Kerrie Biddell was one of Australia’s finest vocalists. Born in Sydney in 1947, Biddell passed away in 2014 after a 40-year career in music. She left behind a genre-defying catalogue of recordings and a legacy as an uncompromising artist who rejected glamour and stardom to be true to herself and her music. Kerrie won ARIA Awards for her self-titled debut solo album; performed with the ‘Daly Wilson Big Band’; had a radio show on ABC titled Kerrie Biddell and Friends and produced Australia’s first digital album with her band ‘Compared to Wha’t. I heard Kerrie sing live once at a music conference I attended at Sydney Conservatorium of Music. She had me in stitches with her hilarious sense of humour then in tears when she sang live for us – she had an amazing ability for story telling and an incredible instrument. I was playing one of her songs on my radio show when I found out she had passed away. I felt very saddened with her passing and although I never met her, I felt an affinity with her as a fellow artist. I was surprised and disappointed to discover none of her music has been re-released digitally or on CD – her talent and contribution to Australian music has been largely unrecognised. In order to pay my respects to Kerrie I produced a special tribute concert featuring vocalists Kristin Berardi (a former student on Kerrie), Elly Hoyt, Fem Belling and myself backed by ATM15 for Stonnington Jazz Festival 2015. As part of my research for the project I interviewed Kerrie’s former collaborators and friends and began working on a radio documentary on her story. The doco was broadcast nationally via the Community Radio Network on International Jazz Day April 2016. You can stream the doco audio and read radio transcript below. I’d love to hear your thoughts!
Love, Chelsea x
READ THE TRANSCRIPT:
Kerrie Ann Kennelly: “the legend of the Australian music industry not to mention my absolute without question favorite….I’m talking about the one the only Kerrie Biddell”
[SONG medley: Oh Me Oh My/Steamroller Blues/Harlem]
David Glyde: she was the best singer I’ve ever seen
Jim Kelly: I mean Kerrie is one of the greatest songstresses ever in Australia
Vince Jones: She was a great singer, one of the best for many many years in this country, probably the best, in fact she was the best. What a voice…
Presenter: Hello and welcome to this special documentary exploring the life and music of Australia’s first lady of jazz Kerrie Biddell. Born in Kings Cross Sydney in NSW in 1947, Biddell passed away in 2014 after a 40-year career in music. She left behind a genre-defying catalogue of recordings and a legacy as an uncompromising artist who rejected the glamour of Las Vegas and the lure of stardom to be true to herself and her art.
A consummate professional, musical perfectionist and lover of well-written songs, her incredible vocal talent led to extraordinary collaborations with artists including Dizzy Gillepsie, Dusty Springfield; Dudley Moore; Buddy Rich and the Daly-Wilson Big Band. A gifted session vocalist with perfect pitch and brilliant sight-reading ability she recorded hundreds of jingles and themes as a session vocalist. She worked as a musical director for Sydney Theatre Company, won ARIA awards for her solo albums, lectured at the Sydney Conservatorium of music and hosted her own ABC radio show Kerrie Biddell and friends.
The documentary features interviews with her former collaborators- trumpet player John Hoffman; Pianist Julien Lee; Composer, arranger and trombonist Ed Wilson; Channel 9 music director and former band mate Graham Jesse; Michael Bartolomei, guitarist Jim Kelly and bassist Alan Freeman. We also hear stories from Kerrie’s life as told by her former husband and musician David Glyde and peers including Vince Jones.
From the very beginning Kerrie’s life was filled with music. Her mother Kathleen was an accomplished jazz pianist and her father Dan, a solicitor’s clerk was also a part time pianist. It was no surprise when Kerrie took to the keys at age five and showed an early gift for music. Kerrie described her parents as ‘Irish Catholic’ alcoholics. Her father left the family when Kerrie was six years old. Unable to cope as a single mother Kathleen sent Kerrie to board at St Vincent’s Convent. She later spent time in foster care. David Glyde recounts:
David: Her mother was an extra ordinary piano player, she could play any tune. You ask for a tune she would play it, it didn’t matter what, and I played in her band. Her mother, yes, she was terrible drugs and alcohol, it was a very dysfunctional family. When Kerrie was very young, she was fostered out a lot, and did suffer abuse as a child by the people she was fostered to. She got beaten and things like that and had a very bad time. It was one of those awkward things, cause the parents were dysfunctional, her dad was kind of never around, he left Kath early on because of Kath’s lifestyle, so Kath had Kerrie, and Kerrie was there and the rest of the family were not very kind to them, because Kath was a drinker and, you know, took the standard Valiums and that of the time. It was a very hard life for Kerrie, cause she really had to sort of hold her mother together, and keep her functioning. But she was a wonderful pianist, that’s where Kerrie learned to play the piano, it ran in the family. Kerrie’s grandmother was a mad Irish woman who drove a horse and cart, and also played piano for silent movies, so it ran in the family, the musical tradition.
