Good to hear Alvey - In my limited jazz experience Simon Spillet’s was one of the most enjoyable gigs we’ve been to, he has a great stage presence and puts a lot of energy into his performance. The other band members were great as well, particularly the drummer Pete Cater, a fantastic performer in his own right who for me exemplified the part the drummer plays in holding a jazz band together.

It was the same story at the Bulls Head, where despite its proximity to central London there were only about 20 people in the audience on a Saturday night, most of them being in their 60s or older. £16 a ticket, so total receipts a little over three hundred quid and Jazz audiences don’t exactly drink the pub dry, in fact 2 or 3 just had cups of tea!. Putting these acts on has to be a loss making activity and you wonder how much longer it can continue.

A good session today.

Blossom Dearie, Live At Ronnie Scott's
A feast of piano, including Earl Hines and Art Tatum
Beverly Kenney (lovely version of 'For All We Know')
Finishing off with six tracks from Coleman Hawkins

Humph was wonderful: that rather plummy upper-class voice: the mark of the true leftie of his time.  'Best Of Jazz', around nine on a Monday evening.  Then, during the period when my father and I were again living together, end of '83 until '87, when I left home to get married for the first time, Peter Clayton's 'Jazz Record Requests' would be on while he put the finishing touches to roast chicken or whatever.  I think 'Desert Island Discs' followed - with dear old Roy - the very first time I heard Blossom Dearie - 1984.  Later on in the evening the old man might disappear off to play his favourites.  Ella, Peggy Lee, Sassie. 
Anyone who has disregarded The Hawk, Lester or Ben Webster in favour of the beboppers who followed Bird should rectify that immediately.

Bobby Shorts version of Manhattan remains the best male vocal version.

Somewhere here - somewhere - Jeremy Steig is mentioned.  Where oh where can he be?
Never mind.  I've just read a fascinating interview with him, conducted by Whitney Balliett at Steig's apartment in the Village, probably circa 1965.  He'd just been playing alongside Bill Evans.  Poor chap had had a motorcycle accident which had damaged his face, so playing the flute was difficult and probably painful.  But he was determined.

I must investigate further.

This morning: Harold Land with Dupree Bolton
Jackie Cain and Roy Kral - 'Spring Can Really Hang You Up The Most'.  A lovely female voice.
Dave Frishberg with Al Cohn and Bob Brookmeyer - 'You're A Lucky Guy'

Said grandson is now farting about with his 'tablet', making noises Shooey would describe as inane.
The joys of family life.  Some seek grandchildren, others have grandchildren thrust upon them.
Wives are no help at all.

I have a stack of stuff ready and waiting: Bill Evans, Jelly Roll Morton, Al Cohn, Bloss, Ella with Tommy Flanagan.

I had a nice 'mouldy fygge' session, taking me straight back to my childhood/youth when I would hear my father digging tracks like 'The Chant' by Jelly Roll Morton.  My father was open-minded about jazz but his heart was always in New Orleans rather than NYC or Chicago.  For saying he was born to rather dour parents in a tough mining/textile town I think that was good going.

Vic Lewis Bossa stuff with Tubby Hayes.

Morrissey Mullen Happy hour

I fully intend to go a bit 'mouldy fygge' any time soon, after enjoying Jelly Roll Morton mid-week.  I must have heard 'The Chant' crashing from our dismal front room dozens of times.

Bill Evans with Le Faro and Motian, Live At The Village Vanguard.  Great set but it sounds as though about a dozen people were in the audience.  There is not, on the other hand, any irritating chatter and clinking of glasses.  Keepnews, in his liner notes, describes Evans as 'diffident'.  Played all the better for it, I think.

I'm wondering if it was the Vanguard where my old Dad saw Marion McPartland.  Was the Village Gate still going in the 80s and 90s?