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Bebop Spoken There

Ethan Iverson: "I asked Bertha [Hope] if she ever used the word "contrafact" to describe the process of writing new tunes over old changes, and she replied, "Of course not. The only people who used that word went to a university to learn about jazz."" - (Jazz Times March 2020).

Archive.

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".

COFID- 19

In the current climate we are doing our best to keep everyone up to date. All gigs, as we all know, are off.

However, good old YouTube has plenty to offer both old and new to help us survive whilst housebound. Plus now is a good time to stock up on your CDs.

Also, keep an eye out for live streaming sessions.

Alternatively, you could do as they do in Italy and sing from your balcony.

Today

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.

Thursday, July 25, 2013

Jazz Cafe Refugees: The Star: Debra Milne Ensemble: July 24

Debra Milne (vocals); Steve Glendinning (guitar); Paul Grainger (bass/drums); Rob Bates (drums) + John Rowland (ten); Dave Parker (bs); Steve Summers (sop); Ann Alex , Kathy Jobes, Barry Keatings (vcls). (Review by Ann Alex).
 BSH arrived late at the gig because a gas leak had caused metro delays – we’d travelled on the good old 27 bus instead, we really need a song about this bus, it serves BSH so well.  Some of the gas must have seeped into the Star, as Debra and the lads were doing their stuff with aplomb when we arrived, ‘cooking with gas’ as they say.  
At 9.20pm they were playing Coltrane’s Equinox, Steve with his usual adventurous chords and runs, good steady bass from Paul, Rob drumming well, sweet-voiced Debra.  This was followed by an original, Stay (lyrics by Debra, tune from Steve), showing these two as an effective song-writing team – they should write more.  Other numbers included Have You Met Miss Jones; Senor Blues (with call and response between band and voice); a Betty Carter song with neat staccato chops from the drums; Relax, Debra’s words to the tune of Killer Joe, with a bass solo; Duke Ellington’s Caravan; and a Tom Waits song Temptation, with interesting vocalise from our singer. However the song I liked best had a feel of contemporary folk rather than jazz, a Steve/Debra original called Show Me The Man.
The Jam
After a break, during which Debra had taken the trouble to arrange for people to join the Jam, Paul Grainger took drums for a time (yes, I didn’t believe it either!); Dr Steve Summers and John Rowland popped up with their saxes (soprano and tenor); Dave Parker appeared on bass, and Barry Keatings treated us to a tasty version of Besame Mucho in Spanish, which I believe he speaks fluently.  After a catchy instrumental of Four, it was my turn to sing A Foggy Day In London Town, with Steve back on Guitar, Rob back on drums, and me pitching the song a bit too low for my voice, but it worked generally.  These are the thoughts that go through singers’ heads anyway.  Kath Jobes sang a good version of Autumn Leaves, well arranged by beginning slowly, then becoming fast and lively.  An instrumental, Stella By Starlight, rounded off the evening well.

Ann Alex

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