THE JIVE ACES - GOOD ROCKIN' TONIGHT

I have followed the career of The Jive Aces for many years, been fortunate to see them in concert and had the opportunity to spend time with them backstage. They have always taken time to chat and made me feel welcome whenever we have met.

For more than three decades they have been the UK’s Number One Jive and Swing band with a worldwide following, touring all across the United Kingdom, throughout Europe and America.

The line-up consists of Ian Clarkson (lead vocals & ukulele), Alex Douglas (trombone, washboard & blues harp), John Fordham (tenor saxophone), Vince Hurley (piano), Ken Smith (double bass), Peter Howell (drums) and Grazia Bevilacqua (accordion).

I have been a guest at their Big Jive All Dayers held in Worthing, my hometown, where I have photograhed the event and my photos have appeared, along with my reviews, in various magazines including Vintage Rock and Vintage World.

I covered the 2024 event on this blog a few years ago and it can be read here Big Jive All Dayer. I also reviewed their last album, Keeping The Show On The Road. In this article I will be reviewing their latest album, Good Rockin' Tonight - The Roots Of The King.

Due for release on 31 July the album finds them celebrating the music that influenced and inspired Elvis Presley. It is not a 'covers' album but one filled with new and original interpretations of music from the 1940s and 1950s.

This article and review will look back at the history of each song along with a look at the Jive Aces performance of each track.

The album was recorded and mixed at Mad Hatter Studios in Los Angeles and mastered by Bernie Grundman, the highly regarded audio engineer whose work has included albums by Joni Mitchell, Steely Dan, Prince and many more.

The artwork was designed by the band with a cover photograph taken by Noelle Vaughn. As with their previous albums I love the retro feel to their album artwork and it captures perfectly the content of the album.

Noelle Vaughn, who also took the other photos featured in this article. is a vocalist who combines rock 'n' roll, rhythm & blues and the sultry torch style in a mix she describes on her website as 'Vintage with Voltage.' I was fortunate to meet and spend some time with her, including capturing some photos, during a recent Big Jive All Dayer event.

In the liner notes The Jive Aces recall how they were drawn to each other through a love of American roots music. As teenagers they had discovered blues, bluegrass, rockabilly and many other styles. It was through the door that had been smashed open by Elvis Presley in the 1950s that they all made this discovery.

The album opens with Mystery Train, a song written and recorded by Junior Parker and released, under the name Little Junior's Blue Flames, on the Sun Records Label in November 1953. One mystery is the fact that the title is not mentioned at all in the lyrics. The song was the b-side of Elvis Presley's fifth Sun Records single, released in August 1955, with I Forgot To Remember To Forget as the a-side. When re-issued by HMV in the United KIngdom Mystery Train became the a-side and a subsequent hit. With a great vocal from Ian Clarkson, harmonica playing from Alex Douglas and a saxophone solo from John Fordham this moves along like a steam train coming down the line and is the perfect opener to the album.

From 1972 until his final concert in June 1977 Elvis opened his live shows with See See Rider. Credited to Gertrude 'Ma' Rainey and Lena Arant it was Rainey who was the first to record the song in 1924. A popular 12-bar blues it is often known as C. C. Rider and See See Rider Blues. Once again John Fordham provides some great saxophone work along with another fine vocal from Clarkson with support from the rest of the band. It features an excellent bluesy ending.

Blue Moon Of Kentucky was a slow waltz written by bluegrass pioneer Bill Monroe, recorded with his band The Bluegrass Boys and issued as a single in 1947. In 2002 his version was one of 50 recordings chosen by The Library of Congress to be added to the National Recording Registry. When looking for a song to release as a b-side to their version of Arthur 'Big Boy' Crudup's That's All Right, Elvis, Scotty (Moore) and Bill (Black) turned to this classic giving it a rockabilly treatment. Opening with some ukulele this song gives all the members of the band the opportunity to shine musically with some great slap bass, washboard, drums, piano and brass. The song is taken at the same pace as Elvis' version and is one of the highlights on the album.