Presenter: In 1962, at age 16, Kerrie’s life changed forever. A talented athlete with an aptitude for running, she was competing on the field when her lung collapsed and she was rushed to hospital. Unable to be repaired, she lived her life with only one lung, triggering severe rheumatoid arthritis that distorted her piano playing hands forever and plagued her health for the rest of her life. Unable to pursue her dreams as a pianist, she left school at took a job as a legal secretary. In 1967 life changed again when British pop vocalist Dusty Springfield came to Australia.
[SONG: SON OF A PREACHER MAN by Dusty Springfield]
David: Dusty was coming to work at Checkers, which was an old nightclub, and the house band there, they needed some singers, and the girl who was the singer on the actual show there knew Kerrie, and knew Kerrie could sing a bit and could read music – cause most singers don’t read music, back then no-one read music, you know what I mean, maybe two or three people could actually read music, and they did all the TV work and recording stuff that was needed to be read – and she knew Kerrie and she said “hey, you gotta come and do this”, and Kerrie said “I’m not really a singer”, she wasn’t working as a singer, she was working in an office, a legal office, typing, and so the girl convinced her “no, come on, you can do it”. She said she had the tiniest voice, but went in and it worked beautifully, she read the stuff and Dusty just sort of… they gravitated and became really close friends, and from then on whenever Dusty was coming through or Kerrie was around they’d yack and get together, and spend time. She just was very personable, that kind of person you could easily talk to. Kerrie was very open and very easy to get on with, and I think Dusty appreciated that, especially someone like Kerrie (who) would have a laugh and drink and joke and it would be very comfortable for her I suppose. (41:15) Kerrie had a very small voice when she first did the backing, but Dusty said “look, you’ve got a beautiful sound, you know, you really sound great, you should do this”, and Kerrie’s going “oh, I don’t know, I don’t know”, and so that’s really what started the game, and she really got into it to do it, you know, “let’s really get this done”, so Kerrie did… she gave her a lot of confidence, it was a really fine thing to do for another singer to help someone like that. It doesn’t happen very often.
Presenter: Dusty encouraged Kerrie to take center stage as a lead vocalist. Shortly afterwards, Kerrie joined local band The Echoes then later, joined highly acclaimed club band ‘The Affair’. Originally an instrumental group, with Biddell as a vocalist they added soul and funk repertoire to their shows, becoming a national sensation. In 1969 the band won the National Battle of the Sounds competition winning a trip to London.
Excerpt: “Lets go to a group called the affair”
[Song REQIUM- THE AFFAIR]
[Excerpt: TV interview]
Dick: Hi Kerrie welcome back, Mike, Keith and Jim, The Affair
Dick: Now tell me you are going to go overseas this week what’s the story
Kerrie: that’s right we are going this Friday, to England we won the prize by winning in the vocal section in battle of the sounds, we’re going with sitma to give them a plug
Dick: What do you expect to achieve over there?
Kerrie: A good rest, and no bags under our eyes when we get back really which is, s the main thing. From what we’ve heard theres doesn’t seem to be much room for our music over there so if we get a break well and good but we’re not trying to break our necks over it
Dick: Requiem is a pretty beautiful song whats the story with this one
Jim Webb write it it was on the magic garden EP
Kerrie: we love it, sort of morbid
Dick: Your working pretty hard
Dick: Congratulations on the sound, and best of luck on the trip
Kerrie: Thanks Dick
Presenter: Rather than pursing dreams of stardom while in the UK the group used their trip as tourists, already deciding to disbandon after the trip. They did however record a version of Sly and the Family Stone’s’ Sing a Simple Song’ while in the UK, which became one of Kerrie’s signature tunes that she recorded again later for her self titled album.
