Carol's CV

Download Carol's CV


Performer, Singer Songwriter, Performance Poet, Voice Movement Therapist and Musical Director of the Sing for Joy Choirs, for people with Neurological and other conditions. I have performed both in the UK and Internationally with my own Music and other Contemporary composers and as a Voice Movement Therapist.

Many recordings made in the United States, UK, Scandinavia, Poland and Jura. For details see my discography.

Current Projects

  • The Singer's Tale, a Show with songs and stories.
  • CDAWN A Band with Carol Grimes Dorian Ford, Annie Whitehead, Winston Clifford and Neville Malcolm.
  • Musical Director of SING FOR JOY CHOIRS for People with Parkinsons MS and other conditions, held In Kentish Town Health Centre and The National Hospital Queen Square.
  • Finishing and then editing two books, The Singers Tale and Sing for your life.

The Singer's Tale

Recently at St James Theatre Victoria London and will be performing three shows this year at the Edinburgh Festival The Singer's Tale has been assisted by a small Arts Council England Development grant.

Carol Grimes with Dorian Ford: 22nd — 24th August at 1.45pm?The Assembly Rooms (ballroom), 54 George Street Edinburgh EH2 2LR Booking at

Some previews and reviews of the Tale so far

“Carol Grimes, the Piaf singer/songwriter of British music. This raw, in your face sublime performer takes you with her on a musical journey through her extraordinary life.”? “The Singers Tale weaves its stories, sometimes shady, mad and bad, but with music and song at their heart. From Street busker to Ronnie Scotts, from Notting Hill to Nashville and Memphis on to San Francisco from Hackney to Texas and Eastern Europe, but always returning to home, to London.”

Camden New Journal

"It’s a cabaret style performance that tells her story punctuated by versions of Carol’s superb original songs and her varied repertoire. She has a voice and range which encompasses blues shouts, Jazz ballads and Country and Western. The final number, Sandy Denny’s Who Knows Where The Time Goes as the final number was a show-stopper in several senses: it traced the emotional journey of the show, her journey through a changing music scene and most of all showed her accomplishment as a jazz performer in The Singer's Tale."

St James Studio, 9th February 2015 Link: London Jazz News

“Carol Grimes has a fascinating story to tell. She also has a command of shaping and delivering words, a performance sense, and the musical and human depth and warmth to really make something of this. The story pulls in songs that reference times of her life. This project has such a strong heart, it really could go anywhere as it develops. Dorian Ford has no music, just her words in front of him. His ability to match mood or word with chord or line, to evoke the ghosts of songs past is a revelation too.”

Review by Sebastian Scotney, London Jazz News

Current Band


A review of Carol at Lauderdale House, 14th May 2015.

"From the opener, Joni Mitchell’s Big Yellow Taxi, to the heavily gospel-inflected encore on the Staples Singers' Respect Yourself, with more overtly jazz material like the classic All Blues - beautiful rich-sounding bass vamp intro from Neville Malcolm - and the rarely heard standard I Cover the Waterfront along the way, the totally unique and impassioned singer Carol Grimes and her brilliant but unshowy band of Dorian Ford (pno) Roy Dodds (dms) Annie Whitehead (trombone) and the aforesaid Malcolm held a full house enthralled throughout her wonderfully eclectic show at Lauderdale House last Thursday. Grimes has been a favourite, and with North London audiences in particular, for years. Her career spans so much, from the very first Glastonbury, two solo albums recorded in Memphis, world tours with contemporary ‘classical’ choir The Shout and, more recently ,strong reviews on a BBC assembled Soul package.

"At Lauderdale all these influences melded together seamlessly, although nowadays her natural singing voice has a relatively subdued smoky quality, as on Billy Strayhorn’s Lush Life, the ‘brainy’ singers’ ballad of choice, On her own dramatic Alexandria’s Dance, she let rip and demonstrated a range that few others on the circuit could match. Amid all her warm, friendly presentation, she wasn’t afraid to hit the crowd with some tough uncompromising material, as on the deceptively hedonistic groover I Believe in Us when the bitter line ‘when we eat, a million people starve’ cracked out like a pistol shot.