The Lloyd Price classic Lawdy Miss Clawdy had been a hit in 1952 and became one of the biggest selling R&B records of the year. Recorded in New Orleans it is notable for the inclusion of Fats Domino on piano who stood in for the original pianist, Salvador Doucette. Producer Dave Bartholomew was unhappy with Doucette's playing and on Domino's arrival at the studio persuaded him to sit in on the recording. A regular inclusion in Elvis' 1970s live operformances he originally recorded it back in February 1956 at the RCA Studios in New York and it appeared on his debut album Elvis Presley. A fine bluesy interpretation of this classic features another strong vocal from Clarkson with Vince Hurley providing some Jerry Lee Lewis style piano playing, John Fordham displays why he is one of the countries best saxophone players.

Hound Dog was written by songwriting partnership Jerry Leiber and Mike Stoller and will always be remembered for Elvis' 1956 recording and hit record. However, it was first recorded by Big Mama Thornton in 1952 and became her only hit record, selling more than 500,000 copies. Recorded by many artists it was vocal group Freddie Bell and The Bell Boys version that Elvis most likely based his version on. They had mnodified the lyrics and after seeing them in concert in Las Vegas he decided to record his own version. In concert he would often slow down the tempo and perform a bluesy, burlesque version which, at the time, following a TV performance caused uproar from adults, but not from his millions of fans. Starting off in a similar vein to Elvis' version it then turns into a slow, bluesy style reminiscent of Freddie Bell's version, and Elvis' TV performance, before ending with a fast tempo. Once again support from everybody is first class.

Doo-wop group The Platters recorded and had a hit with Only You in 1955. Written by the groups manager and producer Buck Ram it became a number one hit on the R&B Charts, spending seven weeks on the top spot. In 1999 their recording was inducted into the Grammy Hall of Fame. Although Elvis never recorded the song I am sure it was one he enjoyed and influenced much of his style. Ian Clarkson turns in a stunning reading of the song supported by great work from the whole band, especially the saxophone solo by John Fordham. I never thought this song could be performed better than The Platters original but this comes very close. Another standout track and one of my favourites on the album. 

Corine, Corrina is only the second song on the album that wasn't recorded by Elvis, although there is no doubt he would have known the song. Another 12-bar blues first recorded back in 1928 by Bo Carter although it wasn't copyrighted until 1932 when composer credits were Carter (under his real name Armenter Chatmon) along with his publishers Miotchell Parish and J. Mayo Williams. Recorded in many styles including blues, country, jazz and western swing it has been recorded by many different artists. A jazzy/swing feel to this track makes it an enjoyable listen. A song that wouldn't have been out of place on many of the bands earlier albums.

That's All Right was the song that turned a nineteen year old truck driver from Memphis into an overnight sensation. Originally recorded by Arthur 'Big Boy' Crudup in 1946 it was less successful than some of his previous recordings. Elvis' version  would become his first single, although the song wasn't planned for the session. During a break they fooled around with the song giving it an up-tempo rhythm. Producer Sam Phillips was impressed and asked them to do the song again while he hit the record button. He had been looking for a white artist who sounded black and on that July 1954 day he found it. Another great vocal but what I really like is the accompaniment... ukulele, washboard, harmonica, saxophone which drives the song along at a fast pace. Another highlight on an album full of highlights! 

It's Now Or Never was a number one for Elvis in 1960 selling more than 20 million copies worldwide. It was based on the Italian song O Sole Mio and There's No Tomorrow recorded by Tony Martin in 1949. He loved Mario Lanza's version and asked for English lyrics to be written. Songwriters Aaron Schroeder and Wally Gold wrote the English lyrics in around 30 minutes. Grazia Bevilacqua opens the song with her excellent accordion skills before Ian joins in with the Italian lyrics of O Sole Mio before turning in a passionate vocal on the track. I enjoyed the way that half way through it changes tempo to swing. I like the way the two songs are combined and even though it is not my favourite song on the album it is still an enjoyable listen, especially Grazia's accordion work which I could listen to all day.

