Bebop Spoken There
Louie Bellson: "When I have to play alongside Buddy[Rich] I have to pull out all the stops, because he plays for keeps all the time--which I think a player should do." - (Crescendo February 1976).
Robin Eubanks: “It was a wonderful time in my life [playing in a funk band], for sure. Having girls scream at you when you’re 15 or 16 was kinda cool.” – (Jazz Times October 2014).
Today Tuesday October 21
Always a stomping good session.
Gavin's bands are always interesting and this is well worth the trip.
Sunday, October 31, 2010
Saturday, October 30, 2010
Friday, October 29, 2010
Thursday, October 28, 2010
Wednesday, October 27, 2010
Tuesday, October 26, 2010
There's No Business Like Show Business (overture) - Annie Get Your Gun. Everything's Coming up Roses - Gypsy. I Get a Kick Out of You, Anything Goes, You're The Top - Anything Goes Anything You Can Do I Can Do Better - Annie Get Your Gun The Carioca - Flying Down to Rio (instrumental) Hello Dolly - Hello Dolly I'm the Greatest Star, People, Don't Rain on my Parade - Funny Girl The Man That Got Away - A Star is Born The Trolley Song, The Boy Next Door - Meet me in St Louis Good mornin' - Singin' in the rain Willkommen - Cabaret Thoroughly Modern Millie - Thoroughly Modern Millie Wouldn't it be Lovely - My Fair Lady
Monday, October 25, 2010
Sunday, October 24, 2010
Saturday, October 23, 2010
Friday, October 22, 2010
Thursday, October 21, 2010
Local heroine Roz Sluman and her band 'smoothed' their way onto the stage, very effectively set across the nave of the Priory, with a couple of classics including a spirited rendition of It could happen to you. Roz's comment that this was the first time she had not had to mic up the saxophone in such a large venue was borne out by the excellent and much talked about acoustics provided by the wonderful vaulted ceiling and ancient stones of the building. After a great up-tempo Bernie's Tune Roz treated us to a soulful version of Angel Eyes which really allowed the notes to soar to the beautifully worked wooden ceiling. Joined by vocalist Pete Hoban to end the set, the first half of the concert really demonstrated that the Priory could enhance all types of music
From the first number, Pee Wee Ellis treated us to a master class with melodious notes spilling out of his sax so fast, that even he admitted to showing off, just a little! He was clearly enjoying the venue, with the rich mellow tones of his playing filling the whole of the Priory with total ease. I had deliberately sat right at the back to test the acoustics and they didn't disappoint.
Interspersed with fascinating snippets about his life as a musician, including how he approached Sonny Rollins to give him a lesson when he was just 16, Pee Wee, accompanied on the grand piano in great style by Gareth Williams, took us through an eclectic repertoire from Herbie Hancock to Willie Nelson with some of his own material thrown in for good measure, all in his very individual style - including the singing!
He generously invited Roz and her band to join him on stage, with some fabulous duets between him and Roz, which clearly lifted her playing to another level and then closed the evening with a touch of James Brown, encouraging us to join in on the vocals!
A standing ovation was richly justified and the evening was, without doubt, another triumph of fundraising by David Gosling for that now prestigious jazz venue, Lanercost Priory! It all left me thinking - 'top that David' - and I'm sure he will. I look forward to it Sally Moon - BBC Radio Cumbria - 'And all that Jazz' programme.
Video of Roz and Pee Wee blowing on Now's The Time.
Wednesday, October 20, 2010
Tuesday, October 19, 2010
Monday, October 18, 2010
Sunday, October 17, 2010
Saturday, October 16, 2010
Friday, October 15, 2010
Listen: when things spiral beyond serious, the gloves are off, just as today, laid flat behind them on the floor of the Kings Hall, the great black lids were off the Yin & Yang joined Steinways, scattered inside with the contents of an improvising pianist's man/woman drawer - ping pong balls, blocks of wood, curtain rings, chopsticks and old combs - to bounce, zing, excite and frustrate the normal reactions of these majestic pianos.
