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Bebop Spoken There

Jeremy Pelt: "In my experience, the hottest player on the scene is almost always the most annoying motherfucker on the scene because they know that they're hot." - (DownBeat June 2019).

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2019 Parliamentary Jazz Awards

The voting is open between now and May 31 to enable site visitors to nominate their choices in the various categories of this year's APPJAG awards which can be done here.
BSH was very proud to be nominated and to win the 2018 Media Award and hope we can have your support again this year.

Today Sunday May 19

Afternoon

Jazz

Anth Purdy: Swing Jazz Guitar - Blyth Battery, The Links, Blyth NE24 3PQ. 10:00am-4:00pm. Free. 'Blyth Battery Goes to War Weekend'.

Vieux Carré Hot 4 - Spanish City, Spanish City Plaza, Whitley Bay NE26 1BG. 12 noon. Free.

Musicians Unlimited - Park Inn, Park Road, Hartlepool TS26 9HU. Tel: 01429 233126. 1:00pm (doors 12 noon). Free.

Alice Grace & Ben Helm - Bonbar, Fenkle St., Newcastle NE1 5XU. Tel: 0191 232 8695. 1:30pm.

Jazz Social - Charts, Quayside, Newcastle NE1 3DX. Tel: 0191 338 7989. 4:00pm. Free. Jam session with house trio (James Harrison, piano).

Blues

Memphis Cruisers - Billy Bootleggers, Nelson St., Newcastle NE1 5AN. 3:00pm. Free.

Archie Brown & the Young Bucks - The Schooner, South Shore Road, Gateshead NE8 3AF. 5:00pm. Free.

Evening

Jazz

Sue Ferris Quintet - Black Bull, Bridge St., Blaydon NE21 4JJ. Tel: 0191 414 2846. 7:30pm. £7.00. Blaydon Jazz Club.

Philip Clouts Quartet - The Globe, Railway St., Newcastle NE4 7AD. 7:30pm. £10.00 (£7.00 student).

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

Saturday, March 19, 2016

Grew Quartet + Grew Watts Duo + Grew Quintet @ Lit & Phil - March 17.

(Review/photos courtesy of Ken Drew.)
This highly anticipated double bill was quickly re-arranged into a 3-set Jazz North East treat at the Lit & Phil.
First set – the quartet – all in together from the outset.  Stephen on the piano with very extensive and dynamic use of the keyboard, along with the left hand occasionally modulating the mid-strings as the right hand continued its workout along the keyboard.   Virtually all played throughout – no ‘solo’ spots as such creating a continuously complex and energetic sound, enthralling the audience. The clarinet at times competing with the piano – each urging the other on, with bass and drums constantly underpinning the mix.  Then a quiet passage – a bass solo – plucking both above and below the left-hand finger positions. Very enthusiastic playing!   Overall, very energetic interplay, and just like the local Wylam beer, very accessible and very tasty!!   A pity it was limited to just half an hour!!  What a superb opening set.
Duo set.   Trevor blasting in from the start with nice harmonics echoing from the openly-sustained piano.   Stephen on the piano producing such pyrotechnics from one pair of hands!!  Both hands a frenzy up and down the keys, with plucked individual strings along the way, yet in total unison with Trevor throughout.  I think Trevor was ‘leading’ but Stephen was surely only microseconds behind.  Again, such dynamics were demonstrated both across the keys and inside the grand too, with many fleeting  excursions inside to pluck individual strings with the left hand – each done mid-flight as there was much work to be done on the keys.  Constantly responding to the challenge from Trevor.  What a Masterclass!!  Two pieces expertly delivered, and each ‘closed’ neatly and succinctly by mutual aural agreement.
Third set, the Quintet.  Straight in from the off again, and all playing constantly, for the most part, each adding their own expressions yet following the mood and direction of the piece as it developed.  The ‘wind’ (Trevor and Matt) occasionally converging perfectly on glissandos.  Both were giving a good blowout, and were so well matched.  Stephen’s right hand picking harp-like at the upper strings of the grand, bass and drums energetically taking their own solo spots.   All players were in unison from start to finish, and concluded with a clean, nicely developed ending.
The audience, which was of a decent size, nicely filled the Lit & Phil’s performance room, aiding the acoustics which were very clear and were amply rewarded with a superb three sets by a quartet, a duo and a quintet, each with musicians of breath-taking ability exhibiting some high-velocity workouts.  We were later told that these 5 players had never played together before. Wow!! What an introduction!!  Following the most enthusiastic applause, a concluding remark noted it was ‘an example of Empathetic improvisation at its very finest‘.  Let’s hope we see a follow-up in the not too distant future.  
Ken.
Grew Quartet: Stephen Grew (piano); Seth Bennett (bass); Phil Marks (drums); Matt Robinson (clarinets).
Stephen Grew - Trevor Watts Duo: Stephen Grew (piano); Trevor Watts (alto & soprano sax)
Grew Quintet: Stephen Grew (piano); Seth Bennett (bass); Phil Marks (drums); Matt Robinson (clarinets); Trevor Watts (alto & soprano).

3 comments :

Paul Bream said...

Thanks Ken - great review of a great gig. I'm generally very sceptical about 'Gig of the Year' accolades (there are so many to choose from), but this will undoubtedly take some beating. And the players all commented on what a great, receptive audience it was . . . but where were the local musicians? I spotted one saxophonist, one pianist and two drummers in attendance. It's not about learning, its about enjoying - although, of course, if one or two ideas rub off, well, isn't that the way that jazz has always developed?

Lance said...

I mentioned this awhile back, either on here or on facebook.
One person replied, "when I'm fortunate enough to get a night off the last thing I want to do is go to a gig!"
Seems as though it's a national thing, a friend of mine in London remarked on a similar scenario down there. Someone else said that maybe a musician who hasn't got a gig doesn't want to be seen by someone who has! I've also noted that players who do go to gigs are often the worst offenders when it comes chatting away during the music!
Possibly because so many have graduated from Jazz Education courses they feel superior to the guy who paid his dues in clubs/pubs at night after an 8 hour day in an office/shop/factory?
At one time gigs used to offer concessions to MU members.

Emma Fisk said...

I think I commented when this came up last time. Speaking personally, as anyone else who works and has children when I'm not at work I have dishes to wash, children to feed, shopping to do, tunes to practice...I do occasionally get to a gig but life is busy!
Certainly hope I'm not guilty of any of the crimes you mention Lance!

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