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Bebop Spoken There

Jennifer Wharton: "People forget that the trombone is so glorious. It can be like going to church, or getting ready for battle. It can be a lot of things....For a longtime I was the only female trombonist in New York," - (DownBeat May 2021)

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Postage

13,248 (and counting) posts since we started blogging 13 years ago. 667 of them this year alone and, so far, 75 this month (May 16).

Coming soon ...



May 20: Vieux Carré Jazzmen at The Holystone (Indoors!)
May 20 Maine Street Jazzmen are back at Sunniside Social Club. 8:30pm start.
May 23: Vieux Carré Hot Four are back at The Spanish City.

June 21: Jazz in the Afternoon are back at Cullercoats Crescent Club. (Revised date).
June 23: Vieux Carré Jazzmen are back at Cullercoats Crescent Club. (Revised date).

Friday, August 17, 2012

Lindsay Hannon @ The Sage, Gateshead.

Lindsay Hannon (vcl); Alan Law (pno); John Pope (bs); Mark Robertson (dms).
(Review by Lance.)
When Lindsay sings Why Try to Change me Now? I'm lost - her slave forever! The rest of her program could consist of Baa Baa Black Sheep sung backwards in Russian in 7/4 time and I wouldn't care! This was a defining moment and it was also her opening number.
Why Try to Change me Now? - a Cy Coleman tune with a triple rhyme lyric by Joe McCarthy - is one of the songs that brought Frank back into the public eye and, whilst I'm not making comparisons, Lindsay's version offers a great alternative take with its up tempo chorus and relaxed middle eight.
Nice one.

Lindsay didn't follow up with Black Sheep but instead chose Joni Mitchell's Blue Motel Room. Another gem with the lyric, You and me are always like America and Russia, catching my ear.
The superlatives are just too many to mention - The Very Thought of You (up tempo a la Anita), Billy Joel's Where is the Orchestra? the beautifully poignant Old Fashioned Hat.
Interval time, good to meet up with Bill Weston again. and Ann's friend Kath - who, like Ann, is one of  Lindsay's singing students.
The second set opened with some Herbie Hancock before moving back to Joni Mitchell and The Hissing of the Summer Lawns. Mitchell's lyrics are incredible (He gave her a room full of Chippendale that nobody sits in.) There Will Never be Another You taken out of tempo before the second chorus explosion. John Pope's bass solo on this was right on the money as indeed it was throughout. Special mention of Alan Law who hit solos worth Euro Millions - Euro? Nah, these were top dollar!
The number "borrowed" from Lindsay's pop group Iceni was sensational - almost a suite with its pastoral feel that flanked Law's explosive moments in the middle..I Ain't Got Nothin' But The Blues, St. Louis Blues and So-long Big Time (hard boiled Bogie type narrative from drummer Mark to bring it in) kept the adrenalin flowing until it was all over and we sank down into our seats and agreed that Lindsay Hannon Plus had added a helluva lot more plus' to their name.
It was near perfection, Great singer, Great trio, Great acoustics, Great dress, Great night - so why was it only "near perfect?"
It didn't last forever!
Lance.

1 comment :

Anonymous said...

It is great that Joni Mitchell is part of the repetoire of our jazz singers as the lyrics are incredible and she has a great jazz sensibility having worked with Mingus, Shorter, Hancock, Pastorius. I was interested to see in Lol Coxhill's obituary in the Guardian that he was apparently the inspiration for Mitchell's song 'For Free' when she saw him busking by Hungerford Bridge. Who says free jazz has no influence?
JC
ps - Thanks to Cameron, Rebekah Brooks and the Leveson Inquiry we now know Coxhill's first name stands for 'laugh out loud' and not 'lots of love' - it seems to fit.

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