As reported to us by Hamish Birchall  The Live Music Bill, co-sponsored by Lord Clement-Jones and Don Foster MP, cleared its last Commons hurdle on Friday (20th Jan).
It is now on the home straight to becoming law.  Two minor amendments
agreed in Commons Committee must be ratified in the Lords, probably
within a fortnight, and dates set for Royal Assent. Implementation will
require secondary legislation.  A lead-in period of several months is
likely to allow time for the live music sections within statutory
Licensing Guidance to be rewritten.

The Bill represents a historic shift in the treatment of live music
under the law.  The Licensing Act 2003, and many preceding Acts,
embodied a presumption against most performances unless first licensed,
on pain of criminal law sanctions. This harsh treatment, dating back
more than 250 years, will end for performances within certain hours and
to a relatively small audience.  The potential risks are already
regulated by separate legislation.  While there were and are rational
grounds for licensing large events, there is also a puritanical streak
in English culture that was amplified by licensing legislation.  The
enduring puritanism was expressed in often unreasonable objections to
even the mildest live music licence applications, with absurd
over-regulation and enforcement by many local authorities.

The Bill could easily have been sunk by a combination of tedious
filibustering on Daylight Saving Bill amendments and arcane
Parliamentary procedure.  Indeed, it came very close to failing, not
because of insufficient numbers in the House to carry a vote (over 130
MPs), but lack of time.

Debate yesterday started at 9.30am and had to finish by 2.30pm.  The end
time arrived and MPs were still on the Daylight Saving Bill. Many
observers present thought the Live Music Bill had been lost.

Lord Clement-Jones said: ‘I was sitting there and I was absolutely,
completely confounded. I had no idea what was happening when the
Daylight Saving Bill was up.’

Then, as one observer in the public gallery put it, ‘something weird
happened’.   MP Philip Davies, the last in a succession of honourable
members grinding through DSB amendments, suddenly sat down as the
Speaker, Nigel Evans, stood up and shouted  ‘Order, order’.  The
remaining private members bills titles were read out. Next up was the
Live Music Bill.

There followed a short exchange between the Speaker and Don Foster, and
the Bill was passed to a loud chorus of ‘Ayes’, with no objections.
(View on Parliament tv, scroll to 4hrs 55mins:
http://www.parliamentlive.tv/Main/Player.aspx?meetingId=9853 )

The good news flashed quickly around arts and music media:

Jo Dipple acting chief executive of UK Music, the UK commercial music
Industry’s umbrella body, said “This is a great day for music. The Live Music Bill will make a real and positive difference to lives of musicians. There is no doubt that the
current Licensing Act has created needless layers of bureaucracy -
making it complicated and expensive for pubs and other small venues to
host live gigs. The entire industry would like to thank Lord
Clement-Jones and Don Foster MP who have made this change possible.”

John Smith, Musicians Union General Secretary, added-
“We are delighted that the Live Music Bill has finally made it through
Parliament. It is a real achievement for a Private Member’s Bill to get
through and the MU would like to thank Lord Clement-Jones, Don Foster
and all of the other MPs who helped to pass this Bill.”
http://www.basca.org.uk/news/live-music-bill-passes-third-reading-and-report-stage/

Links to other press coverage:

http://www.bbc.co.uk/news/entertainment-arts-16657152

http://www.thestage.co.uk/news/newsstory.php/34983/live-music-bill-close-to-becoming-law

Heartfelt thanks is certainly due to Lord Clement-Jones, Don Foster, the
licensing minister John Penrose, many other MPs and Peers who have
tenaciously campaigned within Parliament, especially John Whittingdale,
Chair of the Culture Select Committee, also to the civil servants and
lawyers who have worked hard behind the scenes on the bill, and indeed
to the Coalition government. But the time is not yet ripe to celebrate.
That should be saved for the day the new law comes into effect. And it
will take many months, perhaps years, for the full benefit to be
realised by musicians, venues and the music loving public.

The sharp decline of small gigs in pubs coincided with reform of
entertainment licensing in 1982, when local authorities were given
powers to set their own fees.  These quickly rose by several hundred
percent, and by 2000 the Home Office estimated fewer than 10% of pubs
had entertainment licences, although all of them could still have one or
two live performers (the ‘two in a bar rule’).  But even that modest
musical provision was abolished by the 2003 Licensing Act, legislation
that marks the highwater point of regulation of live music through
licensing.  It was under this Act that even providing musical
instruments became a potential criminal offence unless licensed.  This
ranges from pub pianos to instruments provided by schools for concerts.
The Live Music Bill does away with that requirement.

