Ian Ritchie’s professional musical career dates back to 1974. After his since his first proper band split in 1979, frustrated by their lack of commercial success, he has played sax for the likes of Wham (we won’t hold that against him), D.C. Lee, Akron’s Jane Aire And The Belvederes, Hugh Cornwell, David Sylvian, Gary Numan, The Beach Boys and others.

If you believe all that’s written about him, he also had 3 electro Europap hits in the early 1980s under the name of Miro Miroe. They were a duo he formed with Cricklewood’s finest vocalist, Bernice "Miss Bee" Nally, a Thames TV lavatory cleaner who he met in a pub when she got up on stage and sang a song with his then current band.

He then played in glam rock and techno-pop groups (Fame, Haze, The Shunters, African High Life Band).

He’s also produced albums by Roger Waters, Laurie Anderson, Pete Wylie and more besides.

In his spare time, he’s composed a host of TV ad jingles. You might know him as the writer of the title theme for the Lonely Planet / Pilot Guides / Globe Trekker adventure travel series.

On arriving, I heard music. I found the restaurant, I found both entrances, the gents, but no music room. Someone pointed towards what looked the like a broom cupboard door. Through it and upstairs I ventured, Ian Ritchie’s Soho Project was already in full flow. An upstairs function room, with ample soft sofas and tables and chairs for all.

Not being a jazz aficionado, it all went over my head, but there seemed to be a theme. "Princess Street", "West Broadway" and another tune were all place references.

The gig, a weekly residence at the venue, was to be their last public performance before they went into the studio to record their next CD a week later. So in some ways the songs were relatively new and untested, a couple had new arrangements on the night and a third was given a reggae feel as the band honed the songs for the CD.

Tom Fry with his colourful double bass, Alex Hutton and a stand in drummer, I think his name was Damon Albarn, or similar (ed – Darren Altman), were all more than competent musicians. In true jazz style, they all had their self indulgent solo spots. They audience lapped it up. As my mind and thoughts wandered away from the jazz, I counted the audience, it peaked at eleven, that’s if you don’t count the guy who put his head through the door but didn’t cross the threshold and pay his £3 admission fee.

The interval came. Ian bought drinks for all his band and most of the audience, including me, someone who he’d never spoken to before.

Half time over, more jazz. As ever, Ian Ritchie, probably the second most youthful 50 something I know seemed to be having a whale of a time, enjoying the band, their music, a big grin on his face whenever he wasn’t required to play his sax.

A friend of the band, Christian, with guitar in hand, joined the band for a couple of numbers in the second half. He was good, he could even sing his "bee-dee-bee-dee-doo-dah-doo-dah" lyrics and play his guitar with his eyes closed.

Fortunately, there were no Pink Floyd covers, just one Thelonious Monk song amongst a set of self penned tunes. Just how it should be.

It was so good, I took my son along a few weeks later to his first ever gig. I thought it would be a good introduction to live music before the delights of The Dublin Castle, Koko and other such delights. We got there, the pub was boarded up and undergoing a re-paint.

Jazz over and it was back to more mainstream music. A few days later, down to ULU for The Godfathers and their annual "Valentine Day Massacre" gig. I’m afraid the highlights all happened before they took the stage. Support was provided by The Nightingales, still purveying their own unique brand of slightly shambolic music, you should know them, but if you don’t, think The Fall. In the audience, but sadly not on stage, was the legendary Ted Chippington. It was good to catch up with him and Marj (and leave with a bag of live bootlegs featuring Ted and The Nightingales).

I nearly forget to mention The Godfathers. I think it was the first gig with their current line up, York born Mike Gibson had just left the group, It was a tight, polished set but not one I particularly enjoyed. Probably too tight, too polished for my liking, but the crowd, including a large contingent from Germany, all had a good time. I vowed to go and see then a month later when they were due to play a charity event at The 100 Club with the likes of Attila The Stockbroker and Spizz, sadly it was postponed.

I thought my next assignment for new frontiers might be thwarted by volcanic ash, but somehow, The New York Dolls made it into Europe and Camden’s Koko for the first date of a European tour in April. First time round, they were before my time and I don’t think I’ve got any of their records in my collection, certainly not ones that get played nowadays.

It was an excellent set, I was amazed at the number of songs I recognised, they were mainly old ones but the set contained a sprinkling of new ones. "You Can’t Put Your Hands Around A Memory" was introduced with a mention of their recently departed manager, Malcolm McClaren. Johnny Thunders got name checked at the end of the first line, I thought they were going name check everyone of New York’s fallen at the end of every line, there’s plenty to chose from.

That song and "Pills" were the highlights of the set for me. Somewhere over the last 30 years, my mind told me that "Pills" was written by "The Lurkers", as performed on their first LP.

Next up was The Fall, what more can you say about them, except better than ever.

In July, it was a trip to Denmark Street, a side street off Tottenham Court Road and opposite Martin’s big book shop. You might know the street as the one with all the music instrument shops or formerly the venue of The Sex Pistols rehearsal studios.

Nowadays, trendy bars are dotted along the street, between the music shops. At the end of the street is the "12 Bar Club", I don’t think it would call itself trendy, but it does offer live music most nights of the week. A narrow fronted building, you go through one bar straight into another and carry on into one of the smallest club venues I’ve seen. If you don’t like the music carry on into the games room where you’ll find 2 snooker tables and easy chairs or wander outside into the courtyard if you need a smoke.

Anyway, back to the music, When I arrived, a 4 piece punk band were in full rage, The fourth member perched precariously on the smallest stage I’ve ever seen. With his back foot jammed on the top stair and his back against the stage side wall, he was wedged in and just about managed not to fall off the stage.

Wandering around the cavernous venue between sets, I was struck by the audience. It was a mix of Lurkers fans and mates, the curious and a fair smattering of young 20 something student girls who’d probably no idea who was playing., I could only imagine the venue gave them free tickets to provide a bit of glamour.

The Lurkers took the stage, the first time I’d seen them since York’s Pop Club way back then in 1979. Now a 3 piece, singer Arturo Bassick being the only surviving member (the other 3 from the best known line up are now treading the boards (or more probably laying down tracks) as GLM).

The set started with many of the old favourites, "Shadow", "Ain’t Got A Clue" included. As it progressed, the first album was played in almost its entirety and was interspersed with a decent number of new songs, mostly just as good as the old numbers. The "original " Pills got another run out, and another heartfelt dedication to Bo Diddley.

The Lurkers, definitely worth a trip when they’re playing a venue near you.

It must be a sign of the times, but at neither The New York Dolls nor The Lurkers did I see any pogoing.

PS A music article and not a mention of Deaf School’s latest 2 reunion tours or their first studio release in over 30 years.