[SONG- SING A SIMPLE SONG]
Presenter: Kerrie returned to Australian in 1970 where she joined with the Daly Wilson Big Band, an ambitious rock and jazz-fusion project. Between stints with Daly-Wilson she toured with Cilla Black, Buddy Rich and Dudley Moore. In 1972 she married David Glyde, tenor saxophonist for Sounds Incorporated, the band that famously opened for The Beatles. The couple travelled to Canada and the States, where David introduced Kerrie to his industry contacts and soon became an in demand session singer. Kerrie represented Australian music at Expo in Washington, appeared twice on the top rating TV show Midnight Special and famously was offered a singing contract at the MGM grand in Las Vegas. Offered a three-year residency deal at the MGM grand Kerrie headed to Vegas where audiences and fellow musicians alike adored her. But the Vegas life was not for Kerrie. One year into the deal, she cancelled the contract determined to head home.
David: Yeah, she was offered three years at the brand new MGM Grand, and what happened was I had a friend who was booking the hotel that was just going to open, the MGM Grand, the big one that was going to open, and a friend of mine named Charles Maker was booking the hotel and wanted our band to go and work there, and we said no, and I said “Charles, you should see Kerrie, you know, you’ll want to book her”, and he said “I’ve got girl singers, I don’t need girl singers. I’ve got a million girl singers, I can put them all in, I can book Streisand and get anybody to work the MGM Grand”. I said “Look, just come and see her one night”, he said “okay”. He came to the gig and he booked her. Went backstage afterwards and said “okay, I want a contract, three years, 190,000 dollars for the three years, and we’ll up the money after the three years, you can keep going up in money, bring your own band, bring your own musos, do whatever you like, I want you for the MGM Grand”. So he booked her. She did one year, and never went back again”. (50:49) Yeah, well, when you didn’t know, I mean I didn’t know about that until we got married. and it was like… I was just floored, because the power… When we went to America to work, she absolutely killed everybody there, I mean Count Basie wanted her to tour with him after he heard her on the Merv Griffin show, she was working in Las Vegas, and Frank Sinatra was working over the road at the Sands, and the guys from the band came over to see Kerry sing and they went back, and Merv Griffin was in town, he was a very famous TV show host in America, one of those kind of Tonight Show things, and they say “hey, you’ve gotta see this girl”, so he went over to see her, and he booked her for the show instantly, and she got to work with Ray Brown and all the guys on that show, and they just all went crazy about her, and Count Basie… we have a great picture together, with her and Count, and he wanted her to go and tour with him, he said “Look, I’d love you to do that”, but she kind of had this thing about America, she didn’t want to be in America. She didn’t want to be famous in America, I never quite understood that, after we went there and did all that and did Vegas she never would go back again.
Alan Freedman: she just thought it was like the St George Leagues Club but large, she wanted to do whatever material she wanted and she was going to be forced to do songs she wasn’t interested in commercial stuff, it just was never going to suit her –and the money of course was of no interest to her. The fact that she might earn 60 or 70,000 a year over there for three years – it was something like that – was of no attraction at all. She wanted to be able to do exactly what she wanted a compared to gave her that freedom – and for four years – people liked the material, liked to think they were just as likely to get a Billy Joel song as a Chick Korea – or nothing possible to play instrumental, but that’s what she wanted to do. It was just a matter of her being uncompromising.
Jim Kelly: It wasn’t worth it, it just wasn’t worth the sacrifice of lifestyle to have the success that was going to come her way undoubtedly so brave person she was, she walked away from it
Presenter: Determined to return to Australia and take control of her career, she moved back to Sydney and produced the bulk of her recorded output. Her debut self-titled album released on the Summit Records label featured haunting ballads and an eclectic mix of tracks from her private collection including Ave Maria, to Carole King’s ‘You’ve Got A Friend’ and Lulu’s “Oh Me Oh My”. The album won two Australian Record Awards, later renamed as the ARIA awards including Best Female Vocal Album and won Music Maker magazine’s jazz poll for Best Female Singer making her a household name.
[SONG – OH ME OH MY]
‘Oh Me, Oh My’ 1973
Presenter: She reunited with the Daly Wilson Big Band to record their only collaborative record, a now iconic Australian jazz funk album simply titled “The Daly Wilson Big Band ft Kerrie Biddell”
[SONG – IN NECESSITY]
Presenter: 1975 saw the release of her second solo album ‘Only the Beginning’. This record showcased her incredible ability to rock out the big rock and funk numbers such as Frank Zappa’s Peaches En Regalia and then melt hearts with ballads such as Melissa Manchester’s Easy. This album featured her incredible version of Bill Wither’s Harlem.
