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PLEASE NOTE: DOORS OPEN: 7.30pm, MUSIC STARTS AT 8pm.This show is taking place in THE BASEMENT AT GREEN NOTE. Unfortunately there is NO STEP FREE ACCESS.The venue comprises both seated and standing space. There are a limited number of seats. These are allocated on a first come first served basis, so if you'd like a seat, please ensure you arrive early.We reserve the right to release all unclaimed tickets for re-sale at 9.30pm. If you will be arriving after this time, please inform us in advance, so that we can hold your tickets for you.We can be contacted by email on mail@greennote.co.uk-------------------------------------------------------------------------------THE BASEMENT AT GREEN NOTE... Hosting the best of early Blues & Jazz...Lucy Orme & guests..... a trio performing numbers reminiscent of the golden era of jazz, covering uptempo dance hall tunes from the 1920's to the 1950's in addition to some well known ballads. Many musical influences are at play apart from the great icons like Irvin Berlin and Billie Holiday attention is given to the lesser known such as Fletcher Henderson. As a vocalist Lucy has performed with The Silver Ghosts at reputable venues around town including The Royal Albert Hall, Ronnie Scotts and The 100 club as well as special swing dance nights across London. Music-News.Com has reviewed Lucy describing her as "enchanting vocals effortlessly transporting the audience back to the glory days of Rogers & Astaire".Pianist Rick Simpson leads his own band and performs with many others and ensembles. Rick regularly performs at loads of well known jazz venues and larger venues such as the Royal Festival Hall. In 2008, he won a Yamaha Scholarship prize for Outstanding Jazz Musicians. A recording of his band was put on the front cover of Jazzwise Magazine. He has recently released ' Semi Wogan' his debut album..Well known outstanding double bass player Lance Rose needs little introduction to those familiar with the London Jazz scene. His residencies include The Great Northern Railway Tavern in North London and The Canonbury Islingon.
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Philip Rambow Biography
Singer-Songwriter Philip Rambow!WHATEVER HAPPENED TO PHIL RAMBOW - CD Release June 25 2015 Philip Rambow(RDJ 156005)
Good question. There was a time, through most of the 1970s, when Phil Rambow was the Man Most Likely To, in a variety of guises. With his band the Winkies, he perfected the notion of Glam themed pub rock, and both toured and recorded with Brian Eno – during that brief period when Mr E seriously looked like arm-wrestling Bryan Ferry for pop glory. A John Peel session, a bootleg, and a glorious single catch the collaboration in full fiery flow, and you should go off and listen to all of them now.
Okay, you’re back. From the Winkies, Rambow made it over to New York, to be- come part of that generation spearheading the Max’s Kansas City scene into the era of punk and new wave... his “Night Out” is included on the club’s live album (pause while you play that); back in the UK, he teamed up with Mick Ronson for live shows and sessions, and when Ronson and Hunter cut the first Ellen Foley album, Ram- bow’s writing was among the highlights. (Again.. we’ll wait.)
Two solo albums at the end of the 70s should have propelled him to several shades of stardom; writing with Kirsty MacColl, he created the classic “There’s A Guy Works Down The Chip Shop Swears He’s Elvis”; and then... it was probably as early as the mid-1980s that the first voice raised this album’s titular question, and until Rambow resurfaced for live shows a few years back, we’ve been asking it ever since.
And here comes the answer, Rambow’s first solo album since 1981’s Jungle Law, and did you miss him? Yeah!
As a writer, Rambow always was peerless. Early sightings of both Graham Parker and Elvis Costello prompted sharp-eared listeners to compare their songs with his, and though fame and familiarity probably flipped that equation a lot sooner than they should have, still there’s a flourish to the best of Rambow that bears easy compari- son to the rest of their work. File this alongside Parker and the Rumour’s recent re- union, and you can feel the common ground shift ineffably in Rambow’s favor.
The opening “Not Broken” might well be one of the strongest numbers Rambow has ever put his name to, and when you consider that tally includes “Night Out” and “Young Lust” (of Ellen Foley renown), “Fallen” and “Davey’s Blowtorch,” that’s pretty hefty company. But it’s not alone. The quizzical “The Birth of Cool” rumbles along like a rootsy Mark Knopfler; “Big Sky” goes back to Rambow’s folky roots in his na- tive Montreal; “Summertown” has a Stonesy groove that sends shivers down the spine; and just halfway through the twelve songs, you’ve stopped congratulating Rambow for not once leafing back through his catalog, and started grumbling that he didn’t make this a double album.
The then-and-now cover photos remind us how many years have elapsed since the last time we heard a new Phil Rambow album and wondered when the rest of the world was going to catch up with him. But listening to Whatever Happened To..., it could have been just last week. And this is the sound of his tomorrow.
Read MoreGood question. There was a time, through most of the 1970s, when Phil Rambow was the Man Most Likely To, in a variety of guises. With his band the Winkies, he perfected the notion of Glam themed pub rock, and both toured and recorded with Brian Eno – during that brief period when Mr E seriously looked like arm-wrestling Bryan Ferry for pop glory. A John Peel session, a bootleg, and a glorious single catch the collaboration in full fiery flow, and you should go off and listen to all of them now.
Okay, you’re back. From the Winkies, Rambow made it over to New York, to be- come part of that generation spearheading the Max’s Kansas City scene into the era of punk and new wave... his “Night Out” is included on the club’s live album (pause while you play that); back in the UK, he teamed up with Mick Ronson for live shows and sessions, and when Ronson and Hunter cut the first Ellen Foley album, Ram- bow’s writing was among the highlights. (Again.. we’ll wait.)
Two solo albums at the end of the 70s should have propelled him to several shades of stardom; writing with Kirsty MacColl, he created the classic “There’s A Guy Works Down The Chip Shop Swears He’s Elvis”; and then... it was probably as early as the mid-1980s that the first voice raised this album’s titular question, and until Rambow resurfaced for live shows a few years back, we’ve been asking it ever since.
And here comes the answer, Rambow’s first solo album since 1981’s Jungle Law, and did you miss him? Yeah!
As a writer, Rambow always was peerless. Early sightings of both Graham Parker and Elvis Costello prompted sharp-eared listeners to compare their songs with his, and though fame and familiarity probably flipped that equation a lot sooner than they should have, still there’s a flourish to the best of Rambow that bears easy compari- son to the rest of their work. File this alongside Parker and the Rumour’s recent re- union, and you can feel the common ground shift ineffably in Rambow’s favor.
The opening “Not Broken” might well be one of the strongest numbers Rambow has ever put his name to, and when you consider that tally includes “Night Out” and “Young Lust” (of Ellen Foley renown), “Fallen” and “Davey’s Blowtorch,” that’s pretty hefty company. But it’s not alone. The quizzical “The Birth of Cool” rumbles along like a rootsy Mark Knopfler; “Big Sky” goes back to Rambow’s folky roots in his na- tive Montreal; “Summertown” has a Stonesy groove that sends shivers down the spine; and just halfway through the twelve songs, you’ve stopped congratulating Rambow for not once leafing back through his catalog, and started grumbling that he didn’t make this a double album.
The then-and-now cover photos remind us how many years have elapsed since the last time we heard a new Phil Rambow album and wondered when the rest of the world was going to catch up with him. But listening to Whatever Happened To..., it could have been just last week. And this is the sound of his tomorrow.
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