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Bebop Spoken There

Kurt Elling: ''There's something to learn from every musician you play with''. (DownBeat, December 2024).

The Things They Say!

Hudson Music: Lance's "Bebop Spoken Here" is one of the heaviest and most influential jazz blogs in the UK.

Rupert Burley (Dynamic Agency): "BSH just goes from strength to strength".

'606' Club: "A toast to Lance Liddle of the terrific jazz blog 'Bebop Spoken Here'"

The Strictly Smokin' Big Band included Be Bop Spoken Here (sic) in their 5 Favourite Jazz Blogs.

Ann Braithwaite (Braithwaite & Katz Communications) You’re the BEST!

Holly Cooper, Mouthpiece Music: "Lance writes pull quotes like no one else!"

Simon Spillett: A lovely review from the dean of jazz bloggers, Lance Liddle...

Josh Weir: I love the writing on bebop spoken here... I think the work you are doing is amazing.

Postage

17630 (and counting) posts since we started blogging 16 years ago. 904 of them this year alone and, so far, 49 this month (Dec. 20).

From This Moment On ...

December

Mon 23: Harmony Brass @ Cullercoats Crescent Club. 1:00pm. Free.
Mon 23: Vieux Carré Jazzmen @ The Wheatsheaf, Benton Sq., Whitley Road, Palmersville NE12 9SU. Tel: 0191 266 8137. 1:00pm. Free. CANCELLED!
Mon 23: Edison Herbert Trio @ The Vault, Darlington. 4:00pm. Free.
Mon 23: Jason Isaacs @ St. James’ STACK, Newcastle. 4:00-6:00pm. Free. Vocalist Isaacs working with backing tapes.
Mon 23: Milne-Glendinning Band @ The Vault, Darlington. 7:00pm. Free.

Tue 24: Lindsay Hannon & Mark Williams @ Ernest, Ouseburn, Newcastle. 11:00am-1:00pm. Free.
Tue 24: Paul Skerritt @ Mambo Wine & Dine, South Shields. 1:00pm. Free. Vocalist Skerritt working with backing tapes.

Wed 25: Wot? No jazz!

Thu 26: The Boneshakers @ Tyne Bar, Ouseburn, Newcastle. 4:00pm. Free. The 17th annual Boneshakers’ Shindig.

Fri 27: Classic Swing @ Cullercoats Crescent Club. 1:00pm. Free.
Fri 27: Rendezvous Jazz @ The Monkseaton Arms. 1:00pm. Free. Business as usual!.
Fri 27: Jason Isaacs @ Seaburn STACK, Seaburn. 3:30-5:30pm. Free. Vocalist Isaacs working with backing tapes.
Fri 27: Michael Woods @ Prohibition Bar, Newcastle. 8:00pm. A ‘Jar on the Bar’ gig. Country blues guitar & vocals.

Sat 28: Jason Isaacs @ St. James’ STACK, Newcastle. 11:30am. Free. Vocalist Isaacs working with backing tapes.
Sat 28: Fri 20: Castillo Nuevo @ Revoluçion de Cuba, Newcastle. 5:30pm. Free.
Sat 28: Jude Murphy, Rich Herdman & Giles Strong @ Prohibition Bar, Newcastle. 8:00pm. A ‘Jar on the Bar’ gig.
Sat 28: Ray Stubbs R & B All-Stars @ Billy Bootlegger’s, Stepney Bank, Newcastle. 9:00pm. Free.

Sun 29: Paul Skerritt @ Hibou Blanc, Newcastle. 2:00pm. Free. Vocalist Skerritt working with backing tapes.
Sun 29: Alexia Gardner Quintet @ The Globe, Newcastle. 8:00pm.

Reviewers wanted

Whilst BSH attempts to cover as many gigs, festivals and albums as possible, to make the site even more comprehensive we need more 'boots on the ground' to cover the albums seeking review - a large percentage of which never get heard - report on gigs or just to air your views on anything jazz related. Interested? then please get in touch. Contact details are on the blog. Look forward to hearing from you. Lance

Thursday, November 05, 2009

The Schmazz Factor - The Cluny.