Written by Robert Blackwell and John Marascalo and recorded by Little Richard in 1956 Rip It Up became a number one hit on the Billboard Rhythm & Blues Chart and was a top twenty hit on the Hot 100. It was one of three songs recorded by Little Richard that Elvis covered in 1956. The other two songs were Long Tall Sally and Ready Teddy. Elvis stuck to the original on his recording which was the opening track on his second RCA album Elvis, released in 1956. They really rip it up on this version that features another strong vocal, hand clapping and more of Vince's impressive keyboard skills.

Gospel music was a major influence on Elvis and throughout his career he recorded many gospel songs and released three religious albums, His Hand In Mine, How Great Thou Art and He Touched Me. Although he never recorded a studio version of Up Above My Head he did include it as part of a gospel medley in his 1968 Comeback Special, along with Where Could I Go But To The Lord and Saved. It is not known who wrote the song which was originally recorded and released by the Southern Sons in 1941. However, it is the 1947 recording by Sister Rosetta Tharpe and Marie Knight that is best known and likely the version heard by Elvis. Listening to their version of this gospel standard makes me wish they would turn their hand to an album of hand-clapping gospel material. With vocal support from all the band and more Vince Hurley piano you can imagine a Sunday 'going to church meeting' with the crowd on their feet singing and clapping along. 

Closing the album is Good Rockin' Tonight, the song that gives the album its title. A jump blues song written by Roy Brown and released by him as a single in 1947 it has been covered by many artists including Jerry Lee Lewis, The Doors and, of course, Elvis. Also recorded by Wynonie Harris in 1948, who at first turned the song down, it became Elvis' second single released on the Sun Records label in September 1954 backed with I Don't Care If The Sun Don't Shine. Elvis followed Harris' version but added extra drive to the song. The fourth song on the album from Elvis' time at Sun Records brings the album to a fitting close. Once again it features a trong vocal and instrumental support on this classic track.

Ian Clarkson spoke about the album, "We have always been huge fans of Elvis and his music. He was a pioneer who brought rock 'n' roll to the masses and influenced generations of musicians." He went on to say, "We wanted to pay tribute to him and his music roots by playing some of his songs and the songs that he loved. We hope that our audience will enjoy this album as much as we did recording it!"

I certainly did enjoy this new album which gives the listener the opportunity to drift back to the 1950s and the music that inspired Elvis Presley. I have no hesitation in recommending this excellent new release... there certainly is Good Rockin' Tonight!

Don't miss out, order your copy today. It can be purchased, along with their other releases and merchandise, from their on-line store - https://jiveaces.org/store

Thanks to Grazia Bevilacqua for providing a review copy of the CD for my collection.

KEEPING THE SHOW ON THE ROAD

I have followed The Jive Aces for many years and seen them in concert at the annual Big Jive All Dayer in my hometown of Worthing and at their major yearly event Summertime Swing. I also own all of their albums and really enjoy their mix of swing, jazz, rock 'n' roll and jive music.

The line-up consists of Ian Clarkson (vocals, trumpet & ukulele), Alex Douglas (trombone, washboard & blues harp), 'Big' John Fordham (tenor saxophone, clarinet & fiddle), Vince 'Professor' Hurley (piano), Ken Smith (double bass), Peter 'Bilky' Howell (drums) and Grazia Bevilacqua (accordion).

For over three decades they have been the Number One UK Jive and Swing band with a worldwide following, touring all across the United Kingdom, throughout Europe and America.

I have spent many hours backstage chatting to them and the other acts that have appeared on their shows and photographed their 'All Dayers' in Worthing, some of which have been published, alongside my show reviews, in various magazines including Vintage Rock and Vintage World. 

Photograph (c): The Jive Aces

They have recently released their latest CD, Keeping The Show On The Road, recorded at Mad Hatter Studios in Los Angeles, and in this latest article I take an in-depth look, song-by-song, at the album including the history of the songs.

