With an instrumental repertoire that draws on King Of Swing Benny Goodman's bandbook, Django Reinhardt's 1940s setlists and the Glenn Miller Band and with singer Ali Affleck contributing songs from the jollier end of the Billie Holiday canon, Dick Lee's Swingtet might appear on paper to capture a certain, bygone jazz age.
Lee, however, is such a spontaneous musician that items such as Reinhardt's Cavalerie, written for clarinet in the absence of his regular partner, violinist Stephane Grappelli, and showing a certain Arabian influence, spring forth as if being created in the moment.
In other Fringe shows at the same venue, Lee will be demonstrating his prowess on some of the many other reed and wind instruments at his disposal. Here he concentrates on clarinet and bass clarinet, playing with craft, imagination and not a little mischief and with two guitars and bass accompaniment that is entirely simpatico.
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Guitarist Tom Davis, like Lee, can slip an unlikely but somehow apt quotation into a solo and his cool, precise playing is a terrific asset generally but all the more so in the smart, perfectly in unison guitar and clarinet lines that are a feature of Lee's arrangements.
Jazz musicians often get criticised for - apparently - playing only for themselves but Lee's presentation, which includes introducing his wife, Anne, on very effective alto flute and, here at least, an old friend, Bill Jones on trombone, is entirely geared towards keeping the customer satisfied and entertained.
Run ends August 26
How much you enjoy Lynn Ruth Miller's Granny's Gone Wild could depend on how you feel about being caught in an incontinence pads blizzard.
Miller has a song about how these are invaluable accoutrements to a woman of her age and having performed a striptease that stops just in time, she goes on to discuss and sing about the hazards and qualified pleasures of turning 80. There are poignant and funny moments (her internet dating skit is a hoot), but the invitation for everyone to dance towards the end is perhaps an escape committee meeting waiting to happen.
Run ends August 26
Xara Vaughan is relatively new to cabaret, a singer who channels an eventful past into her between-song chat and her song choices. With her Cockney spiel she comes across as the Artful Dodger's showbiz-attracted twin sister and there are elements of her singing and stagecraft that suggest she is still a work in progress.
Her best songs are the quieter ones, such as The Best Is Yet to Come, sung to just double bass accompaniment, and the voice and piano introduction to Keane's Somewhere Only We Know.
But given time and a bit less brassiness at higher volume she could develop into a Fringe favourite.
Run ends August 25