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Amanda Whiting
In 2020 Amanda was signed to the iconic Jazzman Records Label which released a 10″ vinyl called Little Sunflower.*
In April 2021 Jazzman released her self-penned album After Dark with her jazz trio Aidan Thorne (bass) and Jon Reynolds (drums) featuring Chip Wickham on flute and with a remix by Rebecca Vasmant (with vocals by Nadya Albertsson.) The album has been played on BBC Radio 6, Jazz FM, BBC Radio 2 and across the world.
From the success of the sold-out album, Amanda appeared as a guest on Jamie Cullum’s Jazz show with a Take 5 interview, (see instagram below) as well as being nominated in October 2021 for Jazz Fm’s “Instrumentalist of the Year”.
In November 2021, Amanda performed in Mannheim, Germany with Greg Foat, followed by a sold out tour with Chip Wickham (who’s album Blue to Red she features on). With a sold out Saturday night at Ronnie Scott’s, the year ended with WeJazz festival in Helsinki, performing After Dark. What a year!
Her new album Lost in Abstraction will be out on Jazzman Records in May 2022.
Amanda has always had a love for pop and jazz and after supporting Jamie Cullum in a local charity event (and consequently recording with Dannii Minogue), her new path was set. In 2013 she returned to RWCMD to study a Masters in Jazz studying under eminent teachers Paula Gardiner, Huw Warren, Iain Bellamy, Dave Cliff and Dudley Phillips (amongst many others).
One of the highlights of her career has been performing at International Jazz festivals across the world with Jazz trumpeter Matthew Halsall and the Gondwana Orchestra. Festivals and venues have included Hamburg, Johannesburg Union Chapel London, Jazz Cafe ( Camden), Pori Jazz66 (Finland), Ghent Jazz festival, London Jazz Festival, Gateshead and AB Belgique, Brussels.
In 2020/21, Amanda worked with many artists and DJs including DJ Yoda, Rebecca Vasmant, Mr Scruff, True Jazzchild, Jazzanova, Greg Foat and flautist Chip Wickham (realising her dream concert in Ronnie Scott’s.)
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Chip Wickham: Cloud 10
by Peter Jones
Is it OK for music to be background? In other words, does all music have to be listened to with the same degree of concentration and freedom from distraction? It may be a moot question in these greatly distracted times. Here's another, related question: is the music you want on in the background necessarily inferior to the stuff you need to pay attention to? This new album from flutist/tenor saxophonist Chip Wickham is in the genre of spiritual ...
read moreAmanda Whiting: Lost In Abstraction
by Peter Jones
The revival in the fortunes of the harp has been one of the more unexpected developments in jazz: Brandee Younger's 2021 album Somewhere Different made an impact on both sides of the Atlantic. In the UK, the instrument has been finding favor in the hands of both Tara Minton and Alina Bzhezhinska. Now Wales' very own Amanda Whiting is coming up fast on the rails with this, her third album. Listening to Lost in Abstraction is a rich ...
read moreAmanda Whiting: Lost In Abstraction
by Gareth Thompson
Ahh, the angelic harp, a symbol of celestial beings, Biblical healing, Irish identity and a rubbish lager. In jazz terms we think of the instrument in relation to Casper Reardon, Dorothy Ashby, Alice Coltrane and more recently Deborah Henson-Conant. A noble list of names if not exactly boundless. The harp is, after all, much less portable than a sax or trumpet, not to mention a good deal quieter. Then consider that odd grasping motion of playing, that strange conjuration of ...
read moreChip Wickham: Blue To Red
by Bruce Lindsay
It's not always easy to feel uplifted and optimistic these days, when reasons to be downhearted seem to overwhelm the reasons to be cheerful. When an album's title refers to a planet's descent from life-giving blue to the deadness of red (Mars, in this context, but British flautist Chris Wickham fears that Earth may be heading in the same direction) it hardly appears likely that it's one for the cheerful" pile: and yet Blue To Red, from Wickham, is one ...
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by Chris May
The marketing thrust accompanying Chip Wickham's third album emphasises an affinity between the disc and the late 1960s / early 1970s work of Yusef Lateef and Alice Coltrane. Certainly, Blue To Red ticks two boxes: Wickham puts aside his saxophone to play only flute and alto flute, whose seraphic tones were favoured by Lateef and Coltrane; and there are plenty of Coltrane-like harp glisses, played by Amanda Whiting, like Wickham a graduate of Manchester-based spiritual-jazz trumpeter Matthew Halsall's Gondwana Orchestra. ...
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