The album opens in style with Rockin' Is Our Bizness, a song written by twins Cliff and Claude Trenier who, under the name The Treniers, had a hit with the song back in 1953. Like the original, the Jive Aces follow a similar sound with a solid, thumping beat and great saxophone solos. During the song each member of the band is given a mention.

Clementine dates back to 1884 and is a traditional American folk ballad often known as Oh, My Darling Clementine. Original lyrics were written by Percy Montrose and based on an earlier song, Down By The River Liv'd A Maiden. First recorded in English by Bing Crosby in 1941 it has also been recorded by Bobby Darin with lyrics by Woody Harris. Ian Clarkson provides a great vocal which is accompanied by excellent playing from the other band members.

In 1931 Duke Ellington and Irving Mills composed what has become a jazz standard, It Don't Mean A Thing (If It Ain't Got That Swing). Ellington, speaking about the song, said, "It was famous as the expression of a sentiment which prevailed among jazz musicians at the time," It is also one of the earliest uses in popular music of the word 'swing.' Opening with some great drumming by Peter 'Bilky' Howell and featuring excellent horn playing by Alex Douglas and 'Big' John Fordham it is given a joyful rendition. Mid-song Vince 'Professor' Hurley shows why he is one of the greatest keyboard players around today. Once again a great vocal from Clarkson.

Henry Mancini's Pink Panther Theme will always be associated with the 1963 comedy film The Pink Panther starring Peter Sellers in the role of Inspector Jacques Clouseau. The film, the first in a series, also starred David Niven, Robert Wagner, Capucine and Claudia Cardinale. The instrumental was nominated for an Academy Award (Best Original Score) but lost out to Mary Poppins. The original featured a saxophone solo played by Plas Johnson and here it is 'Big' John Fordham who takes all the plaudits for some excellent playing supported well by the rest of the band. With it's smoky nightclub feel and great rhythm it is one of the many highlights on the album.

La Vie En Rose follows and is my favourite track on the album. Written in 1945 it has become the signature song of French singer Edith Piaf who released her version in 1947. During the 1950s the song became popular in America with no less than seven versions making the Billboard charts, including covers by Tony Martin, Bing Crosby and Dean Martin. Edith Piaf is credited with writing the lyrics with music added by Luis Guglielmi while the English lyrics were written by Mack David. The literal translation of the title is "Life in pink."

Grazia Bevilacqua opens the song with her fantastic accordion playing before the rest of the band join in for a beautiful cover of this classic song. Released recently as a single it gave them a number one on the Heritage Chart and the accompanying video has received over seven thousand views on You Tube. Close your eyes and you will be taken back to a French nightclub in the 1940s.

The American blues and jazz standard, St. James Infirmary was made famous by Louis Armstrong's 1928 recording which was credited to Don Redman as composer although later versions listed Joe Primrose, the pseudonym of music promoter and publisher Irving Mills. Within two years more than twenty versions had been released including a recording by country music singer Jimmie Rodgers with the title Those Gambler Blues. Ian Clarkson opens this classic song with some muted-trumpet before performing a bluesy vocal that sends shivers down your spine. Great support from the rest of the band as always.

Written in the 1950s by Clyde Otis and Murray Stein Baby, You've Got What It Takes, originally titled You've Got What It Takes, was first recorded by Dorothy Pay, Brook Benton's sister, in 1958. The following year Benton would also record the song as a duet with Dinah Washington, reaching #5 on the Billboard Hot 100 and #1 on the Hot R&B Chart. On this fun version The Jive Aces are joined by Bill Haley's daughter, Gina Haley who I was fortunate to see at one of the Big Jive All Dayer events at which she gave an incredible performance. Clarkson's and Haley's voices work well together and it would be great to hear more duets by them.

Bim Bam was written by pianist and songwriter Ray Stanley and released in 1958 as a single by Sam Butera and The Witnesses. Stanley played piano on early sessions for Eddie Cochran and also recorded a number of his own songs including Let's Get Acquainted and the bluesy Common Sense. Another strong performance from the band with some excellent guitar work although it is not listed who played it on this track.