Result.
Best Overall Band: CARPUS TRIO (Pete Currie, pno; Nick Grimes, gtr; Victor Solana, dms.)
Best Individual Performance: Christian Alderson, perc. (Long Lonesome Go).
Best Individual Composition: Final tune by Harley Johnson Trio written by Ivan Scutt.
(Click above for photo.)
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I'm frequently at loggerheads with cricket umpires, football referees and X Factor judges so it is no surprise that I disagreed with this decision. However, that is 3 judges against one listener so c'est la vie.
The question posed here was what is and what isn't jazz. Certainly Carpus Trio, the winning band, were more rock orientated than jazzified, Long Lonesome Go were pure and simply an improvising trio with only Harley Johnson's Trio having any semblance to being a jazz group.
Carpus had the most explosive start of any band in any genré I've ever heard and possibly this shell-shocked the judges into another millenium. That Carpus were tightly efficient can't be denied. However, they offered little variety to these ears. In fairness to them, they were ideal Cluny material.
Long Lonesome Go played one number that lasted for all of their 30 minute set and I breathed a sigh of relief when it was all over. Having said that, their drummer probably did deserve the Best Individual Performance award.
Finally, the Harley Johnson Trio - Harley on piano, Ivan Scutt, bass and Sid Wright, drums.
On paper the favourites and, if it had been a Corner House gig, surely runaway winners.
They played brilliantly and originally without even a trace of the Monkishness so associated with Harley.
Where they may have lost points was the strange decision to feature two bass and drum duets in the middle of a thirty minute set. With no disrespect to the two musicians, who are both excellent, this did cause things to flag slightly and there was a sense of lost momentum. In an hour long set they may have got away with it but not in such a short stint.
The final number, by bassist Scutt, the title of which I'm afraid to say I've forgotten, was a belter that I felt might just have swayed the judges but didn't quite. At least it won the best composition prize.
Nevertheless, an interesting attempt that hopefully will be repeated next year.
Lance.

4 comments :

Harley said...

Thanks for coming along on the night. Carpus Trio was defintely more associated with the Cluny - where that puts Harley Johnson then who knows - Chillingham perhaps? Maybe I would actually get more gigs doing that sort of 'minimalist' material but I'd rather just keep doing what I love to do instead of betraying the 'tradition' of jazz!

pawel said...

I thought the Long Lonesome Go were far the most innovative act; refusing to comform to the usual jazz cliches. They as least seemed to have a sense of humour about the occasion.
The review and the previous comment confirm my worst suspicions about the insularity and cliqueishness of the North East Jazz Scene. Jazz is not something that can be constrained to being perceived as either appropriate to the Cluny or the Chillingham or both or neither: it transcends such parochialism.Jazz and "tradition" should be anathema.
I expect we'll be hearing a lot more from the LLG: I concede that they need to be a lot tighter but they showed a wealth of ideas, originality, and a refusal to be derivative and to be intimidated by some fusty notion of what jazz "should" be.

Lance said...

To me, the beauty of jazz is that it can be all things to all men (and women). Far from being insular and cliquish I think jazz appreciation in whatever form is wider than it has ever been.
That I don't like everything I hear doesn't make me different to anyone else. The person who says he likes everything doesn't usually like anything.
Nevertheless, nothing written within these pages is written in stone and I'll happily beg to differ whilst acknowledging everyone has a right to their own opinion. That it's not my opinion doesn't make it wrong or right just different.
Long my jazz prosper on those differences.

Long Lonesome Go said...

The 'jazz/not jazz' argument that's as old as jazz itself! I guess you're always going to get it with an art form that is as strongly rooted in the opposite poles of 'tradition' and 'innovation', and is innovation one of the main traditions within jazz - you can go on forever.
For our part...
We knew we were going to be the least 'jazz' on the nights bill by most people's idea of 'jazz'. We were certainly the least consciously 'jazz' of the three acts. To my ears both Carpus and Harley trios were clearly stating where there respective jazz flags were planted (indeed my main criticism of both would be that they didn't stray very far from those flags, but hey). The Long Lonesome Go flag is sometimes near a Stan Tracy trio, sometimes nearer Bitches Brew, sometimes Evan Parker. Quite a lot of the time it's somewhere a way from any of those. So some nights we'll be less 'jazz' than others. I would ask however how much free improvisation, extended technique/soloing and syncopation are a part of 'jazz'.

The point is for anyone to like us or dislike us, or anyone, because of the noises we create is one thing. To like/dislike (or worse dismiss) anyone for the same can sound like someone saying 'that's not fair, they're not playing by the rules' and suggests a smallness of mind and narrowness of view, two things which, I think we're all agreed, have no place in jazz.

Pawel - thanks for the kind words, I hope we can live up to them. The cheque is in the post.

Harley - Keep doing what you love but remember the tradition of jazz is a history of betrayals, I wouldn't worry, she's a forgiving mistress. And if you think that the 'minimalist' guys are getting all the gigs... not in my experience they're not.

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