In Conversation With... John Davidson, Stand 3, Edinburgh Festival Fringe

 In conversation with? The host provided the odd lead in, but mostly this was John in full flow. And none the worse for that, as he’s a good speaker.

For those unaware, Davidson has tourette syndrome. He already had some fame in Scotland through a series of documentaries, dating back to his teenage years, about living with the condition. But achieved international recognition last year when a biographical film (and book) about his life was launched I Swear became a major hit, the lead man got best actor at the BAFTAs, and John (unfortunately) ticking during the ceremony ended up bringing even greater public attention to the difficulties he and others face in society.

So the conversation (cum monologue!) began with the film, his involvement (near constant), the aftermath and what it has meant to him (he gets recognised everywhere). And how the impact has been far greater than he or the film makers had ever anticipated. He talked about his activism, improving life for people (especially children) with tourettes on both a societal and individual level. Meeting Queenie to receive his honour. Meeting a childhood hero, Warwick Davies. Places he’s been, resistance met. There was a short audience Q&A session at the end, mostly reflecting how much he is admired and the breadth of his impact, even beyond he tourettes world. Also allowing him to explain why he didn’t tic at all during his talking, or not until someone mentioned it. Focus on a task prevents it happening.

The hour flew by. Entertaining, enlightening, inspiring.

Big Bite-Size Breakfast Menu One, Pleasance One, Edinburgh Festival Fringe

 VOWEL MOVEMENTS

A couple moving in together and very much in love.  She's from Surrey, he's from Leeds, and there's some north/south banter between them.  Then his sister turns up unexpectedly and brings the unexpected with her.  An amusing look at the power of accents and concepts of social class..

COUCH TO NO WAY

A jogger turns up, still looking fresh.  Shortly followed by her friend, who doesn't.  There's some tension between them and it's not just because of their differing speeds.  When a man joins them, looking like he's totally exhausetd, things get even tenser.  A complex love triangle where someone is going to get hurt.  Jealousy, challenges and laughs.

LOVE (TERMS AND CONDITIONS APPLY)

A dystopian view of the future dating scene.  Two potential mates have ten minutes to make up their minds, guided by the algorithm.  He wants to analyse, she wants feeling, can they find any common ground in such a short time?  Played for laughs, but there's a chilling edge to this one.

IN TWO MINDS

A cosy night in on the couch, films, maybe a takeaway, but a text message threatens to derail the evening, and maybe more.  What makes this one so funny is that we see 4 actors on stage - the couple and, stood behind them, their inner thoughts.  While the sitting duo say the things they think they should say, the voices behind tell us eactly what they are thinking.  A little slice of domestic disagreement made hilarious by this clever device.  One of the funniest Bite-Size offerings I've seen.

THE MALTESE WAITER

A man asking a psychiatrist for help.  His problem?  He's a superhero... of sorts.  His superpower is be able to turn any situation into a piece of film noir, and it's ruining his realtionship.  Can she help him resolve his issue and make the right choice?  Lighting changes help enhance the switches in mood, the American accents set the scene, and deliver a weird and funny story with a twist.  Great fun to end on.

Another enjoyable quintet of playlets, with In Two Minds standing out as one of the best I've seen over the years I've been going to watch this group.

Big Bite-Size Breakfast Menu Three, Pleasance One, Edinburgh Festival Fringe

Here we are again.  Another Festival Fringe, and another three shows from the Bite-Size breakfast team to enjoy.  The usual format, of strawberries in the queue, coffee and croissants indie, and five mini-plays ro entertain.  Five actors, three of them familair faces from past shows.  This was a preview show, but, apart from one brief stumble over a line, you wouldn't be able to teel that they weren't already half way through the run.  I remain a fan.  Today's quintet were...

RUNAWAY DRESS

A woman in a wedding dress, seeing how she looks.  A panic when she hears a knock at the door.  All is not what it should be, as two old friends end up sitting down and making a decision.  Some good laughs, certainly an enjoyable watch, but perhaps a tad predictable. 

THE COMMUNITY GROUP

Four members of a neighbourhood chat group relate their posts and interactions.  One is selling a wardrobe, one looking to connect with an old flame, another is seeking attention, and the last is happy to give his views on what's wrong woth the world.  While there's a bit of stereotyping going on I find that forgiveable in a ten minute play where character needs to be dlearly defined very quickly.  And the characters are very recognisable to anyone who has experienced these groups.  Very funny, very familiar, and a sharp comment on the low quality of socail media intercourse.

A PERFECT TWO.

Such a happy couple, they seem to have been made for one another.  But when she suggests they each give the other a mark out of ten it's a clear invitation for things to go wrong, and it will take a lot of numerical working out to try and get back to where they were.  Beautifully played two hander that shows up the dangers of ego within a relationship.

CAFFEINE

A couple sit to have coffee after their meal, looking uncomfortable.  Why are they there?  To meet up with frinds who are late, or is there something else going on here?  As they explore the possibilities there is something happening between them, but will it become more than just chat?  An enjoyably awkward mini-tragedy.  

ON MUTE

It's Greg's big moment, a conference call that could lead to a promotion. But things quickly start to go wrong in a most unexpected manner, and he finds his chances of success dependent on more than just his own talents.  A good one to end the set on, pure farce with a lot of laughs as the unexpected unfolds.

Bite-Size is as worthy of your attention as ever.

