimental tone and uncomplicated ideas were ideal. “Bennie’s worked with the best,” Elling said. “Guys one name will identify. Like Herbie, Horace, McCoy. And Miles.”
Hobgood was even better. His touch, timing and chordwork inspired young bassist Clark Cummings and drummer Ulysses Owen as Elling used his rich baritone on a string of standards. Lush Life, All or Nothing at All and Easy to Remember were outstanding. Bessie’s Blues showcased Kurt’s vocal gymnastics, and Why I Keep Going Back to Joe’s made a perfect encore.
Festival until Sunday(londonjazzfestival.org.uk and bbc.co.uk/radio3).
Read the latest reviews from Jack Massarik in the Evening Standard
Details are correct at the time of publication - please check with venue before booking.
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