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Bebop Spoken There

Brian Harvey: "The exciting day arrived and we [as under age school boys] snuck into the [pub's] rehearsal room, sat awkwardly to attention on hard chairs in a row facing the band and heard our first - very loud - live jazz. What an occasion that was - we even drank beer because we understood that's what jazz people did and that's what the band were drinking." - (Just Jazz June 2020)

Dave Rempis:Ten years from now, I can see musicians streaming concerts in real time and charging a minimal amount for people to watch.” - (DownBeat September 2013)

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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".

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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.

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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