[SONG HERE – HARLEM]
The seventies, the prime of her career, also saw Kerrie broadcast her own radio show on ABC, Kerrie Biddell and Friends. She recorded countless sessions as a backing singer for artists such as Tony Ansell, Renee Geyer, John Farnam and John Sangster. She then landed a lucrative deal as the face of Sanyo.
Presenter: David and Kerrie amicably separated remaining life long friends. In 1979, alongside Michael Bartolomei, Graham Jesse, Nick Lister and Alan Freedman, Kerrie formed new outfit “Compared to What” and recorded their one and only release. The album was Australia’s first digital record, using brand new technology and explored new sounds and new vocal territories. Michael Bartolomei recounts working with Compare to what.
Michael: Being the third pianist there was an established repertoire when I walked in and it was incredible eclectic. Everything from original sings written by Mark Isaacs and Graham Jesse and Emerson Lake and Palmers songs, Gino Vanelli songs, jazz standards. Recording Australia’s first digital album with Kerrie and Compared to What was quite nerve racking. For some reason technically speaking and I don’t know why this would be as it was a digitally recorded album but it was released on vinyl and for some reason we had to time it so that we’d count a few seconds between each track and move seamlessly into the next track so we had to do one side at a time and it was nerve racking I must say and I wasn’t particularly proud of everything I played on that album. But it was Australia first digital recording I mean they had to crane in a box, a huge machine that these days we can do on our iphone so it was a big deal in those days, it was a great experience and Kerrie was immaculate and the rest of us struggled in one degree or another, it was good, very good experience, being in the studio is the best experience you can have
Featuring an incredible version of James Taylor’s ‘Steam Roller Blues’, “Compared to what” was her final recording before a 25 year recording hiatus.
[SONG – STEAMROLLER BLUES]
Graham: she would be very, very engaging, because her storytelling with song, you know, her facial expressions, her body language, just the way she sold the whole song, it was very much telling the story of the lyric. So, couple that with her beautiful sounding voice, her great technique, and it’s pretty hard not to be captivated by her performance.
John Hoffman: she was a real performer, she was theatrical, and she really chose songs that she loved and she told the story of the song, and she had great respect for the person who had written the song and the lyrics. So she was honoring the songs that she chose, the way basically they were meant to be sung. I guess I’m trying to say Kerrie chose things sung by other people, and she would always make it her own because her voice was so gorgeous and very identifiable, very identifiable. I first met Kerrie at the Grand Hotel in Southport in November of 1973, and we were coming over to Australia with the Buddy Rich band, over from England, and we started our performances in Southport. Kerrie was on the tour with everybody, along with Ricky May and Rim D Paul – all wonderful performers. Anyway, I knew Kerrie’s voice because I’d heard her sing on a recording with the Daly-Wilson band when I was on the Glen Miller Orchestra we had that album, and I knew her voice quite well, and I went downstairs the day we arrived in Southport, and there she was rehearsing downstairs, and I walked right up to her and said “Are you Kerrie Biddell?” and she was flabbergasted, because I knew her voice and it was just unmistakably Kerrie, and from that point on I was very blessed to do lots and lots of gigs with her over my first years living in Australia, when I came back to live permanently.
Ed Wilson: You know she could, ah, fit in to many genres and the thing is that with a big band you’ve gotta be a belter, number 1, and for such a little frame, ah, that she had, she’d, she could do that. It was amazing the volume that she could get out. But by the same token, she um, she could certainly sing a ballad at a very, you know, ah, minimal volume, so she had a complete range you know, she was a complete singer as far as that’s concerned.
Michael: She was a special girl. She was so determined when she came back from Las Vegas she was so determined to be a jazz singer I think it confused a lot of the Australian public…there was some jobs we did where they were expecting her to be the Las Vegas girl the ‘that’s life’ the sanyo add at the time was quite prominent.. they were expecting all the glitter and Kerrie refused, refused to do that, she’d go out and perform at the basement and other jobs in jeans and sneakers she refused to be that glitter girl she so hated the Las Vegas approach. And whilst you can admire that determination in some instances that worked against her. So I think for many members of the public, that was the confusing thing, but for the musicians it was sort of a love affair
Off the stage her friends loved her cheeky personality and enjoyed her passionate and intelligent political conversation.
Julien Lee: Very cheerful little lady she was-good fun-on and off the stage
Graham: She was funny, yeah. Wicked sense of humour, yeah. She was great fun to hang out with, too. Like I was saying earlier, if you listen to music, you know, put a record on or… in that era it was a record, it wouldn’t have been a CD, or if something came on the radio or whatever, if something was out of tune she would physically react to it, “Oh!”, you know, she couldn’t stand badly executed music. That was kind of funny.