Keith and Aki walked on together, took their bows to welcoming applause from the more than ample lunch time audience and then sat at their just-married instruments in contemplative silence, as collective vapours of ideas seemed to condense from the very ether of this beautifully resonant old hall. Emerging from his meditation, Keith stands and applies a piece of softwood to the cross-over treble strings, zzzing! as Aki makes her introductory percussive statement on the keys. I close my eyes in tonal absorption as the improvisations take off in such artful conversation, I have to open them for a periodic reality check to drag my out-of-body down from the ceiling - and of course, to keep an eye on what the two players are up to. Like the crossing wash of two grand boats passing starboard to starboard, the performance is never predictable and yet perfectly anticipated as the waves chop and splash on our aural harbour steps. Keith establishes a punching rhythm in the bass register, damped so that only the sound of the hammer mechanism can be heard, transporting us to an old cotton mill, where the shuttles fly back and forth as Aki applies a chromatic warp and weft punctuated by her colourful crashing chords. This is such an amazing telepathic improvised jazz duet that each player seems quite relaxed to introduce old friends as at a lively party: Keith, you remember George Gershwin and Aki, this is Abdullah Ibrahim - they go back to exciting the lips of their harmonic cocktail glasses. The control is never forced and rises and falls so gracefully from crescendo to diminuendo that you imagine they could be pilots with independent controls of the same aerobatic aircraft - we look skywards but never feel like running for cover! And, just as in the art of conversation, the end game is as important as the dizzy heights of the performance: Keith's fingers dart around inside a tinkling musical box on the inside top treble while Aki turns gently on the keys ; they play their au-revoirs as they had begun, with such respectful finesse we seem to be awakened from a dream, convinced we really can do whatever it was we dreamed we could do! A wonderful performance. George M
Thursday, October 14, 2010
Wednesday, October 13, 2010
Tuesday, October 12, 2010
Monday, October 11, 2010
Sunday, October 10, 2010
This was an evening full of surprises which began with a program of standards presented brilliantly by the Graham Hardy Trio. The selection was very reminiscent of the wonderful Chet Baker but without the vocals. An appreciative audience listened intently to the arrangements and applauded enthusiastically as each masterpiece ended. At times you could have heard a pin drop as members were captivated by the sound. Indeed there are a number of adjectives which came to mind during the performances – relaxed, gentle, smooth, mellow, soulful , meditational , cool and swinging. That about sums up the group. Graham was ably supported by Giles Strong (Guitar) and Paul Susans (Double Bass) who were very comfortable and harmonious in that style.
Programme- Bye Bye Blackbird, Mellow Tone, Delilah, Man I Love, Meditation, Stomping at The Savoy.
This was a great way to spend an evening with stress free chamber Jazz.
Thank you Trio – that was great.
Surprise Number two – We had experienced the CALM now for the STORM.
If any of us were so relaxed in a comfortable chair with an enjoyable drink before us then we were to be brought back to reality for on came Horn Dogs with the biggest band in our Club’s history of almost 26 fantastic years. As was mentioned by our conductor this was one over the eight as you shall read.
The Band had been joined by our Club Director, John Taylor, who surprised us all with his Sax. This was his best kept secret for not even his supportive wife had any idea this event would happen .Complete with pristine white shirt and Club Logo he joined the group in their first number and proved to us all that he is a man of many talents who did not cause any embarrassment. Didn’t he do well?
Afterwards the band jumped into its stride with a lively show. The renditions were loud, energetic, exciting and a total contrast to the previous session. At times the Jazz was frantic, pacey but always in the best possible taste and by the end of the evening the audience was as physically and emotionally exhausted as all the band members. Audience responses had been electric and our guest musicians had replied as only they knew how. We enjoyed and loved their Jazz Style,new to Ashington and we embraced it. If the Band are in need of sponsorship then Boots might be an option as our elderly enthusiasts would love to be taking whatever they are on. Thank you Horn Dogs for the night.
Programme – What a Friend, Big ‘n Breezy, Tears of a Clown, Do what-cha want, Mellow Felony, Remember When, Saints go marchin ‘ in, Hey Jude, Horn Dogging (imagine that) and High on Life.
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- Another masterpiece from Bill Shaw.
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- Duncan Eagles Dares to Fly - Partikel CD Review
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About this blog - contact details.
Not a very original title, I know; not even an accurate one as my taste, whilst centred around the music of Bird and Diz, extends in many directions and I listen to everything from King Oliver to Chick Corea and beyond. Not forgetting the Great American Songbook the contents of which has provided the inspiration for much great jazz and quality popular singing for round about a century.
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