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Produced Ian Shaw、 Guitars Greg Wain Cello Stan Adler Bass 　 Steve Watts Drums　 Mark Fletcher Percussion Josefina Cupido、 Horns 　 Harry Becket 　 Annie Whitehead 　 Elton Dean John Fordham The Guardian, Friday 1 April 2005 This is coming from a completely different place to Jason Moran, but British jazz-soul legend Carol Grimes is just as aware that her roots and the circumstances that shaped her are unique. This is an honest, unadorned and artlessly simple set, produced by fellow singer Ian Shaw on songs by Tom Waits, Nick Cave, Joni Mitchell, Fran Landesman and others. High-class jazz instrumental input comes from the likes of locals Harry Beckett (trumpet), Elton Dean (sax) and Annie Whitehead (trombone). The quality of the singer and the songs really invite a longer exploration of the resources of the instrumentation - as on Sandy Denny's Who Knows Where the Time Goes?, whose cello and vocal choruses deserve more luxuriousness. But Grimes is typically soulful and hard-nosed on Ian Shaw's Moira, while Ron Sexsmith's Gold in Them Hills makes her seem as youthful as at any time in the past 30 years. Joni Mitchell's Two Grey Rooms is reverentially desperate, and the John Lennon title track cuts her loose on the kind of wild, declamatory soulfulness that might perhaps have played a bigger part in the set. But Grimes is a great UK talent, and anything that nurtures her is to be recommended.

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A Taste of the Tale I am writing.. almost there The Singers Tale. A Lovely review for my first ever outing, reading and singing my BOOK. CAROL GRIMES & DORIAN FORD AT THE MAP STUDIO CAFÉ Review by Sebastian Scotney on London Jazz News On Saturday this series featured Carol Grimes, and it was a great pleasure to be in right at the very start of such a genuinely promising venture as her Autobiography, an item tucked into her programme of songs, which itself was tucked into a varied evening, of which I heard the first two acts. The Autobiography is spoken rather than sung. With Dorian Ford on piano, her narrative flashes back and forth between her uncertain teenage years, when a fairytale future as a gamine rock icon was seemingly on offer, and now. This is a project to watch out for as it develops. (The concept is far from new. Schumann, as just one example, wrote spoken melodramas to words by Friedrich Hebbel.) Grimes has a fascinating story to tell. She also has a command of shaping and delivering words, a performance sense, and the musical and human depth and warmth to really make something of this. The story pulls in songs, which reference times of her life. This project has such a strong heart; it really could go anywhere as it develops. It could be a stage play, or radio drama, or album, or any combination of these. Dorian Ford has no music, just her words in front of him. His ability to match mood or word with chord or line, to evoke the ghosts of songs past, is a revelation too Some comments from Audience…. And friends… on Facebook Really loved the different format...should have been filmed...for a Wreith Lecture on music and life in post war Britain .You educated and entertained me, drew me in. seduced by voice and music that created an atmosphere that I longed to walk in. a flavour of political and social climate that coloured the music I loved.... how did you take me on that journey? My body was in hackney...but mentally I travelled on trains. Nicked make up in Woolies...met a boy with dirty knarled toes and a keen guitar.... what happened next? I loved the references to famous Jazz songs and the political events that occurred, especially Around Midnight, Red Top. The list went on, really added a new dimension that I had never thought off...what were the political and social landscapes that the songwriters were working in, and how did it influence their work? How was their work received? How did Jazz go all over the world? Why does it resonate, with so many beyond the American experience? And....I could go on. But that definitely was one night for thinking and appreciating... Thank You. Amber eats Flowers. We thought you were in great voice last Friday at the Vortex and the poetry was touching and funny. Annie conjured a wonderful range of sounds out of her trombone and the guys were great.   In the last few days, the words and tune of ‘The Circus’ have come to mind whenever news has come on the radio of Ukraine.  Thanks for so many memorable performances.  Paul and Deanne Carol darlin'... and absolutely fab gig! You're an absolute STAR! And a great actor!!! A wonderful evening ... moving, warm, funny and a bit Outrageous!!! Your backing band is wonderful too... Chrissie and I had a sooooper evening... if time allowed we would've loved at least one more song... sorry we couldn't stay for chin wag and a hug but had to rush for the "last train"! YOU MUST DO IT AGAIN... SOOOOON!!! Much love the other Carol [and Chrissie]... Great night Carol. A great idea of mixing music with Auto Biography. You could call it a Musography or an Auto Musography. Thank you Carol X X. Mark It was a great evening, thanks very much Ms Higgs, no sorry, Freeman, no sorry, Hrybowicz, no sorry GRIMES - and I'm sure I missed one out. Much love and can't wait for the next verse! Everyone, everything was brilliant. I loved being there. Carol, it was lovely to hear you speaking your words accompanied by music. So effective, so atmospheric. H xxx Oh Didi - I SO agree. Carol my darling it was a fabulous evening. I know you see it with 'a real actor' but you bring to life the original rhythm of the words - the voice - with a vulnerable authenticity. Because it is YOUR VOICE. A REALLY WONDERFUL EVENING. Delightful. > It was a delight And you were a star And the band too Terrific Atmosphere Sounds Band supporting glowing you Following your notes your thoughts DO IT AGAIN SOON XXX

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