NOTES FROM UNDERGROUND

NOTES FROM UNDERGROUND

Some music acts are stories of drive and unbridled ambition; others are stories of drug-fuelled excess and blind luck. For US jazz duo Tuck & Patti the story is one of love.

Guitarist Tuck Andress, an Oklahoma lad, met San Franciscan singer Patti Cathcart at an audition in 1978. The pair started performing together almost immediately, fell in love soon after, got married a couple of years later, and have been living happily ever after ever since.

To date they have released 14 albums, all to sustained critical acclaim. Those familiar with their work will know their trademark style: Patti’s lithe, gospel-tinged vocals command attention, while Tuck’s ‘soft virtuousity’ (as he terms it) on the guitar underpins and drives the music forwards. While most of their songs are original compositions, the pair also has a neat line in covers. Their version of Jimi Hendrix’s Sandcastles In The Sand, for instance, is jaw-droppingly good.

Tuck & Patti play their only Sydney show at The Basement on Thursday, November 10. We have four double passes to give away. To score one, simply phone the venue box office of 9251 2797 during office hours.

One artist no one will get to see live anymore is the late Amy Winehouse. To mark her tragic death and celebrate her unique talent, a group of Sydney’s finest musicians are preparing to pay homage at The Basement on Thursday, November 17.

The show is called Tears Dry On Their Own and will feature the singing talents of Alice Terry, Alphamama, Billy McCarthy, Lucy Hall and many more. They will be backed by a red-hot horn-heavy band under the direction of Danny G. Felix.

It will no doubt be a night of mixed emotions, but above all it will be vibrant reminder of just what a ballsy singer Ms Winehouse was.

We have four double passes to give away. To score one, simply phone the venue box office of 9251 2797 during office hours.

For a full list of shows at The Basement: www.thebasement.com.au

Contact the writer: amasterson@thebasement.net.au

BY ANDREW MASTERSON

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