Well, we kicked off the new-look Blues in London jam at the Green Note on Wednesday 8th July. As acoustic jams are not exactly thick on the ground and we’re keen to start something new, it was anybody’s guess what would happen. In the end, the evening was something of a triumph, showing that the idea of an evening of acoustic blues has lots of good possibilities for both players and audience.
I kicked off with an instrumental on the 12-string and a solo number on the National. Rick Webb (Blues in London founder) came up next for a duo number and then the house band joined us for three numbers, all originals. The house band comprised Charles Benfield on bass and Martin Holloway on drums/percussion – one of the fundamentals of the evening is that the drumming isn’t full-volume full kit, but brushes, snare, some bass drum and some things to shake and hit with the hand. It was also meant to include ‘Greasy’ Dave Forristal on keyboards (and hopefully it will in the future), but an injury ruled him out this time.
Six singer/guitarists came to play, four of whom were not familiar faces at previous jams. They each did three numbers. First up was Clayton – nice voice, good player, interesting repertoire. He gelled well with Charles and Martin from the off. Then came Dan (pictured above with Charles and Martin), again excellent, with rack harmonica adding something to the mix and again playing with the house rhythm section. Justin came next, with the band and on a 12-string, doing his own take on the blues and augmented by Lindsay on electric guitar. Lindsay played sparingly and tastefully through the very small amp, showing that the idea that electric players can fit in as sidemen with the main acoustic fare can work.
The excellent Graham Hinton was next, a class act doing traditional blues songs with polish. The house rhythm section and ‘Harmonica Phil’ blended very well with him. He was followed by Made Jay, a newcomer to the venue, who brought the house down thrashing the hell out of a metal National and doing Son House and Robert Johnson songs with every bit as much passion as the originals. He was a compelling act, breaking two strings such was the seeing-to the guitar was getting, and carrying on regardless like a man possessed. The standard didn’t take any kind of dip at all when he was followed by Laine Hines, a terrific, quieter performer with a fine voice. The house band were back on now, having had a brief break and together the three of us rounded the evening off with another couple of my originals.
The venue was full from the start, with a listening audience that responded very well to the music dished up. The sound was nice and clear, and people could talk at a normal volume, without having to bellow over the music. But the evening put paid to any idea that acoustic means quiet or twee. There was just as much power and presence as with electric blues, just not as much volume. Everyone could hear everything.
So we uncovered some very good people and we kind of proved a point. There was a feel-good air to the evening and it was agreed by audience and players alike that it had been a great success.
No disrespect to any of the electric jams all over town (and we’re all participants in those too). But what we’re trying to establish here is something different, where acoustic players can do their thing, which is every bit as valid as anything with lead guitar solos in it.
If this takes your fancy, come down to the Green Note every second Wednesday of the month. And bring your friends. If you want to hear something different in the blues, including some people doing original material, come and listen. If you play and sing, the only thing to remember is: keep the material reasonably simple for people to pick up straight away – you’ll be with some fine musicians, but too many chord changes are going to end up with furrowed brows and reduced audience enjoyment. At its best, people playing a number together for the first time can sound like a tightly-rehearsed unit, as we had on this opening night. And one final thing – it would be good to have as wide a range of instrumentalists as possible joining in – mandolin, fiddle, banjo, hand percussion, accordion, flute, sax as well as harp and guitar would be more than welcome.
I won’t be here for the next one, 12 August, which David will be running. I’ll be back for September 9th.
Mark Harrison
I kicked off with an instrumental on the 12-string and a solo number on the National. Rick Webb (Blues in London founder) came up next for a duo number and then the house band joined us for three numbers, all originals. The house band comprised Charles Benfield on bass and Martin Holloway on drums/percussion – one of the fundamentals of the evening is that the drumming isn’t full-volume full kit, but brushes, snare, some bass drum and some things to shake and hit with the hand. It was also meant to include ‘Greasy’ Dave Forristal on keyboards (and hopefully it will in the future), but an injury ruled him out this time.
Six singer/guitarists came to play, four of whom were not familiar faces at previous jams. They each did three numbers. First up was Clayton – nice voice, good player, interesting repertoire. He gelled well with Charles and Martin from the off. Then came Dan (pictured above with Charles and Martin), again excellent, with rack harmonica adding something to the mix and again playing with the house rhythm section. Justin came next, with the band and on a 12-string, doing his own take on the blues and augmented by Lindsay on electric guitar. Lindsay played sparingly and tastefully through the very small amp, showing that the idea that electric players can fit in as sidemen with the main acoustic fare can work.
The excellent Graham Hinton was next, a class act doing traditional blues songs with polish. The house rhythm section and ‘Harmonica Phil’ blended very well with him. He was followed by Made Jay, a newcomer to the venue, who brought the house down thrashing the hell out of a metal National and doing Son House and Robert Johnson songs with every bit as much passion as the originals. He was a compelling act, breaking two strings such was the seeing-to the guitar was getting, and carrying on regardless like a man possessed. The standard didn’t take any kind of dip at all when he was followed by Laine Hines, a terrific, quieter performer with a fine voice. The house band were back on now, having had a brief break and together the three of us rounded the evening off with another couple of my originals.
The venue was full from the start, with a listening audience that responded very well to the music dished up. The sound was nice and clear, and people could talk at a normal volume, without having to bellow over the music. But the evening put paid to any idea that acoustic means quiet or twee. There was just as much power and presence as with electric blues, just not as much volume. Everyone could hear everything.
So we uncovered some very good people and we kind of proved a point. There was a feel-good air to the evening and it was agreed by audience and players alike that it had been a great success.
No disrespect to any of the electric jams all over town (and we’re all participants in those too). But what we’re trying to establish here is something different, where acoustic players can do their thing, which is every bit as valid as anything with lead guitar solos in it.
If this takes your fancy, come down to the Green Note every second Wednesday of the month. And bring your friends. If you want to hear something different in the blues, including some people doing original material, come and listen. If you play and sing, the only thing to remember is: keep the material reasonably simple for people to pick up straight away – you’ll be with some fine musicians, but too many chord changes are going to end up with furrowed brows and reduced audience enjoyment. At its best, people playing a number together for the first time can sound like a tightly-rehearsed unit, as we had on this opening night. And one final thing – it would be good to have as wide a range of instrumentalists as possible joining in – mandolin, fiddle, banjo, hand percussion, accordion, flute, sax as well as harp and guitar would be more than welcome.
I won’t be here for the next one, 12 August, which David will be running. I’ll be back for September 9th.
Mark Harrison
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