For the past seventeen years we've been updating the world about jazz in the north east of England and updating the north east of England about jazz in the world. WINNER of the Jazz Media Category in the 2018 All Party Parliamentary Jazz Awards. Contact lanceliddle@gmail.com
DECEMBER 2025
Sun 07: Ian Bosworth Quintet @ Chapel, Middlesbrough. 1:00pm. Free. Feat. special guest Donna Hewitt (sax, clarinet).
Sun 07: Finn-Keeble Group @ Central Bar, Gateshead. 2:00pm. £10.00.
Sun 07: Sax Choir @ The Globe, Newcastle. 2:00pm. Free.
Sun 07: Paul Skerritt @ Hibou Blanc, Newcastle. 2:00pm. Skerritt w. backing tapes.
Sun 07: Michael Young Trio @ The Engine Room, Sunderland. 2:30pm. Free. Trio + Ruth Lambert.
Sun 07: 4B @ The Ticket Office, Whitley Bay. 3:00pm. Free.
Sun 07: Jason Isaacs Big Band @ Pilgrim, Newcastle. 5:15pm (4:00pm doors). £21.50 (inc. bf).
Sun 07: Paul Skerritt @ 3 Stories, High St. West, Sunderland. 6:30pm. Skerritt w. backing tapes.
Sun 07: Lindsay Hannon: Tom Waits for No Man @ The Globe, Newcastle. 7:00pm. Support set from Play More Jazz! course participants. Note earlier start.
Mon 08: Harmony Brass @ Cullercoats Crescent Club. 1:00pm. Free.
Tue 09: Jazz Jam Sandwich @ The Black Swan, Newcastle. 7:30pm
Wed 10: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm. Free.
Wed 10: Darlington Big Band @ Darlington & Simpson Rolling Mills Social Club, Darlington. 7:00pm. Free. Rehearsal session (open to the public).
Wed 10: Jam Session @ The Tannery, Hexham. 7:00pm. Free.
Wed 10: Mike Lindup Jazz Trio @ Pilgrim, Newcastle. 7:30pm (doors). £26.50 (inc. bf). Lindup, Yolanda Charles (bass), John Sam (drums).
Wed 10: Bold Big Band @ Cluny 2, Newcastle. 7:30pm. £12.00.
Thu 11: Jazz Appreciation North East @ Brunswick Methodist Church, Newcastle NE1 7BJ. 2:00pm. £4.00. Subject: West Coast (cool ) / Wordsearch (cool) Cool Jazz or ‘Cold’, ‘Cool’, ‘Hot’, ‘Warm’ in the title or lyrics.
Thu 11: George Robinson @ Prohibition Bar, Albert Road, Middlesbrough TS1 2RU. 7:00pm (doors). £5.42 (inc. bf). Vienna’s Voice charity evening featuring ’15 year old singing sensation the ‘Redcar Crooner’ George Robinson’. Over 35s only.
Thu 11: Paul Skerritt @ Chakh Dhoom, Jesmond, Newcastle. 7:00pm. Indian restaurant. Skerritt w. back tapes.
Thu 11: Ransom Van @ The Black Swan, Newcastle. 7:30pm.
Thu 11: Down for the Count Swing Orchestra @ Middlesbrough Town Hall. 7:30pm. £37.70 (inc. bf). ‘Swing into Xmas’.
Fri 12: Pete Tanton’s Chet Set @ Bishop Auckland Methodist Church. 1:00pm. £8.00.
Fri 12: Classic Swing @ Cullercoats Crescent Club. 1:00pm. Free.
Fri 12: Rendezvous Jazz @ The Monkseaton Arms. 1:00pm. Free.
Fri 12: New Orleans Preservation Jazz Band @ The Oxbridge Hotel, Stockton. 1:00pm. £5.00.
Fri 12: Milne Glendinning Band @ Northumberland Club, Jesmond, Newcastle. 7:00pm. £15.00. ‘Xmas Soiree’.
Fri 12: A Jazzy Xmas @ St Cuthbert’s Centre, Crook. 7:30pm. £15.00. Paul Edis (MD, piano); Jo Harrop (vocals); Vasilis Xenopoulos (tenor sax, soprano sax); Matthew Forster (alto sax, clarinet); Sue Ferris (flute, piccolo); Graham Hardy (trumpet, flugelhorn); Jason Holcomb (trombone);Emma Fisk (violin); Andy Champion (double bass); Matt MacKellar (drums). SOLD OUT!
Fri 12: Tony Hadley: Xmas Big Band Tour 2025 @ The Glasshouse, Gateshead. 7:30pm.
Fri 12: Alexia Gardner @ The New Ship Inn, Newbiggin-by-the-Sea. 8:00pm. Gardner, Alan Law, Jude Murphy, Abbie Finn.
Fri 12: Jive Aces: Swingin’ Xmas Show @ The Witham, Barnard Castle. 8:00pm.
7 comments :
Try Kenny G then! By the way, this has been said before - but the comment was made about MOZART. "The famous complaint of Emperor Joseph II about The Marriage of Figaro - "too many notes, Mozart" - is generally perceived to be a gaffe by a blockhead. In fact, Joseph was echoing what nearly everybody, including his admirers, said about Mozart: he was so imaginative that he couldn't turn it off, and that made his music at times intense, even demonic. Hence Mozart's bad, or cautionary, reviews: "too strongly spiced"; "impenetrable labyrinths"; "bizarre flights of the soul"; "overloaded and overstuffed".
Still, in the end, the reputation of Mozart in his own time was about what it is today: he was considered an incomparable master."
Yawn...yawn...yawn....heard it all before!
Jazz = freedom of expression = play as you want to play. As far as I know, there is no magic number of notes that comprise a good jazz solo, but if any anoraks...sorry, fans...out there know how many there SHOULD be, I'd be grateful if they'd put the answer on a postcard and....
Louis once stated: "It's not the notes you play that are importand, it's the ones you don't play"
I rest my case!
Really? If you don't like 'lots of notes' sax solos, avoid gigs where the repertoire or style is post 1930.
Listening to jazz is subjective, like any of the arts, everyone brings their own experiences and expectations and inevitably hears the same music differently. Some might not understand what's happening at a musical or technical level but still engage with the performance and the broader sound and energy, it's up to you if you're willing to invest in what you hear or just have something familiar and unchallenging that you can dip in and out of.
There's lots I don't care to hear in jazz, but usually it's down to undeveloped musicality or overly developed technique at the expense of the music. Why not spend a bit of time with some more 'modern' records, see if you can get to a place where you can relate to what you are hearing.
There's really no case to answer. Miles played some very emotive solos using relatively few notes as did Chet Baker. Dizzy did the same using a lot of notes. Who's to say one is greater than the other. A musicians uses the tools at his disposal. If that player has practised hard and long enough to attain greater technical command of his instrument he's going to use that technique otherwise he may as well have swapped the woodshed for the pub.
I did swap the woodshed for the pub, Lance (hic!)...........
The inference that Miles played fewer notes due to a limited technique is mistaken, he had the ability to burn through changes (check out the live albums Four And More/My Funny Valentine), the sparse playing was a conscious, stylistic choice.
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