"Such is the dramatic focus on the singer it might be easy to forget just how good her band is. Ensemble playing was tight,with well-oiled grooves when called for and a string of beautifully shaped solos from pianist Ford and trombonist Annie Whitehead a paradigm of deceptive simplicity and tonal variety frequently achieved with skilful use of the plunger mute: a wonderfully poised duet with with bassist Malcome on the rarely heard classic, Nat Cole’s Nature Boy drew a strong reaction from the crowd, proving yet again that frenetic overkill is not always the best way to get to the audience’s heart. Carol Grimes and her band present such deceptively beautiful music often built on great grooves as on I Believe in Us or the delicacy of Nick Cave’s Into My Arms that I am always reminded as I was yet again last Thursday, that hers is a very special part of the UK music scene and that she deserves to be cherished as well as simply enjoyed."

Review by Brian Blain.

Sing for Joy Choirs

Musical Director for Sing For Joy Choirs. More information

A first performance at The TUC

Sing for Joy Kentish Town. A choir formed in 2001 For people with Parkinsons Disease and similar conditions, their friends and carers. The Choir which meets weekly in London’s Kentish Town started in September 2003, with a PDS “Create It” millennium fund award. But when the award ran out the choir was on its own. The choir never intended to perform publicly, but with inspirational tuition from its charismatic teacher, Carol Grimes, the group’s confidence and ability to sing together grew. And with confidence the choir become determined to stand on its own feet, sit up in its wheel chairs, and raise money through their own efforts.

Fortunately Carol Grimes is a well-known jazz, blues and world music singer and she persuaded her band, the New Coats, to take part in the event. Carol also signed up outstanding cabaret singer, Barb Jungr, and the striking and beautiful harmony singing trio, Wayward Grace, who all agreed to appear free of charge. Other gratis help included designing and printing of flyer and tickets, a telephone ticket hotline, and the venue at the TUC in London’s west end. Choir members made decorations for hall and tables, and family members and friends staffed and stewarded the event. And finally some 250 people had a night to remember.

Film of Sing for Joy

Playing Against Time A Film about Parkinson's Disease and Music Directed by Mike Dibb, with Barbara Thompson and Jon Hiseman. with Sing For Joy led by Carol Grimes Dibb Directions Production for The Wellcome Trust Broadcast Sunday, February 19th, on BBC4.

24 May 2012 BBC 1 NEWS

Bloomsbury Sing For Joy.

A choir made up entirely of people with Parkinson's disease has been performing at St Pancras station. Members of the Sing For Joy choir say the singing helps them cope with their condition.

Music a 'mega-vitamin' for the brain Report from

Watch the video. on website "Therapists in all fields have been doing things for decades; now they're trying to figure out the research to support their work," Thaut told CNN. "NMT started as a science and now it's turning into a clinical field. And that's very exciting.”

For the members of Sing For Joy however, the proof of the therapeutic power of music is already self-evident."There is something about coming together and making a communal sound," said Sarah Benton. "There is nothing like it and it's wonderful.”

Workshop 1 - Musical Moving & Sing for Joy

Musical Moving and the Sing for Joy choir met for the first time to take part in the first in a potential series of workshops combining voice with movement led by Carol Grimes and Anna Gillespie. Sybella Perry Marking the end of her residency at Kentish Town Health Centre, Kentish Town Improvement Fund are pleased to present two new films by artist-in-residence Sybella Perry supported by Arts Council England. As a departure from her previous practice ‘WORKSHOP I’ focuses on our physicality of feeling in the body as well as part of a larger body of people. It documents a collaboration initiated by the artist between two groups that use the Sun Room  at KTHC for weekly classes and rehearsals. This initial workshop was arranged as the first in a potential series of meetings with members from both groups joining together for the first time to combine voice with movement, led by Carol Grimes from Sing for Joy and Anna Gillespie, Musical Moving. Both groups were founded with the intention of using music alongside physical activity to help people with Parkinsons and similar conditions find strategies in managing their speech, breath and mobility.

A selection of my projects

Other artist and composers

I have performed Internationally with my own Music and other Contemporary composers. FOUNDER MEMBER OF THE SHOUT


Members of the choir included myself, Melanie Pappenheim and Manickam Yogeswaran. The choir won the Time Out Award for Classical Artist of the Year in 2001. (1998-2010)

Before The Shout was founded I sang in the Opera Hotel composed by Orlando Gough Libretto Caryl Churchill Toured Europe and UK.

The Shouting Fence London South Bank, Holland Westergasfabriek, Amsterdam 2004 and Reading UK, afterwards the Shout was formed.

