Georgie Fame’s early career as a ‘Pop’ artist is very well documented and he has held together the Blue Flames, in one form or another, for many years. The genesis of the band goes back to the time when Fame played piano for Billy Fury in his backing band, called none other than the Blue Flames. When the backing band got the sack towards the end of 1961, the band were re-billed as “Georgie Fame and the Blue Flames” subsequently enjoying great success with a diet of rhythm and blues material. Later, Fame enjoyed considerable solo success and success with his close friend Alan Price, but he never abandoned the Blue Flames project.
Fame’s musicality is never in doubt. His attractively light vocal style, clearly modelled on Mose Allison was also influenced by Jon Hendricks. He is a more than competent keyboard player and we get to hear many examples of this throughout the album, especially, Hammond organ.
The one thing that has always seemed to remain constant with Fame is his ability to surround himself with the best musicians, many of them from a jazz background. In particular ’Sound Venture’ from 1966 with the Harry South Big Band whose ranks included saxophonists Tubby Hayes, Ronnie Scott, Dick Morrissey and Ray Warleigh, Kenny Wheeler, Jimmy Deuchar and Ian Hamer in the trumpet section and a rhythm section of Stan Tracey on piano, Phil Bates, bass and Bill Eyden and Phil Seamen at the drums. I think this album could have marked a turning point for a musician hitherto more concerned with rhythm and blues and clearly shows his jazz credentials. He subsequently appeared live with Count Basie at the Royal Albert Hall on 20th April 1968.
Fame is often cited to be a rhythm and blues and jazz artist, but his music also contains influences from ska and soul.
Can this really be Fame’s final performance of his career, as the album title intimates? If so, it’s a great way to bow out. The vocals are as strong as ever, as are the keyboard skills. The band is billed as “The Last Blue Flames” seemingly adding to the finality of it all. This edition of the “Flames” is as strong as any with stalwarts of the British jazz scene Guy Barker (trumpet), Alan Skidmore (tenor saxophone), Anthony Kerr (vibraphone) and Alec Dankworth (bass) aided and abetted by Fame’s sons, Tristan (guitar) and James (drums) and not forgetting percussionist Ralph Salmins. Add to this the presence of vocalist Madeline Bell on two tracks and we have all of the ingredients for success.
The songs seem to provide something of a commentary on Fame’s career. The music being an act of bidding farewell to his fans and bringing the curtain down on a productive recording career.
A parting is often accompanied by sorrow. There is no feeling of sorrow here, however. When Fame, during “The Diary Blues” sings “In the twilight of a long career/When dementia’s all I have to fear”, he has his tongue firmly in his cheek. “De Caribbean Way” follows in a style typical of the music of the sunny West Indies. I imagine that “Gray’s March” is a tribute to the late keyboard-player and composer and arranger Steve Gray who was a friend of Fame’s.
The comparison between Fame and Mose Allison is an oft made one and no summary of Fame’s career would be complete without a tribute to him and here we have “Mose Knows” which is tellingly subtitled “The Catalyst”. The album covers a well-trodden path including elements of swing, shuffle and a tasteful ballad “Lost in a Lover’s Dream”.
My only quibble is that I would have liked to have heard more from the wonderful backing band. There is only one instrumental “Spin Recovery”.
Can this really be the last that we will hear from Georgie Fame? Possibly so, but he has certainly left us on a musical high. There will, of course, be the regular re-issues of earlier material to enjoy and, in fact, the aforementioned ‘Sound Venture’ is due for re-issue in November.