Alan: she was terrifyingly smart, she could have gone to Uni. She was a great reader. She was always reading you know even scientific stuff, let alone biographies. She read everything – she read Birtrude Russell, she read the most complicated stuff, and seemed to understand it, not that I’d have known, she always left me behind. She was really into politics. We argued constantly about politics – never agreed on anything. Even though we were both on the same side of politics, Kerrie could still disagree with anyone and everyone. She felt that she had a particular insight, she was very smart. She remembered everything she read, even from 30 years ago, kind of a photographic memory, and she felt she had insights and instincts – and she didn’t like being challenged. She was very difficult to argue with and would often just to have an argument she would take a contrary point of view just to make me realize where my thinking was wrong, you know. She was amazingly difficult to argue with. Never lost an argument. Never.
Jim: seeing this wispy person own the entire stage, even if she was singing with the Daly Wilson big band she would never be dwarfed by it …she would prowl the stage and own the stage and she did that beautifully I thought. She could be abrupt, a lot of people thought she was quite caustic at times ….she really couldn’t suffer a fool very well you know, but she really wanted to joke around a lot too, she just had a razor mind that was going all the time and an innate ability to hear the music inside and out
Michael: she was very quick, fast mind, very funny lady, great to work with it
Presenter: But behind the scenes she had a sensitive side and was plagued with self doubt…
David: actually off stage she really wasn’t very confident at all, she would come home to me when we were married, she’d come home and sometimes she’d be in tears, and say “oh, someone told me that that wasn’t very good, what I did, I feel terrible”. She’d come home… other girls would give her a hard time and she’d be far better than the other girls she’d be working with on a session or something, and the other people… people would give her a hard time and she’d lose her confidence, drop to the floor, you know, she’d come home and be so upset and down I’d have to say “hey, come on, look, you’re great, what you do is wonderful”. It really was… she was the opposite side off the stage. She was Kerrie Biddell the ordinary person and very vulnerable you could really hurt Kerrie very easily. She knew so many wonderful people in the business, and musicians all respected her and everything. No, I just think that she got that feeling that wasn’t up to the standard she wanted to be, and so she wasn’t going to take it out on the platform and sell herself as Kerrie Biddell, she didn’t want to be… she said to me one time, she said “I don’t really want to be Kerrie Biddell anymore”, which is a strange thing to say, but that was one of her statements, you know, “I don’t want to be this anymore, I just want to do the things quietly and do it on my level, but I don’t want to be Kerrie Biddell”. Kerrie suffered arthritis all her life, she was on medication, she loved music, she loved music, she was incredible at it, she had perfect pitch, she could do all the things she wanted to do, she was magic, but the other side of Kerry Biddell was the confidence side. Really, she didn’t have the confidence. Though she had that on stage, it seemed to be all there, but when she came off she was very stand back-ish, everyone could walk all over her, she would let that happen, but it wasn’t a matter of being afraid of fame, she just didn’t see herself in that picture, you know what I mean? She didn’t feel that that was what Kerrie Biddell should be, she had her thing, she did it her way, and that was about it.
[SONG – EASY]
Presenter: After Compared to What, Kerrie continued to work and perform although her constant battle with her health made it challenging for her to tour. Although Sydney- centric the 90s were full of creative projects for Kerrie. She started working with world acclaimed pianist Julian Lee and was a regular performer in clubs across Sydney. In 1992 Kerrie wrote her own Legends show at the Tilbury Hotel (later screening on ABC TV where it rated highly), became Musical Director for the play “Lipstick Dreams” which had two successful Sydney seasons and independently recorded a CD There Will Never Be Another You with the Julian Lee trio as a tribute to the memory of Sonya Reece. She won the Bicentennial Music Award for Best Jazz Vocalist in 1988 and Mo Awards for Best Female Jazz Performer in 1990, 1994 and 1996. In 1995 she released her final album aptly titled “The Singer”. Her only CD release it featured some of her favorite jazz standards and songs written especially including ’Is That Jazz’ which she performed on the midday show.
[SONG – IS THAT JAZZ]
‘Perfect Stranger’ on the midday show
‘Round Midnight’ with Julien Lee on the midday show with Ray Martin
‘Is That Jazz’ on the midday show
Presenter: In 1998 she appeared in the highly acclaimed 1998 Sydney Theatre Company production of “As You Like It”. In the 1998 presentation of “Follies In Concert” at the Sydney Opera House Concert Hall, Kerrie performed the role of Solange.