Full-scale theatre productions with The Shout

“Sea Tongue” directed by Felix Barratt?Performed in London and at The Huddersfield Contemporary Music Festival.

“Tall Stories” directed by Rufus Norris UK Europe and The United States Several large-scale outdoor celebrations (Stavanger 08; Linz 09) Performances of other site-specific new work abroad and in UK

The Proms at The Albert Hall as a soloist with The Shout with We Turned On The Light GOUGH/CHURCHILL

A Review By George Hall Sunday August 6, 2006 The Observer

Setting a new, ecologically correct text by Caryl Churchill reminding us how our over-consumption of the earth's resources is landing us in big trouble, Gough's work is scored for large chorus and full orchestra - forces he handles with immense flair and panache. As with the orchestra, the main body of singers changed between the two performances - youth choirs from all over the UK sang the first; the BBC Symphony Chorus and Huddersfield Choral Society the second.

But, in both renditions, a lot of the punch of this explosive piece came from Gough's own diversely constituted choir, the Shout - whose members come from backgrounds taking in gospel, jazz and blues, as well as contemporary classical, opera and early music.

These two Proms celebrated the singing voice. Getting the afternoon event off to a flying start was an atmospheric opener by Gough called, aptly, Open, which featured the mesmerising vocalism of Carol Grimes and Manickam Yogeswaran, among others, ricocheting around the Albert Hall at all levels and from every direction.

Because I sing The Roundhouse, London 2001 Archangel directed by Alain Platel See Film

The Singing River, for 12 choirs, 18 boats, two cranes and a locomotive (Theatre der Welt, Stuttgart) and London South Bank.

CRITICAL MASS (2007 by Orlando Gough and Emma Bernard? Performed by Streetwise Opera and The Shout. World Premiere July 2007.

The performers shared songs of their countries of origin — lullabies from the Caribbean, Italian love songs, Polish folksongs, Irish national protest songs... and these songs were turned into a new opera set in an international summit by Orlando Gough and Emma Bernard. Streetwise performers from four London homeless centres were joined by the exciting vocal ensemble The Shout. Thin Air

Orlando Gough Dartington International Summer School With Angela Elliot & Phil Minton And many Trombones, Trumpets, Alphorns and Percussionists.


Premier of new work Orlando Gough The Shout With The Crouch End Festival Chorus Royal Festival Hall London.

OTHER contemporary operatic work

Rites Of Passage written By Richard Chew performed in London Greenwich Maritime Museum and Birmingham Symphony Hall.


Birmingham Arts Centre Music Richard Chew Script Peter Cann Directed by Steve Johnston Unearthing the horrors of war .The seeds of Un-Earth were planted years ago and lie in witness testimonies to the horrors of Bosnia and the role of Birmingham in offering refugees asylum. Mac-Productions joined forces with Birmingham-based theatre group The Restrictionists to combine the two and develop a large-scale community project.

Whalestone Opera

HUDDERSFIELD 2005 JAPAN 2006 Written and directed by Makoto Nomura and Hugh Nankivell

1999 Improvised Performances with Mash with Mark Hewins and Shyamal Martin

A selection of film & videos

Soul Britannia Produced by the Barbican in association with BBC Four

Soul Britannia Allstars is a unique project featuring the cream of British soul & funk musicians and vocalists. This session brings together some of the founder members of this seminal scene SOUL BRITANNIA ALL STARS, BBC 4 including vocalists Linda Lewis, Carol Grimes, Average White Bands's Hamish Stuart, and FBI's Root Jackson.

Some Workshops and Voice Movement Therapy

Accredited Voice Movement Therapist IAVMT 1994

I have worked in Canada, South Africa and UK with IAVMT work.

Working with adults and young people with terminal illness, disabilities and distress, adult education in the Inner City, again often with people who may be singing and talking in a second and even third language. I have taught at The City Literary Institute and many resident, weekend and one day courses, such as The Drama Centre, Princes Trust, residential courses for young people, various workshops in Universities. Courses at Somerset House In London for young musicians.

Some Reviews

C.D Brothers On The Slide.

‘It's a familiar scenario: an R&B scene, dominated by the commercial and creative clout of America, in which British acts struggle to find a place and a distinctive voice. Brothers On The Slide: The Story Of UK Funk (Sanctuary)*** harks back thirty years, and the parallels are unmissable. There are those who, at least briefly, match the Americans at their own game (Cymande, The Equals); those whose mimicry reveals their limitations (Jabba, Kokoma); and yet others who by accident or design come up with something identifiably their own (Carol Grimes, Linda Lewis)’.