A major hit for Dean Martin, That's Amore is a classic and has become Martin's signature song. The song, written by Jack Brooks and Harry Warren, first appeared in the Dean Martin & Jerry Lewis film and soundtrack The Caddy in which Martin is the main singer but Lewis joins in. Nominated for an Academy Award (Best Original Song of the Year) it lost out to Secret Love from Calamity Jane. For the second time on the album it is Grazia Bevilacqua and her accordion who make this song a great performance. Following a slow and sexy start the song soon moves up a gear and everyone joins in for a wonderful up-tempo version that finds Ian Clarkson handling the lyrics perfectly. I just love the slowed down ending and interplay between the vocals and accordion.

Composed by New Jersey born Jack Fina, who started out playing piano in Clyde McCoy's band in the 1930s and later joined Freddy Martin's band where he became famous when he featured on Tonight We Love. In 1946 he turned to the classic Flight Of The Bumblebee, written by Rimsky-Korsakov for his opera The Tale Of Tsar Saltan, and composed a boogie-woogie version which he called Bumble Boogie. It became a hit and was featured in the 1946 musical It's Great To Be Young. This instrumental is a showcase for Vince 'Professor' Hurley whose pounding piano is really impressive. 

With original lyrics written in 1843 by Ukranian poet and writer Yevhen Hrebinka and featuring a melody based on Valse Hommage written by Florian Hermann, Dark Eyes would go through several lyrics changes over the following years. It has been covered, in various styles, by Maxine Sullivan, Danny Kaye, Spike Jones and Louis Armstrong among others. The song is often described as having an old gypsy melody and that is exactly what is created in the version featured on the album. Another strong instrumental that fits well with the other tracks on the album.

Night Train is a twelve-bar blues instrumental standard written by Oscar Washington and Jimmy Forrest and is another song that has gone through a number of lyrical changes with the earliest credited to Lewis P. Simpkins, co-owner of United Records, back in 1952. Clarkson's bluesy vocal is accompanied by excellent support, especially from the horn section. 

The only original on the album is the title track, Keeping The Show On The Road which fits perfectly among the other tracks. Written by Jive Aces frontman Ian Clarkson the song sums up the bands characteristics and credibility.

Big Noise From Winnetka was originally an instrumental written by Bob Haggart and Ray Baudec, bass player and drummer in the Bob Crosby Orchestra. Lyrics were added by Crosby and Gil Rodin and following it's early success it appeared in films including 1941's Let's Make Music and 1943's Reveille With Beverley. Over the years it has been recorded by Gene Krupa, Kenny Ball, Jack Teagarden and Eddy Mitchell, in French, Quand Une Fille Me Plait. Closing the album is a strong performance that once again shows the skills of everybody involved, especially Ken Smith who plays some great bass and Peter 'Bilky' Howell's drumming.

In the brief liner notes that accompany the album they write, "We have captured the sound and energy of these most requested songs from our live show on record for the first time. We hope you enjoy them as much as we do and that they inspire you to keep the show on the road."

The album certainly bought back many memories of the 2024 Big Jive All Dayer where I watched them perform several songs from the album including Keeping The Show On The Road,  St. James Infirmary, That's Amore and Le Vie En Rose. The latter two were memorable for the accordion playing by Grazia Bevilacqua and the chemistry between her and Ian which was a joy to watch.

I have loved the retro feel that is used on the covers of their previous albums and this latest release is no exception. Featuring an image of a tour bus on the road it sums up the contents of this latest release with its vintage design which was created by Michael Lombardi.

A great album full of wonderful music and one which, I am sure, will find a regular place in the CD player. Don't miss out, pick up a copy today. It can be purchased, along with their other releases and merchandise, from their on-line store - https://jiveaces.org/store

Thanks to Grazia Bevilacqua for providing a review copy of the CD for my collection.

THE BIG JIVE ALL DAYER - 2024

The first Big Jive All Dayer in Worthing, presented by the jive/swing band The Jive Aces, was held in February 2013 and has become an annual event in my home town. Having attended most of these, except for those that were cancelled during the Covid pandemic, I was pleased to be invited back to the latest event to cover it for my Instagram profile and here on my blog.

