Some Rot about Shakespeare... (20/11/22)

Shakespeare, as keen readers of the Weekly Twaddle would acknowledge, was not a great Jazz musician. And as far as we know, and we really only have Christopher Marlowe's (*) word for it, he barely owned a single saxophone (**). He would have fitted in quite nicely with last week's Quiet Little Jam, where all the saxophones were married, other than Jeff's. Which was played rather well by the Harris. He has been practising again....

In the absence of the Clarke, Jane sang with the B Team, and I rather hope she enjoyed it, as did we.

Stewart Prentice back again on double bass put up a fine effort, and was, by the estimation of the rhythm section (***), increasingly fluent. As, indeed, was Marion who was easily the best recorder player there, again, and certainly one of the better musicians all up.

As jam sessions go, this one was strikingly unremarkable, or, possibly, remarkably unstriking. Anthony, the Debster, Annie, Ashley, and Rose, also sang; and John on trumpet lent a touch of class from time to time; guitarists Roger and Mike, (****) played and solo-ed as you do.

And the whole shebang ended with an ensemble version of Moondance, followed by Monday and back to the salt mines.

Hope to see ya next week...

(*) Christopher Marlowe, according to Marlovian theory, wrote half of Shakespeare's sonnets, cheeky bugger. When found out, mortified, he changed his name to Philip and made a name for himself in American fiction instead. Or not, as the case may be.

(**) Shakespear not playing the saxophone is entirely possible, as it wasn't invented until 28th June 1846, when Adolphe got bored and there was nothing on the telly. Actually, the telly wasn't invented until John Logie Baird got bored with playing the saxophone and proposed the idea in 1923. Actually, the first electronic transmission was developed by Philo Taylor Farnsworth who was a 21 year old precocious nerd at the time. He never played saxophone at all, a fact for which we can all be grateful.

(***) The Rhythm section consisted of Martin Clifton, John Perri and meself, with, perhaps, an interlude by Annie Crutchely Smythe

(****) Mike was playing a Chinese reverse engineered rather shiny smart guitar, which is beside the point, although we can't remember what the point was. Played rather well...