‘A spine chillingly powerful singer rooted in the blues who embraces vocal ideas from outside the African-American tradition, Grimes is forthright, moving and imaginative’

John Fordham The Guardian

‘At her most intense, Grimes sings with a passion which is positively unnerving.'

Time Out.

‘Carol Grimes veers between using her voice as an emotive Spanish - inflected Jazz instrument and simply allowing it to be a vehicle for painfully honest lyrics.’

Jazz Express

Carol Grimes came on stage to sing and to make the band twelve. Elfin-like in appearance, she could have shattered glass bricks at a distance. It’s hard to account for such grace and volume emerging from so small a frame. Gently raunchy with her opening number, then later mischievous with the encore Little Red Top, hers is a miracle of charm and vocal control.

Biography Twelve Women Good and Strong make the Vortex Foundation Band, by Philippa Jones

“The culmination of the Festival for me was Carol Grimes who performed mainly her own creation with a trio accompaniment. There sang everything: voice, facial expression, gestures, motion-she was an artist of a hundred %. Her lyrics were easy to listen to because of exemplary diction.”

“Easti Aeg” (Estonian Times.)

Carol Grimes used her first appearance at the club since Ronnie Scott’s death to look back over her career, as signposted by her changing London addresses from Bethnal Green to Westbourne Grove. Starting with Who Knows Where The Time Goes? by former drinking buddy Sandy Denny, her set was a warm and witty personal tour, demonstrating a knack for holding an audience’s attention that was hard-won in her early busking days.

Steps, a Bethnal Green song featuring a sensitive piano solo by Dorian Ford, demonstrated Grimes’ skill as a lyricist. It was a pair of contrasting Oscar Brown, Jr. tunes, though, that provided the centrepiece and highlight of the set. But I Was Cool was as fabulously full-throated and profane (bolstered by Annie Whitehead’s trombone) as A Tree And Me was contemplative. Grimes finished by bringing us up to date with songs from her Deptford “poor woman’s penthouse”: Chagall-inspired waltz The Dance, and The Weatherman, a blues with lyrics by poet John Shaw. Another Shaw (Ian) was among the admirers who dropped in to witness her unvarnished soulfulness.

11th August 2010 at Ronnie Scott's, Edward Randell The Observer

.... Grimes is a great UK talent, and anything that nurtures her is to be recommended.

John Fordham The Guardian

Carol Grimes, the forthright and defiantly independent jazz, blues and world- music singer, still emits the same fierce glow that has been her trademark since her R&B beginnings 30 years ago...

John Fordham The Guardian

It amazes me how she uses her great, bit raw voice to express all the corners of emotion into her music....

Eelco Schilder FolkWorld CD reviews

Carol Grimes, whose greatness as a singer was first made evident in the 60s and early 70s with bands like Delivery and Uncle Dog, should be regarded as a national treasure. That she remains virtually unknown is a national disgrace.

Trevor Hodgett Blues in Britain

Carol Grimes is a British blues singer with real heritage (having recorded since 1971), who at turns can remind the listener of Joni Mitchell, Nina Simone, Doris Day or Janis Joplin.

IC South London

Carol Grimes, one of Britain’s finest female vocalists....


The area between jazz, blues and Americana has recently been colonised by a series of young Norah Jones clones, so how welcome to hear a voice that speaks from experience of both life and music.

Americana UK

Carol's a true "vocalist's vocalist", and sensuous to the last in the Billie Holiday tradition ........ she gives her all in seasoned interpretative flair, authoritatively personalising each and every song...

Net Rhythms

Cafe Prague @Komedia 09 March 2004

The second half was given over to Carol Grimes and band. With a voice that was delicate and agile, precise yet powerful, and with the band delivering a consistently tight and cooking blend of country-tinged jazz (bass, drums, guitar and the excellent Stan Adler on cello) she led us from Randy Newman and Joni Mitchell, to an exhilaratingly bluesy version of the Pogues USA and a stunning Tom Waits encore (New Coat of Paint). The Vortex Jazz Club

Introduced as the venue's favourite singer, Carol Grimes also happened to be celebrating her birthday - "I'm 29 and three-quarters" - on Saturday night, but this was no self-indulgent love-in. The high-spirited veteran was eager to work, performing with all the energy, artistry and passion that had eclipsed many bigger stars at last year's Soul Britannia special. Her latest group proved unusually versatile, and needed to be. Steve Lodder's speedy synth and piano comments offered contrast to Annie Whitehead's fruitier trombone rasps while bassist Jennifer Maidman and drummer Josefina Cupido covered rhythms ranging from the rollicking calypso of We Said Yes to the waltz time of Miles Davis's All Blues.

