Sarah Jane Morris’s low notes should prove a highlight at Ronnie Scott’s

3 Jan

Metro

With a lot of singers, particularly female ones, it’s the ability to hit the high notes that usually garners the headlines.

But in the case of flame-haired jazz-soul chanteuse Sarah Jane Morris, it was the low notes that really got people listening when she duetted with a falsettoing Jimmy Somerville on The Communards’ 1986 hi-NRG cover of Don’t Leave Me This Way.

The combination of high male and low female voices was both exhilarating and stirringly subversive, and the single was a worldwide smash.

Not that Morris has any problem reaching the top notes when she wants to: her four-octave voice allows her to range freely over the peaks and troughs of any melody line, whether she’s singing one of her own compositions or Stevie Wonder’s Superstition.

As a lyricist, her range is no less impressive, running the gamut from love (naturally) to sex and war crimes. On stage, she’s…

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