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Bebop Spoken There

Melanie Charles: "If I don't have a gig I'll try to get in bed by midnight. But if I do, I might end up having a jam session after. That happened a few weeks ago, and I didn't get to bed until 7 a.m.." - (The New York Times Aug. 10, 2018)

Archive quotes.

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'"

Postage

12,557 (and counting) posts since we started blogging 12 years ago. 276 of them this year alone and, so far, 127 this month (Feb. 28).

Wednesday March 3

HAPPY BIRTHDAY MILES WATSON

Thursday, July 18, 2013

CD Review: PETE McGUINNESS – VOICE LIKE A HORN

Pete McGuinness – vocals, trombone; Jon Gordon – alto sax, flute; Bill Mobley- trumpet; Ted Kooshian - piano; Andy Eulau – bass; Scott Neumann - drums
(Review by Debra M.)
Pete McGuiness is an established jazz arranger, trombonist & vocalist, based in New York City. The first album to showcase his voice, this combination of all facets of his musicianship has resulted in the swinging scatfest ‘Voice Like A Horn’. The recording features a small ensemble of piano trio and horns, & McGuinness’s arrangements provide ample opportunity for improvisation for all the instrumentalists, of which his scatting is an integral part.
Variety is added by the horns, which are particularly effective in ‘Oh You Crazy Moon’, punctuating the vocal & solo sections. McGuiness’s honeyed tones are clearly reminiscent of Chet Baker & Mel Tormé, and his smooth voice, with innate swing and fluid scatting , particularly suits the high tempo numbers. The project comprises mainly jazz standards, an exception being trumpeter Bill Mobley’s be bop style ‘49th Street’. On this track, and also Dizzy Gillespie’s ‘Birks’ Works’, McGuiness’s vocal agility is extraordinary. Perhaps not surprisingly, the style is similar to his trombone solos , in particular in George & Ira Gershwin’s ‘Who Cares?’. However, good musicians know when less is more, and contrast is provided by his compelling, stripped down rendition of ‘Never Let Me Go’, which has the most emotional impact of all the tracks on the album. Sometimes just the words are enough.
Debra M.

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