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Bebop Spoken There

Kathyrn Williams: “I got into Miles Davis when I was a teenager. But I’m nowhere near as knowledgeable as Anthony [Kerr]: he is an encyclopedia of jazz, with a real in-depth, academic knowledge. I’m just a fan.” – (Jazz Journal December 2017).

Christian McBride: "He [Horace Silver] was the whole package" – (Downbeat September 2014).

Today Tuesday January 16

Afternoon

Classic Swing - The Ship, Front St., Monkseaton NE25 8DP. 1pm. Free.

Evening

Jam Session - The Jazz Café, 25 Pink Lane, Newcastle NE1 5DW. 8pm. Free.

Ian Bosworth - Dormans, Oxford Rd., Middlesbrough TS5 5DT. 9pm. Free.

To the best of our knowledge, details of the above events are correct but may be subject to alteration.

Friday, February 01, 2013

CD Review: Lisa Forkish - Bridges.

Lisa Forkish – vocals; Patrick Anseth – guitar; Paul Eastburn – bass; Carrie Jahde – drums; Cava Menzies – piano; Jon Schroder – cello; Aaron Saul – alto sax; Sarah Vela – backing vocals.
(Review by Debra).
Lisa Forkish is a young American vocalist based in Oakland, California. In her second album, Bridges, she has written and arranged 8 of the 12 tracks, largely exploring the theme of love, won and lost. ‘Unravelling’, a slow ballad, is the outstanding song, with a slow, soulful, heartfelt delivery, overlaid with delicate harmonies, and supported by sympathetic backing from guitar, double bass and drums. 
In songs such as ‘Cold Light of Day’ and ‘City of Bridges’ there is a Folk/Country feel, which becomes Rock-ier in the cover of Stephen Still’s ‘For What It’s Worth’. Forkish’s social conscience is evident  in ‘Solidarity’ (runner-up in Berklee’s Songwriting For Social Change contest – how American is that?), a well arranged song with an anthemic quality, which ends with a choral acapella.
The jazziest number is the self-penned ‘Fools in Love’, with slapping brushes and walking double bass, where Forkish relaxes with a bluesy vocal and some stylish scatting. However, in ‘No More Blues’  the seductive Latin lilt of Jobim is sacrificed for an almost marching style staccato rhythm, and the chance to swing is overlooked in ‘I Could Have Danced All Night’, although the rhythmic arrangement provides the backdrop for some tasty solos and interchanges from drums, bass guitar and sax. The repertoire in this album certainly bridges a number of musical styles, and showcases Forkish’s voice and her ability to compose and arrange, but I’m not convinced that this sister can swing; her future success probably lies somewhere along the route taken by Karen Carpenter and KD Lang..
Debra.

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Whilst we appreciate the many emails, texts, messages and other communications we receive requesting album/gig reviews on BSH, regrettably, we are unable to reply to them all other than those we are able to answer with a positive response.
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Lance

About this blog - contact details.

Bebop Spoken Here -- Here, being the north-east of England -- centred in the blues heartland of Newcastle and reaching down to the Tees Delta and looking upwards to the Land of the Kilt.
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.
The idea of this blog is for you to share your thoughts and pass on your comments on discs, gigs, jazz - music in general. If you've been to a gig/concert or heard a CD that knocked you sideways please share your views with us. Tell us about your favourites, your memories, your dislikes.
Lance (Who wishes it to be known that he is not responsible for postings other than his own and that he's not always responsible for them.)
Contact: lanceliddle@gmail.com I look forward to hearing from you.

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