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Bebop Spoken There

Dave Gelly: “From 1 January 1920, when prohibition was imposed in the US, people didn’t stop drinking, they just stopped drinking legally.” – (Jazz Journal October 2017).

Regina Carter: “When I was a teenager, I would daydream about going out on a date and dancing to Ella’s music.” (Down Beat October 2017).

Today Monday November 20

Afternoon

Jazz in the Afternoon - Cullercoats Crescent Club, 1 Hudleston, Cullercoats NE30 4QS. Tel: 0191 NE30 4QS. 1:00pm. Free.

Classic Swing - Marquis of Granby, Streetgate, Sunniside NE16 5ES. Tel: 0191 488 0954. 1:00pm. Free.

Evening

?????

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

Friday, February 26, 2016

CD Release: Matt Ridley - Metta

Matt Ridley (bass); Jason Yarde (soprano); John Turville (piano); George Hart (drums).
(Press release)
As a leader, British double bassist and composer Matt Ridley is a specifically investigative musician whose artistry is derived from a desire to create a strong, meaningful and structural purpose out of each initial glint of inspiration.
Following up his debut release on Whirlwind (Thymos, 2013), his new album Mettã – a title and concept referencing themes of benevolence and goodwill – finds him progressing his shared creativity again with his quartet of pianist John Turville, drummer George Hart, and soprano saxophonist Jason Yarde, who appears here in a fuller, more centrally melodic role. Captured within a single day, this is a studio recording brimming with passion and spontaneity.
The seven extended originals of Mettā arise from an almost strategic, compositional plan which inspires engaging extemporisation from all players. Removed from any notion of a conventional head/solo approach, Ridley’s musical landscape is one of focused rhythmic, chordal and improvisational invention which can both challenge and delight – as in storytelling opener 'Music To Drive Home To', whose steady, end-of-day journeying, led by Jason Yarde’s colorful soprano dialogue and John Turville’s spangled ostinati, is punctuated by unpredictable pauses and meanderings.
That spirit is key to the magnetism of this album’s performances, its title track mysteriously building Ridley’s desired sense of amity through the elevated, free expression of his lucid bass soloing, George Hart’s fiery drum and cymbal elaborations, and the soulful cries of Yarde. 'Lachrymose', too, overflows with sensitive expression, Turville’s crystalline piano brightly tempering Yarde’s mournful theme; and 'Strange Meeting’s' romanticism coruscates unexpectedly to crisp, percussive slivers and bewitching soprano imaginings.
A contrasting tour de force is the snappy, chaotic vigor of 'Mental Cases', as the quartet relentlessly pushes the commotion with quick-fire syncopation, pulsating bass momentum, modal pyrotechnics and piano pandemonium. Perpetuating Ridley’s aspirations for engaging music-making, 'The Labyrinth' becalms a similar state of panicky disorientation with elegant-yet-animated combined arco bass and soprano phrases which teasingly and eventually prompt an infectiously wide swing; and to close, classically-inflected 'Ebb and Flow' glints, jewel-like, summing-up this band’s impressive diversity and ebullience.
Matt Ridley describes his quartet’s offering as "considered, composed/improvised music which might transport and entertain both listeners and players, creating and involving all in an awareness of the present – that’s something I feel strongly about.” The immersive experience of these fifty-or-so minutes suggests that intention is excitingly on-track.
Press Highlights
"Contemporary lyricism with an infectious percussive undercurrent from the eloquent bassist.”
Jazzwise

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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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