New Orleans Heat - Jazz on a Sunday

Photo: Valerie Bracken

New Orleans Heat at Jazz on a Sunday

3 More Image(s) In Gallery

New Orleans Heat are one of the most popular bands in the country, and even though three regulars were absent due to difficult illnesses a stranger would never have known.

With deputies like Roger Myerscough on reeds (Phil Mason band), Alan Birkenhead on banjo (ex New Orleans Heat regular) and John Meehan on drums (Savannah leader), the music flowed with all the normal aplomb.

Three sets with eight numbers in each, this band is entertainment plus, with most vocals delivered by the gravely voice of Gwyn Lewis.

'Tin Roof Blues' featured Myerscough’s clarinet, whilst 'Blues My Naughty Sweetie Gave to Me' had trombonist Mike Taylor in full flow with Barry Grummett’s bouncing piano with banjo and drums in close attendance.

Lewis, with his cornet self accompaniment, vocalised with the differing 'When You and I Were Young Maggie', 'I Wish I Could Shimmy Lie My Sister Kate' and the Sunday Spirituals' 'In The Sweet Bye and Bye' and 'Mary Wore a Golden Chain' with the integral beat of the double bass of Harry Slater, banjo and drums.

Into the second set, the ebullient jazzers enjoyed a stomping start with 'The Old Spinning Wheel' sweet clarinet and muted cornet combined for 'Coquette, Sweet Little Coquette' before Lewis introduced another spiritual 'Where He Leads Me I Shall Follow'.

'At a Georgia Camp Meeting' brought the first march of the evening leading to the title of their latest CD 'Don’t Give Up the Ship' with full bodies piano and the pounding beat of bass and drums.

'Isle of Capri' with its Rochdale connections featured Grummet’s boogie piano and contrasting vocals for Lewis with 'On a Coconut Island' and 'Let Me Call You Sweetheart' led into the second break.

It was Lewis again leading the way in the final set with powerful cornet and vocal in 'Move the Body Over' and 'Because of You'. Boogie piano and the rhythm boys drove along 'Good Morning Blues' to great effect.

An opportunity for Birkenhead on banjo and vocal with 'The 2.19 Train', rarely heard, included a superb interlude for muted cornet.

Then it was Lewis vocalising with the raucous 'Rebecca Rebecca' and the gentler 'My Blue Heaven', both times accompanied by the boogie piano beat of Grummett.

With 'Silent Night' the closing number greeted with such exuberant applause, the band went into orbit and played out with the often requested 'Ice Cream'.