An eclectic programme also included songs by Nick Cave (Into My Arms), Joni Mitchell (Two Grey Rooms) and Randy Newman (You're Better Off Dead) as well as original themes that varied from the basic to the surprisingly sophisticated. Now's the Hour, an example of the latter, featured a complicated Afro beat line that switched into 4/4 groove for a Blue Note bridge with pleasing harmonic changes.

Jack Massarik 10th April 2007 Evening Standard

Some references from Workshops and Choirs.

Carol is one of the leading voice teachers. She brings enthusiasm, passion and integrity to her teaching which she communicates to her students, challenging very able students and drawing out the best and the unknown from the less able and problematic.

Norton York MA MPhil University of Westminster

Using movement, contemplation, masks, poetry and text of our own devising, in group and individual work, we sang our way through our lives, continuously learning and adding to our interpretive skills. Each individual was supported creatively, imaginatively and sympathetically, and all of us were fascinated and often moved by the directions taken by our companions. The course finished with performances by each student - our own heart songs.

Yvonne Mallet from a review in the Jazz singers Network Newsletter

We at Theatre4business have worked with Carol Grimes on numerous occasions, bringing her in as a specialist to communication trainings and workshops we run for clients in both the corporate and public sector. Her knowledge and expertise of the voice is second to none. She inspires audiences and enables them to reach and liberate voices they have lost touch with, with astounding results. Not only do people leave having had an incredible time, they also leave with a greater and more assured knowledge of their voice and how to better present themselves in communications in the workplace. Alongside the voice, Grimes manages to bring out and develop choices in personal style and impact. People stand better, have improved their posture, achieved some of the their potential, and learn how to breathe to support their voice and ideas. She has great authority and generosity and is able to work with clients of all ages and abilities, and I am sure that anyone undertaking sessions with her will come out richer and more confident.

Didi Hopkins?partner, theatre4business

A few Reviews of my singing workshops at City Lit

"I recently spent a while improving my Jazz singing at the City Lit Jazz Singers' Workshop, led by the fantastically inspirational Carol Grimes - the only person I can imagine dragging my voice from my boots after a full day at work! I had a fantastic time and can't wait to get back to it."

Emma Byrne

“I am now in my second year of Jazz1/2. [Carol] and the pianist are a superb couple of really top flight jazz professionals able to share their great knowledge and talent with anyone who has a feeling for jazz and rhythm.

“Carol is special and inspirational and gives her students the benefit of 40 years of singing at the highest level, while Issy is possessed of a natural ability to accompany and help any singer to sound at their best. “The repertoire is vast and the subject fun and most rewarding.

“I fully recommend any students considering singing jazz to enlist on the course. Fantastic learning and support.

“I thoroughly enjoyed the course, meeting other singers and working with [Carol]. [She] is wonderfully supportive, robust in her feedback and so experienced. She has such a love of jazz that it is contagious. Thank you.”

Sarah Shelton, Jazz/Latin/Blues Magic

Activism & Collaborations

Performed for the first and several subsequent benefits for RAR, Rock Against Racisim

Pop and rock The Observer

The year rock found the power to unite 1976

Red Saunders was a rock photographer and political activist who had been inspired and radicalised by the events of 1968. When he heard Clapton's comments he felt compelled to register his opposition. 'I was outraged,' Saunders tells me. 'I was a fan of the blues and had seen Clapton playing in the Sixties at the Marquee Club, I couldn't believe he could now be saying what he was.' Saunders decided to pen a letter of protest to the music press. In the letter, published in the NME, Melody Maker, Sounds and the Socialist Worker, Saunders and other signatories including his friend Roger Huddle wrote: 'Come on Eric... Own up. Half your music is black. You're rock music's biggest colonist...