Past guests at the Big Jive All Dayer have included Si Cranstoun, The Swing Commanders, The Three Belles, Earl Jackson Band, Laura B & Her Band, Miss Annie & The Midnight Shift, Bamboozle, Mike Sanchez & The Portions, Dylan Kirk & The Killers, Gina Haley and King Pleasure & The Biscuit Boys.

This years guests were Lynette Morgan & Her Blackwater Valley Boys, The Velvet Candles and Phil Haley & His Comments. Joining The Jive Aces on stage were Noelle Vaughn, Laura B., Pat Reyford, DiMarco and a very special guest, more on which later.

As always a great selection of music was provided by the DJs which this year were, The Duke, Swinging Rockin' Daddy and Eight-Beat Mac.

Doors opened at 1pm and the venue was soon packed with couples, dressed in their best vintage outfits, already on the dance floor while others settled down at the tables spread alongside the dance floor.

Following a few classic tracks from the DJ it was time for the first act. Jive Aces frontman, Ian Clarkson, strolled on stage and welcomed the packed venue to a day and evening of great music and fun. Mentioning that it was seventy years since the release of Rock Around The Clock he invited onto the stage Phil Haley & His Comments.

This four-piece band, with guitar, bass, saxophone and drums are one of the top rock 'n' roll tribute bands in the UK and as well as covering some of the greatest records from the 1950s they also perform many of their own songs. They have built up a following that has seen them play in countries including France, Finland, Germany, Holland and as far afield as Australia.

Opening with Shake, Rattle And Roll they soon had the crowd dancing and singing along. Their set included many of Bill Haley's greatest hits... Don't Knock The Rock, R.O.C.K., Rock-A-Beatin' Boogie, Rockin' Through The Rye and See You Later Alligator. 

All four are excellent musicians and were each given the chance to show of their skills with guitar, saxophone, bass and drum solos.

They avoid being tagged as just another tribute band performing many of their own songs which fitted well in their set alongside the 1950s classics.

More hits followed with Flip, Flop And Fly, Dim, Dim The Lights and I'm Gonna Sit Right Down And Write Myself A Letter just a few of the standouts. They brought their part of the show to a close with the song that started it all, Rock Around The Clock.

More music from the DJs gave the audience a chance to take a refreshment break at the bar and do some shopping.

For those looking for a new outfit there were a number of stalls selling vintage dresses, shirts and shoes and if you needed to add any music to your collection there was a great selection of Jive Aces CDs/vinyl along with music from some of the featured bands. I even managed to add a few more CDs to my ever growing collection.

My taste in music covers most styles and I was looking forward to the western swing and country music of the next act on stage, Lynette Morgan & Her Blackwater Boys.

With Lynette on guitar and vocals she is supported by a four-piece band of guitar, bass, fiddle and pedal steel guitar creating the authentic western-swing style.

Opening with Roadside Diner, one of the many original songs they performed, the dance floor soon filled up again. They continued with a mix of originals, classic country and western swing including All Night Boogie, Patsy Cline's Let The Teardrops Fall, Walk Right In, Tennessee Saturday Night and one of their final songs was Teenage Boogie, originally written and recorded by Webb Pierce back in 1956.

With another break and more records spun by the DJs I took the opportunity to get some fresh air and a bite to eat in town. 

Back to the live music and fans of doo-wop and the vocal groups of the 1950s were in for a treat when the Velvet Candles hit the stage. This four piece group comprising three guys and one gal are from Barcelona and the three guys looked the part in their sharp white suits.

Formed in 2008 when they used to sing acapella on the streets of Barcelona they have gained a following which has seen them perform at clubs and festivals in Spain, Germany, Italy and the United Kingdom.

Their music bought back memories of some of the greatest doo-wop and vocal groups of the past including The Platters, The Penguins, The Crew-Cuts and The Clovers.

