Picture this! It’s the mid-1930’s and you stroll into a jazz club. Amid a smokey room, you take your place at a candlelit table ready for the evening’s entertainment. Eyes on the stage, on walks Marshal Herridge and Caity Gyorgy… The opening number is’ A Day Too Late’.
Penned by Marshal Herridge, ‘A Day Too Late’ showcases timeless jazz sentiments but with the added kicker of sleek modern production. With smooth and smart instrumentation, Herridge makes complex musical ideals seem effortless. ‘A Day Too Late’ is a testament to the musical prowess of Herridge.
Spanish-style acoustic guitar alongside sultry piano start the track. Over the vocals of Caity Gyorgy shuffling drums and bellowing double bass provide a solid backbone. A distant maraca pinpoints the jazzy skiffle rhythm and dances along to the signature.
Caity Gyorgy sings with effortless charisma. Her glamorous delivery seems designed for ‘A Day Too Late’, it’s a match made in heaven, or Ronnie Scott’s. “A day too late. I had to be a day too late. To see it’s you that moves my jaded heart to beat again,” Gyorgy sings with touches of Ella Fitzgerald. Now, I’m in that jazz bar. Gyorgy’s vocal work has a classic character, and it’s a character that’ll stay relevant forever. Although the vocals have flashes and articulations of jazz vocal royalty, Gyorgy put’s her own stamp on the track.
Just when you think that Herridge couldn’t wear his jazz influence more on his sleeve. In comes the woodwind. Sweeping across the track and whittling away your troubles.
‘A Day Too Late’ is a quintessential jazz track inspired by the golden ages of the genre. For any jazz enthusiast, you’re going to add it to your collection and follow the career of this true talent. Not a jazz fan? Even then, it’s hard not to be allured by the easy listening tones and pzazz of Caity Gyorgy’s vocal work.
Recommended! Listen to ‘A Day Too Late’ on Spotify now: