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Bebop Spoken There

Billy Cobham: "Miles said to us, 'Don't play in between takes,' so of course John [McLaughlin] played in between takes." - (JazzTimes, Nov. 2019).

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Today Thursday November 21

Afternoon

Jazz

Vieux Carré Jazzmen - Holystone, Whitley Road, Holystone NE27 0DA. Tel: 0191 266 6173. 1:00pm. Free.

Evening

Jazz

Brand New Heavies - Riverside, Neptune House, Close, Newcastle NE1 3RQ. 7:00pm. £25.00.

Alice Grace-Jordan Alfonso Quintet - St James' & St Basil's Church, Fenham Hall Drive, Fenham, Newcastle NE4 9EJ. 7:30pm. £8.00. (£4.00. student).

Son Yambu - Whorlton Village Hall, Barnard Castle DL12 8XD. Tel: 01833 627253. 7:30pm. £10.00., £5.00. child, £25.00. family.

Maine Street Jazzmen - Sunniside Social Club, Hollywell Lane, Sunniside, Gateshead NE16 5NJ. Tel: 0191 488 7347. 8:30pm. Free.

Tees Hot Club w. Dan Johnson (tenor sax); Donna Hewitt (slto sax); Dave Archbold (keys). - Dorman’s Club, Oxford Road, Middlesbrough TS5 5DT. Tel: 01642 823813. 8:30pm. Free.

New Orleans Preservation Jazz Band - Oxbridge, Oxbridge Lane, Stockton on Tees TS18 4AW. 8:30pm. £2.50.

Blues/Soul/Funk/Etc.

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

Saturday, October 13, 2012

You can’t play that music tonight, that music belongs to the morning!

(By Ann Alex).
And that restriction, jazzers, is one of the rules about playing Indian ragas, as I learned when attending the lecture about South Asian music, at the Sage on Tuesday this week, given by Prof. David Clarke of Newcastle University.  This was an interesting and fascinating illustrated talk.  I'll try to convey the information given, though I'm no expert.  Jazz musicians will identify with some of the ideas behind this form of music.
Prof. Clarke was discussing Northern Indian classical music, known as Hindustani music.  Rather than our formal written classical music, this is ‘mood’ music with a certain ‘feel’, hence the rule that certain pieces or ‘Ragas’ can only be played at certain times of the day.  The music is improvised within a set structure and most musicians are able to play about 100 ragas, although there are 1000s in existence.  The music isn't normally written down except for teaching purposes.  No two performances of the same raga will be identical.
First, the drone is set up, played on a 4 stringed instrument. We were told that this is played by stroking each string as you'd stroke a lover!  The drone plays throughout the piece and can be produced electronically.  Then comes the main instrument, often a sitar or the voice, and the raga is established by playing the relevant notes for that raga from the scale.  The note names are Sa Re Ga Ma Pa Dha Ni.  After some time, possibly 5 or so minutes of playing, the two tabla drums begin repeating their pattern of 12 or 16 notes, called Thekas, as appropriate for the raga.  There is improvisation by the sitar and drums, although the drums have to be subtle.  The raga proceeds through the various sections, often ending with very fast tabla playing.  How do the musicians know when to begin a new section?  Prof Clarke said ‘They just know!’  This must sound familiar to jazz musicians.
If someone is singing the raga, the words are either religious or romantic, or sometimes both combined.  I recently heard a raga performance and the music reminded me of Western minimalist classical music, say that of Philip Glass, but more complex.  Apparently the ethos of ragas is in the background of lots of Indian music, including popular music.  I was fascinated by this talk which has demystified an unfamiliar type of music.  There is more information about performances at
Ann Alex.

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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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Whilst we appreciate the many emails, texts, messages and other communications we receive requesting album/gig reviews on BSH, regrettably, we are unable to reply to all of them other than those we are able to answer with a positive response.
Similarly, CDs received by post will only be considered if accompanied by sufficient background material.
Finally, bear in mind that this is a jazz-based site when submitting your album.
Lance