Opening with Ko Ko Mo (I Love You So) they took the audience back to the 1950s with Ding Dong Daddy, Sixteen Tons, Besame Mucho and The Way You Look Tonight. Of course no doo-wop act would be complete without Sh-Boom, originally recorded by The Chords, Frankie Lymon & The Teenagers hit  Why Do Fools Fall In Love and The Diamonds Little Darlin, and the Velvet Candles did not disappoint with their versions of the songs.

For an encore they treated the audience to the upbeat Jump Children, originally recorded by The Flamingos.

Following yet more great music it was time for The Jive Aces, dressed in their trademark yellow suits, to take the stage.

Opening with Good Rockin' Tonight, one of Elvis Presley's earliest releases on the Sun Records label, they followed with one of their own compositions, La Dolce Vita, Smile, written by Charlie Chaplin and recorded by Nat King Cole in 1954, Jackie Wilson's Reet Petite and their current single, La Vie en Rose, originally a hit for French songstress Edith Piaf. The song, which also featured Grazia Bevilacqua on vocals and accordion, has given The Jive Aces a number one on The Heritage Chart. 

Ian then introduced Noelle Vaughn, an English jazz singer with a rich, sultry voice and great stage presence, who joined them on stage for Got What It Takes and Razzle Dazzle before taking the solo spot for a fantastic rendition of I Need A Man.

More well-known songs followed... Hound Dog, with Ian giving his best Elvis impression, Singing In The Rain, Bring Me Sunshine and for me the highlight, a fun performance of the Dean Martin hit That's Amore, another song to feature the lovely, and talented, Grazia Bevilacqua on vocals and accordion. The chemistry between her and Ian is amazing and the look on his face, and the way both he and Alex looked at their watches, when she stole the moment playing an extended solo on the accordion was priceless and had to be seen to be appreciated.

It was at this stage in the proceedings that a special guest was announced and to great applause out walked 1950s singer Laurie London who is best known for his gospel and novelty songs.

Following a rockin' version of Eddie Cochran's Twenty Flight Rock he sang his only hit record, He's Got The Whole World In His Hands, the most successful record by a British artist in the 1950s in the United States, where it reached number one, sold over one-million and was awarded a gold disc by the RIAA (Record Industry Association of America) in 1958. The whole audience sang along and you could tell how much he was enjoying being on stage again.

The Jive Aces set closed with Tiger Man and an instrumental version of the Hank Williams classic Jambalaya, during which both John Fordham and Alex Douglas left the stage and moved onto the dancefloor to delight the crowd with their musicianship and antics.

More music, more dancing. more drinking and more shopping then it was time for the final act of the day... The Jive Aces Revue.

The Jive Aces invited many of the acts back on stage, including The Velvet Candles and Noelle Vaughn, along with Pat Reyford, DiMarco and Laura B, all making their first appearance of the day, for a final selection of songs which gave each artist the chance to shine individually and as part of the group. 

With little room to move the whole ensemble performed the song that closes many of The Jive Aces shows, Louis Prima's 1956 jazz swing classic, Jump, Jive And Wail. With each artist taking a lead and managing to jump at the appropriate times, especially piano player Vince Hurley whose antics always bring a smile to my face, it looked chaotic but was a fun and amazing way to bring the show to a close.

As the evening drew to a close, and people started to head home, the DJ continued spinning some great music, a few couples remained on the dance floor while the band members and stage-hands started dismantling the stage and packing their gear away.

I said my goodbyes to everyone and made my way home for a well-deserved rest as I had been on my feet for most of the day, only sitting down a couple of times in the bar and when I went into town to grab a bite to eat. The next few days were busy going through more than 600 photos I took, a few of which are featured here and I will be posting more on my Instagram page (@peterlewry) over the next week or two. I had a fantastic time and look forward to next year.

All that is left for me to say is a big thank you to everybody involved in yet another great event. I have to say a big thank you to Grazia for organising my ticket, to all the members of The Jive Aces and those from the other bands that I had the opportunity to talk to, and in a few cases have a photo taken together,  during the day.