Late at night while walking recently through Covent Garden, London, I was stopped in my tracks by the sweetest voice I had heard in a long while. Signaling my friend, we set off to find the source.
All we could see was a crowd of dancing people but we managed to squeeze in and found the source of the singing was a diminutive figure of a girl with blonde hair, a backing track playing on a CD player and a microphone. She was grinning, hugely enjoying herself and treating the crowd to some of the most beautiful singing imaginable. I forget even the names of the songs she sang, as I was simply captivated by her energy and voice. During a brief hiatus between tracks I spoke to her. She is Sarah-Jane Lavelle, a Londoner, 19 years old and regular busker at Covent Garden. She has had parts in shows like Bugsy Malone and travels the country singing at small events and festivals, performing mainly cover versions or songs from the '50s to the '90s. She is recording her first album, but her favorite place to perform is in the square at Covent Garden.
The attraction of street music is its spontaneity. It is all about that interaction you can only get up close and personal. If you record music, you can overdub, rerecord and try again, but liveor on the streetthere is no chance of a rewind; what the listener gets, they get, warts and all.
London is a Mecca for street performers, some licensed, some not. All kinds of tricks, feats and performances are taking place on the street, some to the delight of the crowd, some to their annoyance but occasionally you come across a real talent, such as Sarah-Jane, who is playing the streets, honing her craft, getting crowd reactions in the rawest sense and who may or may not be whisked away to perform in larger gigs but, for the moment, is happy doing what she loves best on the most vibrant stage of all the street.
From violinists, flute players and saxophonists to drummers, dancers and strange dummies moving to ethereal sounds, London provides almost every kind of music genre for free ( apart from a "voluntary" donation of a couple of pounds in the hat when it inevitably comes round). There is even operaCovent Garden has a sunken restaurant where you can look down from a balcony and hear opera sung by students from music schools, sometimes soloists, sometimes duets or larger groupscomplete with small orchestra. Where else can you get such good quality entertainment for next to nothing? The powers that be understand the importance of street music and if you travel on the London Underground there are areas set aside for buskers where you can be entertained by really good players (usually).
London is not the only place where buskers provide the public with some excellent sounds. I am lucky to live in an area gifted with a lot of musical talent, largely due to the proximity of Snape Maltings and the Pears Britten School of Music, but not all our local buskers come from there. My local high street, only about 600m long, can sometimes have 3 or 4 buskers, strategically placed so they do not interfere with each others' sounds. Last week we had a saxophonist playing jazz and covers of rock songs , a wonderful guitarist of around 16 years who beat his guitar like a drum and played some extraordinary Flamenco; next was a French horn player playing "Annie's Song," with exquisite tone and feeling and, finally, a vocalist who could have done with a good backing tape. If you are careful you can position yourself so that within a few paces, you get brilliant jazz sax one side and Flamenco rhythms from the guitar the other. It doesn't get much better than that when you're shopping.
We have on occasion a small band of saxophonists and clarinetists who play a selection of jazz standards with an Eastern flavorthey even wear fez hats."The Pink Panther" played à la Arab is amazing. Cambridge provides an interesting collection of street entertainers, steeped as it is in musical history and with many venues offering jazz, classical and opera, the street is also a lively arena. There is one manSock Manwho has glove puppets (made from socks) on his hands and the puppets "sing" jazz standards and other songs to the crowd. He is awful and tuneless but became something of a cult figure a few years ago. Cambridge also has groups offering '60s covers, jazz ensembles, brass bands and students who busk, providing classical interludes among the cafes, shops and college spires.
Street music is important and a great place for musicians to cut their teeth. "If you can handle a hostile crowd," one told me, "you can handle anything. I get regular gigs but I still love playing on the street because you are so close to the reactions of your listeners. It is immediate, it can be intense and sometimes you get a drunken idiot trying to upstage you but generally, people are really appreciative and you know if you get a number right."
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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