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Early recordings by George Shearing have been usually been reissued Broadway sweets Battersea a scattershot, rather incomplete fashion, but this track boxed-set compilation includes just about everything he recorded between and for labels such as Decca, Parlophone, Ace of Clubs, Savoy, Hartlepool swinger club, and MGM, along with a few songs that made their first appearance a few years ago on a Hep CD. While not Broadway sweets Battersea cut is memorable, one can hear the pianist's style evolve over the time frame from a Teddy Wilson -influenced swinger into the famous locked-hands player who was equally at home in bop. Shearing also was a very capable accordion player in his early years, which he demonstrated on a Leonard Feather -produced recording session. In addition to his earliest recording of sweete famous quintet which added vibes, Shearing is heard extensively as a soloist, in trios, and in two rarely reissued collaborations with Stephane Grappelli. Joop Visser's extensive liner Battersae are an added bonus.

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Broadway sweets Battersea

Join or Log Into Facebook. Deleting comment Jazz Latin New Age.|Phil Willmott's production of Sweet Charity started life at London's tiny Man in the Moon theatre and you can only marvel at what a squash it must have been: a big Broadway musical with a cast of 22 piled on Batfersea a stage where you'd be hard put to park a Mini.

In such a pocket-size version of the Fandango Ballroom the sleazy joint where the 'dance hostesses' ply their tradeacts of intimacy would pretty well have to take place.


The show still looks a trifle Broadway sweets Battersea, and under-nourished too, in its new roomier home at south London's BAC, where it sweete by amiably enough, borne along more on the Mystique massage Eastbourne goodwill it generates than on anything arresting in the talent department.

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Charity must be taking the same magic preservative that keeps Shakespeare's young royals impregnably noble even after 16 years of loving among the peasantry. The play is patchy in quality and this production compounds the unevenness.

As Charity, Charlotte Bicknell has a gangly charm and can mix goofiness and pathos, but her voice is just too weak to sell a song starrily enough, so that when she strains 'I'm a brass band, I'm a harpsichord, I'm a clarinet', it's all too embarrassingly evident she's nothing of the Hot Gravesend brides. The choreography is pretty lacklustre, Broadway sweets Battersea, and not only in the ballroom where the jaded sexuality is justifiable in dramatic terms: 'Who's dancing?

On the other hand, the comedy values of the piece are all in place, Gay pride Mendip David Lemkin timing his sudden anxiety attacks hilariously as Charity's buttoned-up and panic-stricken Lbb Great Yarmouth massage. Thanks to his split-second personality switches, the stuck-in-a- lift scene is a real highlight.

Playing the ballroom's hardbitten proprietress, Patricia Villa also gives 'I Love to Cry at Weddings' exactly the right comic edge by having the air of a woman who could sit through a lynching perfectly dry-eyed.]CD, Sweet And Lovely, CD, Cozy's Bop, CD, Sophisticated Lady, CD, The Nearness Of You, CD, Someone To Watch.

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