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Bebop Spoken There

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COVID-19

In the current climate we are doing our best to keep everyone up to date. All gigs, as we all know, are off.

However, good old YouTube has plenty to offer both old and new to help us survive whilst housebound. Plus now is a good time to stock up on your CDs.

Also, keep an eye out for live streaming sessions.

Alternatively, you could do as they do in Italy and sing from your balcony.

Today

As we all know there are no live gigs taking place in the immediate future. However, any links to jazz streaming that are deemed suitable - i.e. with a professional approach - will be considered for posting.

Sunday, January 17, 2010

Paul Edis Sextet: Splinter @ The Bridge Hotel

Graham Hardy (tpt/flug), Alex Leathard (tmb), Graeme Wilson (ten), Paul Edis (pno), Mick Shoulder (bs), Adam Sinclair (dms).
Another well-attended jazz gig! Have the ears of the world, or at least the north-east finally been unfurled? Will "Blaydon Races" be replaced by "Straight No Chaser"?
The thought is enough to put one in a sentimental mood which the Paul Edis sextet did tonight. On, I think the third number, they gave the old Ellington standard a glorious workout with Graham as opposed to Graeme playing an emotional muted chorus or two. The tune may be vintage wine but the arrangement and Graham's solo were of today.
This was but one of the first set delights - there were many.
Alex Leathard, depping for Chris Hibbard on trombone, played amazingly well, and these weren't your average stock arrangements. On top of that he soloed in both a luxuriant mellow mood as well as in a 'Machine Gun' Jimmy Knepper mode.
Graeme, as opposed to Graham, not only blew tough tenor but contributed some of the arrangements too.
His playing and his writing can be awesome at times.
Tonight was one of those times.
What can one say about the rhythm section? They handle everything with apparent ease. A trio number written by Paul and dedicated to the Duke of Ellington was sensitivity personified; rich probing chords that opened your harmonic tear ducts and moved your emotions up a gear.
The hour-long first set seemed to fly by; it had been a joy.
My heart stopped fluttering and began sinking when Paul announced that the sextet were to play a four movement suite he had composed.
I shuffled in my seat and attempted to make myself comfortable and prepared for the premiere of the as yet unnamed suite. Suites are not my bag and run second to tone poems on my boredom factor lists - I looked wistfully towards the distant door. Could I make it? I wondered.
Decided I couldn't so sat back and gritted my teeth
I was wrong to doubt! From the opening sonority of Mick's bowed bass to his closing reprise 'twas excellent.
In between, all the musicians were featured to great effect in solo and in ensembles that encompassed counterpoint, a hint of atonality, some marvelous harmonies and varying tempos. I breathed a sigh of relief - nothing bitter about this suite.
The final selection, "Angular" saw Adam chip in with an imaginative solo that reminded us that the spaces are as important as the salvos.
Adam did both to great effect.
A fine gig.
Lance.

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