We want to organise a rank and file movement against the racist poison music... we urge support for Rock against Racism. P.S. Who shot the Sheriff, Eric? It sure as hell wasn't you!' The letter urged those readers wanting to join Rock Against Racism to write to them. Within a fortnight there were more than 600 replies. Three months later, in November 1976, Rock Against Racism held its first ever gig, featuring Carol Grimes, in the Princess Alice Pub in east London. 'We had friends who were dockers who had become anti-racist after the Powell speech,' Roger Huddle recalls, 'and they provided the security for the gig because the NF were really active in the area.’

From the late 70s through to the present day I actively seek women musicians to work with, my early singing years were a very male time.

During the 80’s toured and recorded with several bands including Carol and The Crocodiles. Guest Stars then in the late 1990s worked with the All women Big Band VORTEX FOUNDATION BIG BAND recording a CD in the 2006.

Some mixed art collaborations

November 1999

Taking Stock The Arts of Ceremony You are invited to follow our Rite of Passage - Marking the Shift of the Millenium

This Autumn School covers 'hands-on' creation of new ceremonies, voice and improvised singing (with jazz and blues ace Carol Grimes), shadow theatre and storytelling, Alexander technique and handmade digital books. 5 simultaneous strands - pick and mix your own menu £80 (£40 / £20)

2001-2 “Ancestral Picnic”

The Vortex Gallery, London, The Barn Gallery, Surrey and Welfare State International, Cumbria | Gallery With music especially composed and sung by Carol Grimes with Mark Hewins.

Norwich Arts Centre Come and be inspired by a weekend of uplifting musical experiment... With some of the most interesting artists working with voices in the UK... for the beginner to the experienced singer. Including Performances of sparkling vocal theatre from Flam! innovative and lyrical acapella from Human Music - extraordinary solo performance from Carol Grimes and inspiring spoken word from George Szirtes, Andy McDonnell and Agi Lehockzy....Workshops in vocal theatre and jazz improvisation /new composition/wordsmithing/songwriting /singing in the dark/vocal percussion- with a fantastic range of vocal composers and performers and some surprises along the way.

A selection of past work from 1966!


DELIVERY. Lol Coxhill, Roy Babbington, Phil and Steve Miller and Pip Pyle. First album and first experience of writing original material. Re-released on Cuneiform.


Uncle Dog. Played at the first Festival at Glastonbury. Album included musicians such as The Average White Band horns and Paul Kossoff, late of Free.

During the mid-seventies worked with The London Boogie Band. This included Henry McCullough, Neil Hubbard, Mel Collins, Komoko Singers, Paul Carrack and other musicians.


Recorded Warm Blood in Nashville with Kenny Buttrey, Ron Cornelius, Mack Gayden, Bob Wilson and Tommy Cogbill among the musicians on the project.


Recorded Carol Grimes in Memphis... with Duck Dunn, Willie Hall, Frederick Knight, The Memphis Horns and The Brecker Brothers, among others.


Recorded Sweet FA in Sweden with Ollie Marland, Tony Hicks, Gary Twigg and Peter Kirtley.


Recorded a single for Polydor with The Blockheads, formally Ian Dury's band.


Worked with several bands in London including: Carol and The Crocodiles; The Guest Stars.

Eyes Wide Open. Musicians included: Steve Lodder, Maciek Hrybowicz, Angele Velmiejer, Mike Bradley, Paul Neiman, Josephina Cupido and Mario Castronari Sami el Sahid among others.


Lipstick & Lights The Drill Hall Arts Centre London.

Wrote and directed Lipstick and Lights A music theatre production, with Eyes wide Open. Guests included John Hegley & Josephina Cupido.


Two Jazz Services tours with Eyes Wide Open.


Second show at the Drill Hall Arts Centre, Daydreams and Danger. Poetry & Song. Live album from this show released in 1988.

Recorded, two albums with Eyes Wide Open.


Performed in Viv Stanshall's Stinkfoot with Ian Shaw. At the Bloomsbury Theatre in London.


Recorded Lazy Blue Eyes with Ian Shaw, Tony Remy and Steve Lodder.


Project with Laka Dasical. 6 voices and a double bass. London Jazz Festival. Cabot Hall. and other venues.


Toured with Janette Mason, and Band. The Blackheath Concert Hall broadcast on Radio 3.


Recorded Alive at Ronnie Scott's during a residency at the club.


Autumn. Raag, Rhythm and Rhyme with Najma Akhter, Janette Mason, Sammy Sami El Saldhid, Josefina Cupido and Inderjit Kalyana. Live concert from The Guinness Spot, Queens College Belfast featured on Jools Holland Later for BBC2.

