Edinburgh Fringe 2026

1933 – Fats Waller, Harlem and the Blues Belters

Ali Affleck and The Gin Mill Genies

Genre: Jazz, Live Music

Venue: Jazz Bar

Festival: Edinburgh Fringe

Low Down

Review

Edinburgh’s Jazz Bar is a’buzzin with folk gathering for 1933 – Fats Waller, Harlem and the Blues Belters, Ali Affleck and The Gin Mill Genies’ tribute to Fats Waller (and others) in what turns out to be a rollicking good hour of jazz and blues.

Supporting Scottish-American vocalist Affleck this afternoon is The Gin Mill Genies quartet, with the omni-present Colin Steele on trumpet (is there any band here at the Fringe that he’s not actually playing with?), French pianist Mathieu Meyer, Colombian guitarist Pablo Lopez and the energetic bass plucking of Jimmy Allen – although that might be a name misspelling given the level of applause ringing round the dive when the band were credited by Affleck after their final number..

The focus here was on the wonderful Fats Waller whose music I grew up with, hardly surprising given that his was one of just two LPs (remember them – they’re all the rage again now) we had in the house.  And it’s clear, about thirty seconds into the opening number, “Ain’t Misbehavin’”, just why Affleck has won and been consistently nominated for ‘Best Jazz Vocalist’, a prestigious award from the Scottish Jazz Federation.  Her voice really has got the lot – control, power across a range from soprano to deep alto, subtlety when the lyrics and music demand and the clarity of cut glass, her vocal technique very much mirroring that employed by the jazz divas of the 1920’s and 1930’s, the era from which many of the songs in this set were drawn.

Next up was “Spreadin’ Rhythm Around”, the music for which was originally credited to Jimmy McHugh until the recent discovery of manuscript parts for the song in Waller’s handwriting, suggesting that he may have given the credit away to McHugh in return for a bottle or two of his favourite tipple, apparently an endearing habit of his.

Following a minor detour into Ida Cox’s “Wild Women Don’t Have The Blues” (aka simply “Wild Women”), Affleck delivered an amusing rendition of “A Porter’s Love Song to a Chambermaid”, a song not written by but made famous through Waller’s bouncing, almost comedic style of delivery, one that was reproduced to perfection by the quintet on stage.  Next up came “I’m Crazy ’Bout My Baby (and My Baby’s Crazy ’Bout Me)” where Fats Waller and Alex Hill collaborated, the former supplying the music, the latter the lyrics.

With the 1930’s depression in full swing in Black Harlem, rent parties became a popular way for musicians to raise a few bucks to stave off potential eviction by their landlord.  Waller was a regular at such events early in his career, using them to refine his stride piano technique, helping to build his reputation before his move in the direction of theatre, cabaret, recording, and radio.  And what better example of stride piano is there than “A Handful of Keys”, delivered here in true Fats style by Mathieu Meyer.

Jazz is best seen live so you can watch ensembles pass the musical baton between them when jamming.  The Gin Mill Genies, like most bands, have this down to a fine art, passing the musical baton seamlessly around with the merest twitch of an eyebrow or flick of a finger.

We rounded off with “I’m Gonna Sit Right Down and Write Myself a Letter” (another song made famous  by Waller, rather than having been composed by him) and “Honeysuckle Rose”, where the dubiety of those wonderful lyrics can be taken any which way you fancy.

1933 – Fats Waller, Harlem and the Blues Belters delivered just that, non-stop belters in a nicely curated set list, resulting in a vibrant hour of great live music from a talented chanteuse and a banger of a band.  What more could you ask for.  Highly recommended.

Published August 19, 2026 by Tim Wilcock