One long-time campaigner asked me yesterday what I would do next.  I am
not against licensing regimes per se.  Where there are serious risks to
the public, inadequately regulated by separate legislation, prior public
consultation may be necessary and proportionate.
To that end, perhaps MPs should be licensed.

THE DEVIL’S MUSIC IN THE KITCHEN – BURY ST EDMUND’S DEVIL’S KITCHEN COLLECTIVE

ESTABLISHED AS A ‘REAL’ MUSIC VENUE WITH MUSIC FOR THE PEOPLE – NEW YEAR’S EVE SPECIAL FEATURES LONDON’S QUIRKIEST ROOTS BLUES ROCKERS ‘ELEPHANT SHELF’

The Devil’s Kitchen Collective is described as the most original jazz n’ blues club in the U.K -‘a winning formula of kooky volunteers, from hip teenagers to funky septuagenians’ We are a not for profit music club run by musicians, retired artists & live music lovers in Bury St Edmunds. It’s held on THE FIRST SATURDAY OF EVERY MONTH at THE GREENE KING SOCIAL CLUB THE DEVIL’S KITCHEN COLLECTIVE at The Greene King Social Club, Bury St Edmunds, Suffolk IP33 THE DEVIL’S KITCHEN COLLE… St Edmunds, Suffolk IP33 The venue has presented a very high standard of music in the fields of blues, jazz, roots and rock ‘n roll – artists who have appeared include – Mark Butcher, Hokie Joint, The Untouchables – Steve Downs –Gabrielle Ducrombie –Skip McDonald –Big Mama’s Door- Liane Carrol – past gigs have included acclaimed tribute gigs to Jimmy Smith and Ronnie Scott. Not only is the music acclaimed but so is the food – every gig features a superbly prepared menu that varies from the exotic – Creole Special – to traditional ‘Bangers ‘m Mash’ – spokesperson Fiona Kerr says “We pride ourselves on presenting great music and great food at a great price”

This New Year’s Eve special gig features one of the UK’s rising R&B / Roots acts ELEPHANT SHELF – the colorful band is fronted by two of the country’s leading transgendered musicians – Vicky Martin on Vocals and guitars, and Diana Stone – (acclaimed as a wonderful boogie pianist by London promoter Pete Feenstra) on piano and fiddle – the band’s exciting brand of swing based retro R&B has appeared all over the UK this year Festival appearances at Upton, Plumpton, glamorous Skegness, Cambridge and appearances at venues as far and wide as Swansea, Weston Super Mare, Sheffield Lincoln and Bethnal Green have all added to Elephant Shelf’s burgeoning reputation. Numerous gigs by The DELTA LADIES featuring Vicky & Diana of the Shelf have cemented a reputation for great musicianship and great entertainment.

.

The collective’s supporters are in process of setting up a “FRIENDS OF THE COLLECTIVE” too. They thank Paul Dennet & the team at Greene King for all of their help and kind support and on their website give thanks for the support of many honest local businesses & organizations.

The collective are VALERIE BOLTON, KRIS K, Patricia Routledge look-a- like FIONA KERR, ROGER POWELL, HATTIE (THE LEGEND) ASHTON, plus recent recruits RICHARD (‘DICKIE DARLING’) & RUTH (also known as RUTH & ROGER) you find out more about this wonderful venue and about these lovely people at. http://www.thedevilskitchencollective.com/

DEVIL’S KITCHEN VIDEO CHANNEL – http://www.youtube.com/results?search_query=devil%27s+kitchen+collective&oq=devil%27s+kitchen+collective&aq=f&aqi=&aql=&gs_sm=e&gs_upl=5563l19750l0l21125l28l14l1l10l10l0l938l1156l0.2.6-1l3l0

ELEPHANT SHELF – www.elephantshelf.com

DELTA LADIES – www.deltaladies.com

Lord Clement-Jones’ live music bill, now sponsored by Don Foster in the
Commons, has just passed its 2nd reading there.

