What Humph has to say about the CD...

I think it was John Dankworth who, many years ago, compared the making of records to writing letters home, giving all the band's latest news.

Well, times have changed since those simplistic days. The business of coming off the road or out of the clubs and popping into a studio to set down a sort of progress report has developed over the years into what amounts to a separate activity. Often nowadays, special recordings conforming to a theme or 'concept' are made in circumstances which are unlikely to occur on stage except perhaps in some specially arranged concert.

Technology has advanced to a point at which, in extreme cases, the attendance of actual musicians has become secondary to the 'processing' of the finished product. Sound engineers -- now 'mixers' -- are no longer simply responsible for seeing that the machinery works properly, but have become creative artists in their own right capable, if not restrained, of converting a simple chorus of 'Take the A Train' in something akin to the 1812 Overture, canons and all. 

In this respect, what you listen to here is cheerfully Luddite. This is not to say that we are ungrateful for Nick Taylor's brilliance in capturing our in-the-flesh-sound -- we have gone to him for all our band recordings since he took over Porcupine Studios from his father, the late Ted Taylor, in 1992. 

But this album is really no more than one of JD's 'letters home'. It's a musical account of what we have been up to in the past year. But, you may ask, how can that be, when your regular band, which we know and love (well, your mouth was open so I put words into it), is joined for the occasion by two guests? 

I can explain, officer. In 1998/99, Kathy Stobart underwent a couple of routine operations, and more often than not, as a result of my hearing him on a demo tape that was sent to me, it has been Jim Tomlinson who has stepped in to deputise. 

On one of these occasions, his wife came with him, as they do. After the first concert, which she sat through as a spectator, I faced up to a grotesque absurdity. Someone whom I had long regarded as one of the most sensitive, original and spell-binding singers of classic popular song on this planet (yes, it was her demo tape) was there, but lurking in the shadows.

On the next gig with Jim on board, Stacey Kent sang with us. She has done so on many subsequent occasions, when her rocketing career has allowed. And on these occasions, with Kathy Stobart long since back in action, the essential presence of Jim Tomlinson has converted us into a nine-piece band. Nine-piece ? Well, of course. I list Stacey in amongst the other musicians, which is where she likes to be. 

For all the names of all those to whom I am indebted for making this one of the happiest recording experiences I can remember, just read the personnel - 
Kathy Stobart, Pete Strange, Jimmy Hastings, 
Ted Beament, Paul Bridge and Adrian Macintosh and engineer Nick Taylor.
Thanks guys!