There was rarely a day in Kerrie’s life where she wasn’t in pain. Confined to a wheelchair twice she continued to fight through. In 2001 due to her continued health issues she retired from the stage. A passionate teacher and mentor she lectured at Sydney Conservatorium till her passing. When she was feeling well enough she walked her dogs and loved to talk politics and play tennis with her friends. In 2007 she came out of retirement to perform for the last time at a fundraiser concert, raising money for David Gylde’s medical fees who was struggling with Cancer. She kept in touch with her musician band mates till the end.
Alan: she was in a lot of pain, all the time. Now if she could imagine going on the road with the big band or something, and being away from her own comforts, when she was going to be in pain, she was on strong pain killers all the time, two strong pain killers to keep herself moving and that would have influenced, not that she didn’t want to talk about that, but we all knew.. especially in winter, she could hardly move, she would stand stiffly on stage sometimes because she could barely move. That would have had a lot to do with – would have certainly had a lot to do with retiring early, even though her voice was still great. Was, just this awful rheumatoid – which struck her at 14 and of course you don’t get over it, there’s no cure for it you just have to take strong pain killers and anti-inflammatories, neither are good for you which sort of stuffed her insides around in the end.
In September 2014, Kerrie passed away from stroke, due to complications with her arthritis medications at age 67.
John Hoffman: I remember when I heard that she had died, I was in Melbourne at that time, and I was alone in the house where I was staying, which was very good because I sobbed like a child, and I didn’t expect to feel that way, but I instantly was very, very sad and it took me days to feel okay and I still, through it all, still felt the great privilege of having spent so much time with her, but I wanted more of her, I never had enough of Kerrie, and I think that’s how a few of us felt who had known her and loved her so much through that period of time in Sydney
Presenter: During research for this documentary it was sad to find that none of Kerrie’s work has been released digitally, and besides her final album, none of her work is available on CD. I am hoping EMI, Warner and other copyright holders will re-release her amazing work so that future generations can remember and enjoy her life’s work. ABC and the National Archive also have video footage, photos and live performance content that is unavailable for public view. I would implore them to make her material available so we can honor and respect one of Australia’s’ artists. Please head to the unofficial Kerrie Biddell facebook fanpage if you would like to comment and urge the copyright holders to release this material. Rest in peace, Kerrie Biddell, Australia’s first lady of jazz.
David: she really was a deserving person, she never put anyone down, she never tried to give anyone a hard time, she would always work to the best of her ability under the worst circumstances, when she was really sick and in pain, she would always give, all the time. She was a wonderful person on that level, and she needs to be remembered and respected, she needed respect, because she was at the pinnacle of her art form, absolutely.
Julien Lee: I don’t know how she’d like to be remembered but she’ll always be remembered as one of Australia’s finest.
Ed Wilson: Kerrie Biddell, will be sorely missed in the music business in Australia and I’m just glad I had a couple of years working with her
Jim Kelly: That’s typically Australia right now. We are terrible at recognizing the strength of many of our unsung heroes and giving them the respect et cetera and so on and Kerrie is definitely an example of that
Michael she was so good at what she did she could not be denied and I’ll forever love Kerrie Biddell
[SONG- MY FUNNY VALENTINE]
Produced and presented by Chelsea Wilson
Edited by Declan James
Interviews recorded by Chelsea Wilson
Interview Transcriptions by Ashley O’Hallaran, Talin Prowse, Jim Poulos, Sarah McCall and Catalina Perez
With thanks to David Glyde, Ed Wilson, Julien Lee, Alan Freedman, Michael Bartolomei, Graham Jesse, John Hoffman, Vince Jones, Bethany AQ, Alex Simms, and Mara Williams
RIP Kerrie Biddell x
Kerrie Biddell: Taking a chance on love (used in background)
Dusty Springfield: Son of Preacher Man
The Affair: Requiem
Kerrie Biddell: Sing a Simple Song
Kerrie Biddell: Oh Me Oh My
The Daly-Wilson Big Band ft Kerrie Biddell: In Necessity
Kerrie Biddell: Harlem
Compared To What: Steam Roller Blues
Kerrie Biddell: Easy
Kerrie Biddell (live on ‘The Midday show’): Is That Jazz
Kerrie Biddell with Mark Isaac (live): My Funny Valentine