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Bebop Spoken There

Charlie Musselwhite: "I used to see these posters in the windows of the [Chicago] blues clubs advertising Elmore James and Muddy Waters which knocked me out. I was making a note of the addresses and at night I'd go back and listen to the blues until 4-5 in the morning." - (Blues Matters! Aug/Sep 2021)

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.

Postage

13,530 (and counting) posts since we started blogging 13 years ago. 948 of them this year alone and, so far, 112 this month (July 31).

Wednesday, November 07, 2012

Customs House Big Band Open Rehearsal New Crown South Shields Nov. 6

Peter Morgan musical director and patter.
Jill Brett, Elaine Willis Alan Marshall, Amber Reeve, Chris Kaberry saxophones.
Toby Donnelly, Michael Lamb, Annette Butters, Gordon Marshall trumpets.
Gareth Weaver, Chris Kurji Smith, Michael Fletcher, Peter Morgan trombones.
Bill Brittain keyboard, Alan Smith bass guitar, Paul Wight drums.
Ruth Lambert vocals.
(Review by Miles).
Walking through the door on a cold night we were greeted by the sound of Christmas carols played by a big band. Thankfully, they were arranged by Stan Kenton with harmonies that Hymns Ancient & Modern never dreamed of, the screaming trumpets at the end of an un-Silent Night was alone worth the journey.
The rehearsal set continued with an Oscar Pettiford number, Tricotism the band working well on what was originally a feature for double bass. The set ended with The Way You Look Tonight.
The concert set started with Basie's Straight Ahead, the original chart, not the easier version that's normally played, then Ruth sang Cole Porter's I'm Always True To You In My Fashion from Kiss Me Kate. The band did a Sentimental Journey, at a tempo that would have made Doris Day have kittens, Ruth followed with Night and Day (not Doris). A little known piece by Lennie Niehaus called Fantasy For Saxophones featured some lovely section work led by Jill Brett on lead alto and Ruth's final number was Cheek To Cheek. The band played out with the Basie version of April In Paris complete with the Thad Jones' solo and the one more time coda.
This band maintains its high standard even with the odd personnel changes and deps coming in, I cannot praise Ruth too highly, everything that Lance has said in the past still stands.
Finally big band lovers should make the effort to see this band it is well worth it.
Miles.

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