Sinatra: Raw - Review

Live At Zedel, London



****

Richard Shelton

Transferring to the capital from a sold-out run at the Edinburgh Fringe, Richard Shelton’s tribute to Frank Sinatra makes for a fabulous evening. Accompanied by the excellent Michael Roulston on piano, Shelton adopts Sinatra’s persona for the gig - transporting the action to The Purple Room in Palm Springs and, in amidst a selection of the crooner’s greatest hits, delivers a well rehearsed and meticulously researched whirl through Sinatra’s life.

Shelton’s script touches on Sinatra’s youth, The Rat Pack, his (alleged) links to The Mob and JFK, as well as his politics and fierce support of America’s civil rights movement. There are moments perhaps when the narrative seems a little lengthy and self-indulgent, but these are more than made up for by Shelton’s sensational voice. The songs are classics, with the script offering occasional footnotes alluding to the numbers’ histories.

But for 75 minutes of mellifluous wonder, Sinatra: Raw cannot be beaten. Sit back as you sip on a vodka martini or scotch on the rocks and as Shelton sings, close your eyes, and Ol' Blue Eyes could be right there with you!

Runs until 20th January
Photo credit: Betty Zapata

Quincy Jones Live In Concert - Review

O2 Arena, London


****

For one night only Quincy Jones packed out London’s O2 Arena in a gig that offered a glimpse into the man who is one of those few giants who truly shaped the sound  of the 20th century. In a career that has spanned six decades, Jones has either produced or written tunes that have been scored into the global psyche.

Growing up in Chicago, Jones spoke of being surrounded by the mafia, hoodlums and with tommy-guns and dead bodies a regular feature of his childhood. All the more credit to the man who had the vision to shaped his career away from a gangster heritage and break into the music world – a task made all the more challenging by the prejudices that existed against African-Americans. But as Jones, in conversation with Nic Harcourt, reeled off his connections with Frank Sinatra and Sammy Davis Jnr, one could have listened to his stories all night.

But the concert was all about a tribute to Jones’ achievements – and the guest list matched the man. For the mums and dads in the audience there was Paul Weller, Mick Hucknall and Beverley Knight, and for the kids, Mark Ronson.

From movie scores and Oscar nominations (to say nothing of countless Grammy wins and nominations) through to Michael Jackson, Jones’ work has been legendary, with his fingerprints on so much of the soundtrack to our lives. Stomp, Ai No Corrida, Soul Bossa Nova were all aired. You Don't Own Me sung by Corinne Bailey Rae reminded us of the sensational success Jones achieved with Lesley Gore. Paul Weller (with the sensational Leo Green on sax) offered up a marvellous On Days Like These from The Italian Job a great movie to have acknowledged – particularly with its star Michael Caine sat in the O2 audience. 

Jones' later career work with Jackson defined his genius – an association that was to see him produce the artist’s Bad and Off The Wall collections together with Thriller, the biggest selling album of all time. The second half of the set bore a strong Jackson twist, with Jonah Nilsson putting on a fantastic tribute to the King Of Pop.

Throughout, Jules Buckley conduced the Senbla Orchestra magnificently. Truly a sensational evening of legendary music.

Billie and Me: Patti Boulaye Live at Zedel - Review

Live at Zedel, London,

****

Patti Boulaye

It's nigh on forty years since this reviewer first clapped eyes on Patti Boulaye. Her braided hair in tight plaits, Boulaye lit up our TV screens on a Saturday evening, becoming the only competitor in six series of the New Faces talent show to get a maximum 120 from the four judges (but Les Dennis got 119!).

Heaven knows what she sang, but you simply couldn't take your eyes off her and yet she had stumbled into show business almost by accident. Arriving in London from Nigeria at 16, Boulaye thought she was standing in a queue for tickets for Madame Tussaud's, only to discover it was the line for auditions for Hair that was then playing in the West End. Having waited so long, she figured she might just as well have a go, and thus landed her first part.

New Faces later gave her national exposure but although she got some good work – including the lead in Carmen Jones at the Old Vic in the early 1990s - Boulaye never really made the big time that someone with her stunning talent and fabulous voice deserved.

She reminded us of her vocal scope when she launched into Dat's Love from Carmen Jones and although she dealt movingly with the big Holiday numbers (the notorious Strange Fruit, made more notorious for being banned by some radio stations!) God Bless The Child and Lover Man, there was a lot more than Billie in Boulaye's joyous hour and half.

Her own composition In My Memory, a love song to her family, was simple and gorgeous while the raunchy songs of those blues greats, Bessie Smith and Alberta Hunter, with their rude double entendres, The Kitchen Man with his impressive "sausage meat" and Rough and Ready Man had her audience in stitches. They certainly don't write ‘em like that any more, nor the Etta James classic At Last, beautifully achieved by the dazzlingly dressed Boulaye - shimmering black for the first half changing to starry silver for the later numbers.

Boulaye even gave My Way a new depth, justifying its inclusion because Sinatra had always said how much of an influence Billie Holiday had been on him. Mike Moran's musical direction was impeccable.

Reviewed by Jeremy Chapman