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Nunney Jazz Café Sunday 3rd July, Nunney Village Hall Then bring on Nunney Jazz Café musicians armed with a sheaf of French-themed jazz tunes. Add a delicious selection of organic vegetarian food made by the Garden Café in Frome – et voila! Of course, it’s not really that simple. There has to be the je ne sais quoi that offers more than mere mimicry. Pianist Keith Harrison-Broninski delivered a mélange of styles with verve and panache, while Pete Judge’s trumpet was a subtle joy, whether supporting or solo. The pair received strong support from the suave and velvet tones of Dave Griffith on double bass and the mesmorising beats of Kevin O’Rourke on drums. The gig also featured poets Alison Broninski and Sam Smith reading their own works, sensitively backed by the band. There were also three songs from Emma Harris, a rising star on the jazz scene. This was Nunney Jazz Café’s first evening venture after a string of successful afternoon sessions. I’m hooked on both and hope they continue to offer both options. LucyAnn Palmer Bach Cello Suites Sunday 3rd July, St Mary’s Church,
Orchardleigh Ruth’s informal introductory comments gave an honest and personal insight both into Bach’s life and the possible influences on the music, as well as some explanation of the form, and technical challenges for the cello of the works to follow. The sound of the cello seemed to have a particularly rich resonance in this tiny venue, and Ruth’s playing seemed so full of colour and emotional depth. To me the works seemed an incredible technical challenge to which she rose with grace and humour. During the interval, the audience wandered among the graves sipping wine, or enjoying the rustic pleasures of the toilet tent as coots scuttled across the lake. With the sixth and final suite, open doors brought in summer sounds and birdsong, which seemed to echo the call and answer I could hear in the final works. I’m not a Bach afficianado, but the Suites have a special place in my heart, which the concert at Orchardleigh has only increased. A phrase on one of the Duckworth graves standing by the lake summed it up as we drove away; “what a peace steals over me, born of happy memory. Joanna Plimmer Steeleye Span Monday 4th July, Cheese & Grain 
Maddy Prior. Photo: David Betteridge Having never been a particular fan and being too young to have known them in their heyday, Steeleye Span were an enigma. But since the band has been described as a legend of the folk scene, I expected to see something a little special when I rolled up at the Cheese & Grain. Amazingly, I wasn’t disappointed. I even came away understanding a little more about what it takes to become a legend in the music biz, particularly those legends that have endured this farcical era of Pop Idol and throwaway celebrity. The crowd was large, loud and mixed; young and old, singles and couples, families and friends. They swayed, sang and cheered every song. They laughed at the jokes and applauded every solo. Whether those who had seen them in the Seventies believed they were back in that golden age of prog rock, or whether they were just happy to cheer on their band into the 21st-century was unclear. For many, the dawning realization as they entered the venue that this would a standing gig must have really seemed like a step back in time. And what a time it was. In an interview following the gig, the band said they had been unsure about doing a standing gig at this stage in their career; if they weren’t getting any younger, then their audience probably wasn’t either! In recent years, they have become used to playing to seated audiences. But they admitted that it had been a fantastic gig. They said it had brought them closer to the buzz of the live performances of their heyday. It was the first time the band and singer Maddy Pryor had played together for some time and how they reveled in the experience. Following a slightly subdued first half, they bounced back on to the stage for an energetic, magical, part two. From fairytale folk tunes to funkier rock ballads, Steeleye Span wove a web that ensnared everyone. The band said they knew each other so well that it was always a fantastic experience when they had the chance to perform together again. And when the band members are enjoying themselves, you’re in for a good time too. They said they had enjoyed the gig so much that they were already thinking about a return. Although I probably still wouldn’t buy a Steeleye Span album, I’m sure that if they play the Frome Festival again, you may well find me at the back, with a pint of ale in my hand and a smile on my face, swaying along with the crowd. Nicki Marshall |
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Cara Dillon Tuesday 5th July, Assembly Rooms 
Cara Dillon. Photo: David Betteridge Following Cara Dillon’s sell-out gig at Frome Festival 2004, there was great expectation that her appearance at the Assembly Rooms would be a festival highlight. She certainly did not disappoint and many in the audience declared it the best gig of the festival. Playing with her full band for the first time in her adopted hometown, Cara seemed relaxed and at ease. The presence of the band created an energy and depth to a varied repertoire, with Cara and the five musicians playing an exceptional variety of instruments. As Cara herself agrees, playing with the band allows her to perform any choice of song, moving easily from gentle ballads with single guitar accompaniment to danceable tunes with Celtic pipes, whistle and double bass. The band were accompanied by a choir of voices from the audience on her most famous song “Roses”, which was used as the soundtrack to Billy Connolly’s World Tour of Ireland, Scotland and Wales. Sam Lakeman, Cara’s husband and partner, had taught himself how to play the guitar since their last appearance in Frome, which had inspired some of the new material on their forthcoming album. Joking with the crowd from the beginning of their set, Cara explained that the album’s release had been held up and promised she would let everyone know when the date had been confirmed. She also had a word for the friends she has made since moving to Frome a year ago. As this was a ‘home gig’, Cara said that she had thought about how to make a special connection with those in the audience, as she wanted them to feel that this was a unique occasion, rather than just another tour date. The audience definitely appreciated the gesture and there was a fantastically warm atmosphere, awed hush throughout the songs and extended applause and cheers for the singer whom Frome has taken to its heart. Supporting Cara Dillon was English singer-songwriter Chris Smyth. The audience warmed to his intriguing songs and self-effacing persona. In short, a perfect warm-up act. Nicki Marshall Inspired by Hoffnung - The Boy and the Magic Wednesday 6th July, St John’s Church  Photo: Greg Duncan The programme invited us to ‘witness a true spectacular’ and we did indeed see such a performance at St John’s Church. Gerard Hoffnung’s son, Benedict, had been on hand to assist with the transformation of his father’s cartoons. The illustrations were based on Gabrielle Colette’s libretto for Maurice Ravel’s opera, L’enfant et les Sortilèges (The Boy and the Magic), which was composed towards the end of The Great War. The Boy and the Magic is about the antics of an enfant terrible who made life miserable for everything and everyone, from the furnishings in his room to the trees, plants and creatures in the garden. Finally a change of heart prompted him to heal a squirrel’s damaged paw and he became good! In the weeks leading up to the concert schoolchildren from Christchurch School in Frome created enchanting panels with cartoonist Kathryn Lamb. During the concert, they were hung from the pillars of the church creating a colourful setting for the incredibly unconventional orchestra, which included a youthful choir from St John’s First School. They had been immaculately trained, were alertly on cue and brought the fairy tale to life in no uncertain way! The orchestra was composed of wonderfully contrived instruments, devised from household artefacts such as drainpipes, tools and saucepans. Conductor Jason Thornton’s faultless direction and offbeat instrument maker Nick Crump’s effervescent enthusiasm brought weird and wonderful sounds from the homemade instruments. One of the concert highlights was a sensational duet by two cats played on cello and theromine. Briskly- ticking clock sounds created a rousing rendition of time passing, while the ingenious use of bubble wrap imitated a crackling fire. The show owed much to narrator Jeremy Burnham, who gave a delightfully varied account of the little villain’s capers using an impressive vocal range. The audience left the concert thoroughly warmed by yet another fabulous Frome Festival educational project. Ninette Gregory |
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