"One of the ageless,
evergreen singing stars that we have
beautiful and talented as ever
-Michael Parkinson, BBC Radio 2
the word class
-Humphrey Lyttelton, BBC Radio 2
"Among the multitude
of good jazz singers in Britain today, there is
not one who can surpass Elaine Delmar..."
-Dave Gelly, Sunday Observer
"… her poised elegance achieved an equal balance of emotion and technical perfection."
- Frank Griffith, London Jazz Review
"…Delmar’s is obviously a remarkable talent, a deliciously mellow jazz sound that shimmers with clarity and resonance."
"Delmar’s vocals capture the heart and soul of the lyric"
- Paul Vale, The Stage
ELAINE DELMAR RECEIVES JAZZ AWARD!
Elaine seen here receiving the APPJAC SPECIAL AWARD FOR JAZZ from Michael Connarly MP
at the 2013 Parliamentary Jazz Awards at the House of Commons.
ELAINE DELMAR SINGS GERSHWIN AND PORTER AT THE RADLETT CENTRE NOVEMBER 29th, 2014
Elaine is appearing at The Radlett Centre, Hertfordshire, November 29th performing classic arrangements of George Gershwin and Cole Porter as well as taking a fresh new look at some of the 20ths Century's most iconic music including numbers such as S'Wonderful, Embraceable You, Begin The Beguine, Night And Day, Summertime and many more....
Don't miss it! Box Office 01923 859291
ELAINE DELMAR has long been established
as a singer of the very highest calibre - with the voice, looks and personality
that have captivated audiences wherever she has appeared the world over.
Born in Hertfordshire, UK, Elaine was raised in
a strong musical environment, her father being the renowned trumpeter
Leslie 'Jiver' Hutchinson, a leading influence in the jazz and dance band
movement in Britain from the 1930s onwards.
After initially studying classical piano, Elaine
found a natural progression in singing and became a vocalist in her father's
own band at sixteen. It was soon apparent that her vocal talent and natural
affinity with the stage would lead her to triumph in many areas of the
Elaine's experience is indeed wide and diverse.
On stage, she appeared in Cowardy Custard at London's Mermaid Theatre
and No Strings at Her Majesty's Theatre in the West End. Although
best known for her starring role in the musical Bubbling Brown Sugar
at The Royalty Theatre, London, she also had notable success with Kern
Goes To Hollywood, appearing in both the London and Broadway productions.
Elaine also received critical acclaim as a straight actress for her role
in A Map Of The World at the prestigious National Theatre.
She has made many appearances on TV and radio and featured in Ken Russell's
film Mahler as the Bohemian Princess.
As a singer, Elaine is equally at home whether entertaining a concert
audience or performing in the more intimate cabaret/small theatre setting.
For example, she has appeared in concerts with Andy Williams (Free Trade
Hall, Manchester) and Michel Legrand, with the London Symphony Orchestra
(Royal Albert Hall, London). In cabaret, her performances have included
appearances at The Ritz Hotel, London, as well as the QE2 and numerous
other cruise liners around the globe. In recent years Elaine has been
the star vocalist in such touring shows as Let's Do It, saluting
the music of Cole Porter and By George, It's Gershwin, a celebration
Elaine's popular annual appearances at the world famous Ronnie Scott's
Club in London have shown her to be remarkably adaptable in a jazz setting,
having worked at different times with such jazz giants as Herb Ellis,
Benny Carter and Stephane Grappelli. Her recent season and live album
at Ronnie Scott's evidence a singer who remains in the prime time of her
performing life. By popular demand, she will once again be headlining
at the club in 2005.
In reviewing her New Zealand tour of By George, It's Gershwin the
NZ Herald enthused:
somewhere in paradise a cloud is reserved for Kiri Te Kanawa to sing
Mozart arias throughout eternity, not too far away another one must
be set aside for Elaine Delmar to sing Gershwin. For if there is a better
female singer around to interpret the songs of the great George, she
must be in paradise already...the evening was pure gold."
But perhaps John Fordham, of
the London Guardian, summed things up best when he said:
"Her style is a mixture
of Broadway musical punch and jazz-inflected subtlety. She has the belting
defiance of a torch singer at times and the knowing raised eyebrow rasp
of a blues artist, but also a hushed, confiding intimacy where it is
appropriate, it is a blend that invites the widest possible audience."
Elaine performs for the Duchess of Kent!
- Evening Standard
ELAINE DELMAR at RONNIE SCOTT'S, LONDON
"This week, Ronnie Scott's 50th anniversary
celebrations have been focusing on veteran singers, with Salena
Jones, Madeline Bell and the octogenarian Jon Hendricks all taking
their turn on the bandstand. Wednesday night belonged to Elaine
Delmar, an artist who straddles jazz and cabaret and who tends to
be taken for granted partly because she makes the art of swinging
a tune seem effortless.
Wikipedia insists that she turned 70 this year,
but on the strength of this performance you can only assume that
the people's oracle got her date of birth wrong by a good 30 years.
While her voice may have lost a little of its sheen in the upper
register, those glowing, cello-like phrases (shades of Sarah Vaughan)
are as seductive as ever.
James Pearson's house trio - heard to stunning
effect on their new album, Swing The Club - provided the
propulsion as Delmar swooped and soared through a set that mixed
jazz standards with less conventional fare, including the elegant
Cy Coleman-Carolyn Leigh love letter You Fascinate Me So.
Delmar also revisited her West End past in Ain't Misbehavin',
a number that found its way into the stage show Bubbling Brown
On Bewitched, Bothered and Bewildered Delmar's
voice was at its most lustrous. No More Blues - Jon Hendricks's
translation of Chega de Saudade - worked well enough too. Delmar and the trio stepped up a gear or two on
It's All Right with Me, with Pearson, the drummer Chris Dagley
and bassist Arnie Somogyi close at her heels. Earlier, singer and
band had proved that even a ballad as overfamiliar as In a Sentimental
Mood could glow in the dark."
from The Times Online, (Reproduced by kind permission)