If implemented, the bill would create entertainment licensing exemptions
for performances of live music between 8am and 11pm to audiences of up
to 200.  However, it retains the licence review process for bars and
other alcohol-licensed venues if the exemption is abused.

The bill now moves to the Committee stage. A date has yet to be fixed,
but it could be before Christmas.

It is unusual for a private members bill originating in the Lords to get
this far.  However, while encouraging, its success today is no guarantee
that it will become law.  Potential pitfalls, and much hard work, remain.

Meanwhile, another hysterical denunciation of the government’s more
radical entertainment licensing deregulation proposals has been
published, this time by Wandsworth council:

http://www.wandsworth.gov.uk/site/scripts/news_article.php?newsID=10856#makecomment

Entirely misleadingly it suggests that pubs and bars ‘…would not be
subject to proper safety checks with potentially no limits on the
numbers of people attending, nor on the hours of operation. This would
negate one of the reasons for introducing a licensing regime in the
first place which was to prevent tragedies where young people have been
injured in fires or as a result of overcrowding or crushing.’

This is complete nonsense and scaremongering of the worst kind.  The
safety of the public in workplaces is no longer regulated by
entertainment licensing, but by separate health and safety and fire
safety legislation, and this applies to all activities taking place.
Also, as alcohol licensing and conditions in alcohol-licensed venues
would remain under the deregulation proposals, enforceable opening hours
would remain.

In their consultation submission to DCMS, Wandsworth puts forward other
specious or contradictory arguments against more radical deregulation:

http://bit.ly/squeVN

For example, their Q1 response states: ‘Of the 579 premises in the
London Borough of Wandsworth with a licence to sell alcohol on or on/off
the premises, 213 also have a licence to provide live music. Of the 48
Private Members Club in the borough supplying alcohol, 32 have a licence
to provide live music. There are, therefore, many venues within this borough
that could allow live music performances (albeit with controls to
protect neighbours from noise nuisance). However, many of these licences
are not used and this Authority would, therefore, question whether live
music is not being promoted in venues because of market decisions rather
than because of bureaucracy and red tape.’

But it is impossible to draw any reliable conclusion from this data
about the reasons for having or not having live music.  How does the
council know that the licences are not being used?  Venues that have in
fact closed often remain on council licence registers as if they were
still in business.  And what licence conditions have been imposed?
These might include costly requirements to provide door supervisers
during performances, or to fit a noise limiter. Or they might restrict
the number of performers, or genres of music.  The venue may have
particularly intolerant neighbours.

And even if the amount of live music currently provided were entirely
determined by factors other than entertainment licensing, as the council
would like to believe, what then would cause the explosion in noise
nuisance that they warn so stridently against if entertainment licensing
is removed?

Petition to: request the Cabinet to reconsider its decision to introduce West End evening and Sunday parking charges before their planned introduction on 9th January 2012 in view of the considerable harm that the proposed charges will cause to residents, businesses and visitors

http://petitions.westminster.gov.uk/WestEndParking/?showall=1

Jump Jive and Shout

Jive Night

Dj: Jeniffer Jackson

Music:  Lively, pulsating 1940s/50s rhythm n blues, doo wop, jump jive, blues shouters etc.

Live: Blues from London’s Florence Joelle’s Kiss of Fire

Saturday 10t^h December  2011

8pm -12.30

Entry £5.00 on the door

Kennedy’s Bar

297 Caledonian Road

Islington

London N1 1EG

Noted Aussiec guitarist, Tommy Emmanuel, has a new album ‘All I Want For Christmas’ released on Monday November 7^th. This coincides with his UK tour starting on Thursday December 1^st at Hull City Hall. ‘All I Want For Christmas’ follows Emmanuel’s last studio album, ‘Little By Little’, released February 2011. Its released on Steve Vai’s ‘Favoured Nations Entertainment’ record label. Tommy Emmanuel was honoured as the Country Music Awards’ Global Artist earlier this year. He co-produced with veteran Nashville picker/arranger John Knowles, CGP. They collaborated on new arrangements of Yuletide classics including ‘I’ll Be Home For Christmas’, ‘The Christmas Song’, and ‘Rudolph The Red-Nosed Reindeer’. Emmanuel also wrote one original for the collection, ‘One Christmas Night’, and arranged a second new composition, ‘The Magic Of Christmas Time’.

