Archives for category: SWING & PROGRESSIVE JAZZ


After noon shows are the way to go,

not up late, time to go home

not hanging about in that drunken orgy

that late night revelers cannot escape



The new single from George Patterson & The Roaring Forties off of their album “There ain’t nobody here but us chickens.” a great song from an awesome band. available on iTunes





Roaring Forties “There aint nobody here, but us chickens” review.

By Derek Crowe

Farmer Brown maybe saddled with a bunch of predisposed poultry, that seem to prefer their own company, but this third album from “The Roaring Forties” is filled with infectious energy that would have even the recently departed Bernard Mathews tapping his toes.

Although the intro reminds me of the film Poltergeist, the voice of George Patterson does a fair impersonation of a Crackerjack presenter as he introduces this medley of swing.

The first and title track of the album is a cover of the old Louis Jordan number, which sets the tone for the rest of the album, defying you not to wobble your wobbly bits, and slides delightfully into “That Old Black Magic”. The music was written by Harold Arlen, with the lyrics by Johnny Mercer, and, although first published back in 1942, the Forties treat it as pristine, as Ken Marshall’s intricate saxophone, weaves a tonic shade of colour, throughout a number that screams black and white.

Mr Patterson demonstrates his originality and profanity, as his self penned “What Will Be, Will Be”, changes the mood slightly, ably assisted on backing vocals by Hailey Murphy. The song is non-threatening, piece of pop that will remain in your head for the day, then ends with an interesting slide cello, which adds a dollop of cream to this soup for the soul.

“Out of Sight” provides Roy Kelleher and Anth Kaley the opportunity to introduce their arrival on this album, with sharp trumpet, punchy keyboard and effortless vocals. A melancholy ditty, again written by George, lends itself well to the overall project, being well arranged and sympathetically produced.

“I Get a Kick out of You” is a song by Cole Porter, originally featured in the Broadway musical Anything Goes and the movie of the same name.

Originally sung by Ethel Merman, it has been covered by performers including Frank Sinatra, Billie Holiday, Peggy Lee, Marlene Dietrich, to name but a few, but here, we are dragged along, kicking back, proving that this hard working Band, really know how to work an audience.

Now, the title of this belting track, may appear to sound as if the father of his kidnapped daughter plans to pay her ransom by installments,”Five Months, Two Weeks, Two Days”, is an outstanding piece of rip-roaring fun, which the Band obviously love performing.  All members throw themselves headlong into this musical bedlam with Gary Foote’s lead saxophone, tearing reeds, akin to a long felt itch being deliciously scratched.

Eddy Arnold’s “You Don’t Know Me” gets the Patterson treatment, and you can just imagine him as he leans on Anth Kaley’s piano, fluttering his eyelashes at the pianist from behind tinted sunglasses. Again Kelleher and Marshalls playing intertwine effortlessly, allowing the green shoots of Dan Walsh’s brushes sprout spring like in the background.

Another Of George’s originals, “Lucifer” gives us a brief glimpse into the psyche of Cambridge’s answer to Randy Newman. Again, a heart rending story of loss and regret, with Hailey’s vocals supporting and almost sympathising this number, a song that would fit seamlessly into a long walk home from a smoky jazz club.

Karl Rooney displays wonderful dexterity and insight as his saxophone introduces “Lady is a Tramp”. A less harsh statement towards womanhood, yet the Forties take this Tony Bennet classic and forge their own tramp stamp on an arrangement that begins a tad muddled, but like emptying a jar of marbles onto a square tray, everything and every note, eventually takes its place in its own proper order.

A subcutaneous take of the Cole Porter classic, introduced in the musical Born to Dance, “Under my Skin”, swings along at a leisurely jaunt, and is punctuated by Patterson’s variation of accents from both side of the Atlantic. (I swear I heard Ken Marshall’s sax talking to me at the end, but as yet have not been brave enough to decipher what it said!)

Call it “Route 66”, Will Roger’s Highway or the Main Street of America, whatever floats, but the Forties give it the Big Band sound, with close harmonies that would not sit out of place on any thoroughfare, the big notes being punched effortlessly by a wind section that seems as comfortable playing as they would be breathing.

The penultimate track “Oh Marie” is kicked all over the studio by the irascible Jon Kenny, who teams up with Patterson, and between them, on this lovely wee barber shop, come across like Sooty and Sweep on mescaline. Great fun!

“Jump Jive” really brings out the best of the Forties… half notes, staccato, and forced sharps blend superbly with keyboard, drum, trombone, trumpet, vocals and saxophone accomadating each other with sublime indifference.

In conclusion this album, really accentuates the enthusiasm of this Band, who not only enjoy performing but seem very comfortable in each other’s company. It’s a trip back in time to an age just emerging from a second World War, its positive; it’s renewing, energetic to the nth degree and ultimately, a delightful recording which defies one not to smile.

On a personal note and having listened to this carefully I can’t help feeling that a cover of Chuck Berry’s “C’est La Vie”, would not be out of place on this cornucopia of swing.