Blues Afternoon (Al Brown and the Bluelighters, Zac Shultz Gang with Jesse Garwood, Martin Harely Trio), Spiegletent, Edinburgh Jazz and Blues Festival

 AL BROWN AND THE BLUELIGHTERS

What these afternoon sessions need is a solid blues band to open, professional, but also a bit rowdy and fun.  Brown and co deliver what's needed.  Drums, upright bass, 2 guitars.  Brown very much the front man and lead vocalist, and a few reasonable jokes.  Proper R&B style blues, everyone gets solos, the crowd get their feet tapping, and it's fun for all.  The highlight was a version of Dylan's Gotta Serve Somebody, with a great bass line and the est guitar work of the set.

JESSE GARWOOD WITH THE ZAC SHULTZ GANG

Garwood was a late addition to the line up after band leader Scultz had an accdient and had to stand aside.  Cue a festival debut for the 19 year old guitar wunderkind, who has built up a substantial following on social media.  Accomopanied by the Schultz Gang bassist and drummer, he filled the gap admirably, with talent, skill, energy and volume.  Loud and fast, but able to deliver in the slower passages, and support his bandmates (one of the bass solos was excellent), plus expressive vocals, Garwood soundeded as if he had been playing with the others for years.  He was clearly enjoying himself too, as were the others playing with him.  This enthusiasm communicated itslef to the adience who were on their feet at the end.  An exciting set.

MARTIN HARLEY TRIO

Th slide maestro, ably supported by bass and drums, brought a bit of calm to the proceedings, a more mellow approach than the previous acts.  Not a problem for Harley, who looks so comfortable and relaxed in all he does on stage.  The best vocalist of the afternoon, the best reconteur, and a front runner in the guitar playing stakes.  A master in the use of slide.  A good mix of tempos and subject matter, lyrics that could move you or make you smile, and a feeling that we were in the hands of a man who knew exactly what he was doing.  Loudest isn't always the best.

Jerron Paxton, Queens Hall, Edinburgh Jazz and Blues Festival

The Blues (and, later, jazz, R&B and R&R) emerged from the folk singing of the slaves in the southern stat4s of the US.  From those roots it has itself evolved many interpretations of the style, and much of what passes for blues now isn't really technically of the ilk.  That applies to a lot of acts in this festival.  But Paxton may be the nearest we get to the real thing.

His idiosyncratic playing style and richly expressive vocals have the authenticity of a man steeped in the genre.  A multi instrumentalist who is able to swap around seamlessly (on the night he played guitar, banjo(s), harmonica, fiddle and piano).  A big smile and deep well of funny anecdotes make for an engaging presence.  Even the act of tuning up becomes a piece of entertainment.  But there's a man with his won view of the world behind the words, a thinker as well as a joker.  A proper troubador and always worth seeing.

The Cinelli Brothers with Alice Armstrong, Spiegeltent, Edinburgh Jazz and Blues Festival

The Cinellis start up looking like your averge blues band - drums, bass, lead guitar and harmonica/vocalist, and with a good rowdy opeing number.  But things get more interesting as the set progresses and roles become blurred.  The vocalist is also a lead guitar player.  The lead guitarist is also a lead vcalist, keyboard player and bassist.  The bass player is also a lead guitarist and led vocalist.  And the drumm has a go at playing bass (at the same time as bass and snare).  Which leads to a great mix of sounds with differing voices and playing styles throughout.  

All this would just be so much fluff if the music wasn't entertaining.  No worries there.  Whle there were plenty of Blues and R&B numbers, there was considerable variety in the choice of styles and songs.  Sixties psychedelic, seventies progrock, the Beatles Come Together, and I can't resist a bit of Little Feat. And then there was the extra voice added for large parts of each half.  Alice Armstrong is a big personality with a big voice, a big vocal range, and real blues delivery. She's funny too, a match for the Cinelli's lead man who kept us entertained, and sometimes informed, between their numbers.  

It would be hard to say there was a Cinelli Brothers 'sound', given the variety of vocal, instrumental and song styles they get thought in their set.  There was an exceellent bass solo, unaccompanied guitar and decent drum solo.  They work their audience well, with angaging persoanlities who are cleary having a great time.  An excellent gig.

The Viper Club, Spiegeltent, Edinburgh Jazz and Blues Festival

We saw Tcha Limberger once before, also playing 1930s jazz.  Then the theme was primarily Europena, with a North African flavour added in.  This time it's very much American, deriving largely from the music of swing fiddler and composer Stuff Smith.  A man who, by Limberger's accoutn, had a very colourful life.

Dave Kelbie on guitar, Sebastian Girardot with upright bass.  Jerome Etcheberry playing trumpet and, of course, Limberger on the 2 Vs - violin and vocals.  Keddie is very much a rythym man, with even his one brief solo being chords only, but together with The bass man they form a solid and imaginiative section to drive the music.  Girardot turned in a few decent solos of hos won.  But ghey are there to help the two stars shine brighter.  Both fiddle and trumpet are full of surprise phrasings and departures, and work very well together, each feeding off the other.  The solos are top class.  As mentioned in my previous review, Limberger's singing voice is not great, yet he conveys such joy in his tones that that is easily forgiven.  And his anecdotes are delivered with the same infectious happiness.

It's impossible not to enjoy Viper Club with a smile on your face.