Performed regularly on various radio and television programmes throughout the seventies and eighties& nineties. Toured throughout West and Eastern Europe, Scandinavia and America. Worked on many sessions for various recording artists.


Took part in a production called Hotel, written by Orlando Gough, libretto by Caryl Churchill. Directed by Ian Spink for Second Stride. Toured U.K. and Europe April/ May


Worked with DV8 Physical Theatre. Tour with Niki Isles, Mike Walker, among others in Yorkshire & the Northeast.


UK Performances with Janette Mason, Louis de Almeida, Paul Jaysinga and others.

Appeared in a Music Theatre Performance The Shouting Fence written by Orlando Gough. South Bank, London. Improvised Performances with Mashu. Mark Hewins and Shyamal Maitra.

London Jazz Festival. Lauderdale House and the Vortex. London.

1998 - 2009

The Shout (Time Out Classical Artist of the Year 2001- 2004) is a unique choir. Drawn from as many musical paths as there are singers, their individualism is the very key to their power as an ensemble, and their freedom in expressing their different personalities whilst exercising incredible musical precision makes them compelling to experience.

2000- 2005

New Coats a Band with Steve Lodder, Annie Whitehead, Jennifer Maidman, Dylan Bates & Jose Cupido


Shift with The Crouch End Festival Chorus at the Royal Festival Hall, London Sunday 11th July

Tall Stories - music and lyrics by Orlando Gough and Richard Chew, direction by Rufus Norris, design by Katriona Lindsay, lighting design by Giuseppe Di Iorio, toured UK Europe & the U.S. Concerts in Europe UK & the U.S.

2003 - 2006

The Shout Performed at The National Portrait Gallery

2004 - 2007

UK Funk All Stars - : The Jazz Cafe, London; Stratford Circus, London; The Dome Brighton; The Barbican London; Soul Britannia; BBC 4; T.V. appearances followed by U.K. tour. At a time when the live UK scene cross-pollinated wildly from jazz and rock to R&B. This special Brighton Festival session brings together some of the original musicians of the day and features a reunion of founder members of the much sampled Brixton-based rasta funk renegades CYMANDE. Also featuring sets from UK legends Carol Grimes, Linda Lewis, Average White Band's Hamish Stuart, & FBI's Root Jackson. An essential celebration of an often overlooked era in British music.

2004 - 2010

Jazz performances with Dorian Ford, Max de Waldener and Winston Clifford


Tour in UK to promote Mother C.D. (recorded in spring 2004)


BATH Festival The Shout

Rites Of Passage - written by Richard Chew. London Greenwich & Birmingham Symphony Hall. (July 2004) Un-Earth Bosnia to Birmingham: Stories From A War, written by Richard Chew, premiered at Mac, Birmingham, Thursday 22nd-Sunday 25th July 2004

Lip - written by Orlando Gough, Richard Chew & the Shout, directed by Emma Bernard, Tour UK and Europe


Fallen Fruit - premiered at the Canterbury Festival

The Singing River by Orlando Gough, directed By Tom Ryser, Theater der Welt Stuttgart, Germany (May) 2006 - 2007

The Shout perform Stand on Holocaust Memorial Day at Theatre Royal Newcastle.


We Turned On the Light by Orlando Gough, libretto by Caryl Churchill, performed by The Shout at The Proms at the Albert Hall. (July)

Road to Nowhere

Mayor of London Festival at London Trafalgar Square (August)


A Day In The Life Christmas Show - DeLa Warr Pavilion Bexhill. (December) 2007

2005 - 2006

The Whaletone Opera - written and directed by Makoto Nomura and Hugh Nankivell. Japan, April 2006 and Huddersfield, 2005

Rites Of Passage - written by Richard Chew. London Greenwich & Birmingham Symphony Hall. (July 2004) Un-Earth Bosnia to Birmingham: Stories From A War, written by Richard Chew, premiered at Mac, Birmingham, Thursday 22nd-Sunday 25th July 2004


Fallen Fruit - premiered at the Canterbury Festival

The Singing River by Orlando Gough, directed By Tom Ryser, Theater der Welt Stuttgart, Germany (May)

2006 - 2007

The Shout perform Stand on Holocaust Memorial Day at Theatre Royal Newcastle.


We Turned On the Light by Orlando Gough, libretto by Caryl Churchill, performed by The Shout at The Proms at the Albert Hall. (July)

Road to Nowhere