Click here for the official press announcement - www.noblepr.co.uk/Press_Releases/tommyemmanuel/album.htm

Says Tommy Emmanuel “People have asked me about doing a Christmas album so many times over the last 20 years, and when I had time to really get into this project, it just had a life of its own, and was so easy to make because we all loved the music so much. I’m pleased that there will be so many fans happy about it’s release”

Most of the arrangements for ‘All I Want For Christmas’came together via Skype, while Emmanuel was on tour and fellow guitarist Knowles was home in Nashville..Everything was recorded at Beech Creek Studios in Franklin, TN with KimPerson, who has produced Emmanuel’s last five albums. Emmanuel used several guitars for the sessions, but relied mainly on a new Taylor model that he says, “has a singing quality to it, a beautiful voice
Tommy Emmanuel’s December UK Tour with special guest Gareth Pearson; 24 Hour Box Office: 0871 230 1101, Book online: www.seetickets.com (additional tour info – http://bit.ly/oVpnMD).

Hull City Hall (Dec 1)
Harrogate International Centre (Dec 2)
Buxton Opera House (Dec 3)
Liverpool Philharmonic Hall (Dec 4)
Birmingham Town Hall (Dec 5)
Brighton Hove Centre (Dec 6)
Cambridge Corn Exchange (Dec 7)
Cardiff St. David’s Hall (Dec 13)
London Union Chapel (Dec 15)
Salisbury City Hall (Dec 16)

For interview opportunities, CD review copies, review tickets and photo passes, please contact:
Peter Noble and Will Taylor at Noble PR Consultancy
0207 272 7772, peter@noblepr.co.uk, will@noblepr.co.uk

In a year which has seen several new festivals this weekends’ festival at Bedford Esquires looks like being one of t he best. It runs from Thursday 13^th to Sunday 16^th October and features some of the most popular performers on the UK scene including LARRY MILLER, CHANTEL McGREGOR, THE NIMMO BROS, PADDY MAGUIRE and several more. We spoke to Larry Miller who said ‘this looks like being a really festival it’s a great venue and set-up’. Bedford Esquires is very popular as one of the best run venues around – its 60a Bromham Road Bedford MK40 20G and a very informative website – www.bedfordesquires.com and don’t forget you can win tickets for the festival right here on this page, just answer three questions and Larry’s yer Uncle…

1) Who wrote Ray Charles’ classic song ‘The Mess Around’?

2) Who wrote the song ‘Vigilante Man’ recorded by Ry Cooder?

3) Which Bob Dylan song did Jimi Hendrix play at the Monterey Festival

Answers by email to diana@lovemymusic.com

Fender Musical Instruments has just announced the arrival of the new EC Series Eric Clapton signature guitar amps, and who better to show what they’re capable of–besides Slowhand himself–than the legendary Buddy Guy. As he showed on his latest album, Guy is Living Proof that being 74 doesn’t mean you can’t tear up the frets like a 20-year-old. There are three new tweed tube amps in the Clapton series–the EC Twinolux, EC Tremolux, and EC Vibro-Champ–and all bear the famed picker’s design touches. Judging by the killer sound Guy gets, you might need one. Here’s the complete sales pitch from Fender:

Each is a specific variation based on three classic Fender tweed tube amps of the 1950s – the ’57 Twin, ’57 Deluxe and the ’57 Champ. Clapton has frequently favored these original amps for specific sounds at various points throughout his amazingly varied career, and the new EC Series amps represent both reverence for his musical legacy and the finest in Fender guitar amp craftsmanship. All three amps are handmade in the United States, with interesting mods under the hood specified by Clapton himself. These include a ’50s-era output tube bias tremolo circuit (which produces a more throbbing pulse than later Fender tremolo circuits) and a switchable power attenuator that reduces speaker output (and can disable one speaker in EC Twinolux for even lower output).

The 2×12″ EC Twinolux, 1×12″ EC Tremolux and 1×8″ EC Vibro-Champ are single-channel amps with high-gain and low-gain inputs, hand-wired all-tube circuitry on eyelet boards with premium components, custom transformers, and premium tubes and speakers.

The EC Tremolux has fixed bias for increased headroom and an internal speaker disconnect that allows use of an external 8-ohm speaker enclosure. The EC Vibro-Champ has an internal speaker disconnect that allows use of an external 4-ohm speaker enclosure, and a footswitch jack for an optional tremolo footswitch.

