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          <td colspan="2" bgcolor="#000033"><font color="#FFCC00" size="1"><b><a name="music"></a>Bars 
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          <td colspan="2" align="left" valign="top" bgcolor="#000033"><font size="1"><b>Review 
            of Izzi Dunn @ Jazz Cafe - 1 September 2020 </b><i>by Marcos Moret</i></font></td>
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          <td align="left" valign="top" width="81%" height="143"> 
            <p><font size="1">The cello is not an instrument you�d associate with 
              contemporary black music. Bass - of course. But cello? Well, don�t 
              be too hasty, because if you�ve been following what�s been happening 
              at the forefront of innovative British music of a funky persuasion, 
              you�ll find evidence to the contrary. Cases in point are Roots Manuva, 
              Wookie, MJ Cole, Kaidi Tatham, and IG Culture (most notably in the 
              form of New Sector Movements) , their music spanning some of the 
              most innovative fields of UK music right now, namely hip hop, garage 
              and broken beats. All said artists have, in recent times, had their 
              projects graced not only by Dunn�s cello playing, but also by her 
              vocals and arrangements - often under the guise of the string outfit 
              'Chix with Stix'. </font></p>
            <p><font size="1">Dunn was born in Sheffield in 1973 into a musical 
              family; her mother an opera-trained singer, her father a television 
              and radio entertainer. She took up the cello when she was 9 years 
              old, and in her mid-teens could be found busking on the streets 
              of London. From there she moved her way into a bewildering array 
              of sessions, from thrash metal through to household names like the 
              Brand New Heavies, Oasis, Damage, George Harrison, and Natalie Imbruglia. 
              She also kept her ear to the street, with work for underground breaks 
              practitioners such as 4 Hero in the early days of the Reinforced 
              label. Oh, and playing the odd spot of Ravel, Stravinsky and Gershwin 
              on the side. Which brings us to the present.</font></p>
            <p><font size="1"> �The Big Picture� (FireWorx) is the provisional 
              name for her debut long-player, due to hit the shelves this autumn, 
              which follows hot on the heels of her recent self-entitled four-song 
              EP. Boasting collaborations with usual suspects Tatham and Manuva, 
              plus some lesser-known contributors including Nyanja, Russell and 
              The Force from Nash, and Me One, Camden�s Jazz Caf� gig promised 
              to be the first opportunity for most to sample this new material. 
              Taking the stage, Dunn, initially to minimal accompaniment courtesy 
              of Mr. Shiver on decks duty and the prolific Akwasi Mensah on keys, 
              kicked-off with what is probably her best-known song � �Betcha� 
              � co-written with Tatham. Underpinned by a heavy mid-tempo funk 
              beat, Betcha saw Dunn swapping from electric cello to powerfully 
              delivered vocals, in this bittersweet tale of a relationship broken. 
              �It�s On� and �Big Picture� saw her joined on stage by MC D who, 
              whilst initially appearing somewhat fazed by the occasion, soon 
              warmed up and spat laid-back lyrics, providing a perfect counterbalance 
              to Dunn�s vocals, over the top of some classic hip hop hooks.</font></p>
            <p><font size="1"> �Storyteller� saw the rest of the band take the 
              stage (Trevor McKinley on bass, Tim Shoben on guitar, and Davide 
              Giovanni on drums). Over the course of rattling out one funky number 
              after another, both from the EP and the forthcoming LP (Storyteller, 
              Smokescreen, Fly On the Wall, No More Mr Nice Guy, Intuition), Dunn 
              swapped from cello to vocals - and even at one point to keys - with 
              aplomb.</font></p>
            <p><font size="1"> Her own-material musical preferences look to range 
              from vocals over phat hip hop beats to jazz-funk floor-fillers to 
              soulful R �n� B numbers - all of impressive quality. Throw in Dunn�s 
              electric stage presence � she looks great and has an infectious 
              energy and enthusiasm, the spine-tingling niceness of the drama 
              lent by her string-playing, and some innovative underlying beats, 
              and you quickly understand why there�s such a fuss about this multitalented 
              lady.<br>
              <br>
              <i>Marcos Moret - </i><b><a href="http://www.knowtheledge.net/" target="_blank">www.knowtheledge.net 
              </a><br>
              <br>
              </b><a href="../../camden/arts-jazzcafelistings/#j"><b>read full August - 
              December Jazz Cafe listings</b></a><b> </b></font></p>
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            <p><font size="1" color="#FFFFFF"><b>Local Bars & Music 2002<br>
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              Cafe Listings - August to December 2002</a></b></font><font size="1" color="#FFFFFF"><b> 
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