All three EC Series amps have a cosmetic treatment that elegantly befits an artist of Clapton’s stature. Each is ruggedly built with a finger-joined solid pine enclosure, and each authentically evokes Fender’s original 1950s golden era with lacquered tweed covering, vintage-style brown/gold grille cloth and a leather strap handle.

And in the most outwardly visible personal touch, each amp bears an “EC Series” badge at front lower right and Clapton’s signature on the control panel. Each amp also includes a deluxe fitted cover.

BLUES FOR HEROES a fundraising concert in aid of injured servicemen and women.will take place on October 22 at The Cadogan Hall in Chelsea, on the bill are The Blues Band, Matt Schofield and Ian Siegal London, in addition noted guitarist Robin Trower and ace pianist Paddy Milner will join the show as guests of the Blues Band.

The organizers have gathered some of the best of British Blues talent for the concert. Ian Siegal described by Mojo as ‘the cleverest writer and most magnetic performer of blues in the UK’ will open the show with a solo set. Ina Siegal will be followed by Matt Schofield and his band. Schofield is being talked of as one of the best British blues players of recent years. He is gaining an increasing world audience and comes to the Cadogan Hall from an extensive US tour.

Closing the night, Paul Jones and the Blues band who need little introduction. 30 years and 19 album releases says it all. As noted they will be joined by Robin Trower and excellent pianist Paddy Milner, who has been steadily carving a niche for himself as one of Britain’s finest blues pianists.

Press enquiries:
Richard Pavitt, Nugene Music +44 (0)7973 217140
richard@nugene.co.uk

Bert Jansch a major figure in the British folk revival of the 60s and one of the most respected musicians of his time has passed away, dying from cancer at the age of 67.Bert Jansch was a founding member of one of the UK’s most innovative bands Pentangle; he was a truly renowned as a guitarist of virtuoso standard and was sometimes compared to Bob Dylan.

Bert Jansch was born in Glasgow on 3 November 1943, he released 23 solo albums, the last of which was called ‘The Black Swan’, released in 2006 it featured collaborations with Beth Orton and Devendra Banhart. He was awarded two lifetime achievement prizes at the BBC Folk awards – the first in 2001 was for his solo achievements and the second, in 2007, was as a member of Pentangle. The band reformed in 2008. In June 2009, following what was at first a routine visit to the dentist; he discovered he had a golf ball-size tumor on one of his lungs. Following treatment, he went on to co-headline a US tour with Neil Young. Jansch had recently been forced to cancel a live show in Edinburgh due to ill health and was living in a hospice in north London at the time of his death. He influenced many including Jimmy Page, Nick Drake, Graham Coxon, Donovan, Bernard Butler and Paul Simon. According to fellow guitarist Johnny Marr: “He completely reinvented guitar playing and set a standard that is still unequalled today … without Bert Jansch, rock music as it developed in the 60s and 70s would have been very different.”

Neil Young has said “With deep regret Pegi and I acknowledge the passing of Bert Jansch. We were lucky to play with him on all of our shows for the last couple of years. He is a hero of mine, one of my greatest influences. Bert was one of the all-time great acoustic guitarists and singer songwriters. Our sincerest sympathies to his soul mate Loren. We love you Bert.”

What others said about Bert Jansch –

“As much of a great guitar player as Jimi [Hendrix] was, Bert Jansch is the same thing for acoustic guitar…and my favourite” Neil Young

“At one point, I was absolutely obsessed with Bert Jansch. When I first heard that LP [1965], I couldn’t believe it. It was so far ahead of what everyone else was doing. No one in America could touch that” Jimmy Page

“He revolutionized the guitar…I don’t think anybody has ever been revered as much as he is” Dick Gaughan

“If you didn’t know he was a guitar hero to many – including Jimmy Page and Keith Richards – your ears might tell you” – THE EVENING STANDARD

Robin Denselow wrote: “Bert Jansch was that rarity, a musician who really did deserve to be regarded as a legend, and who retained that status throughout his career. He was an extraordinary guitarist and a thoughtful songwriter, and generations of would-be pickers sat at his concerts watching his finger-work with envy and astonishment.”

Bert (Herbert) Jansch, guitarist, was born 3 November 1943 and died 5 October 2011