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Bebop Spoken There

Bill Reglein (JJ Babbitt m/pieces): "We made this mouthpiece for Eddie Harris. He played tenor sax and trumpet. He played in some pretty rough bars. The story goes that he was afraid he'd get in a fight and get his teeth knocked out. He figured that if even that happened he could still play tenor. So, the request came in, 'Can I get a reed mouthpiece for my trumpet?' the company made exactly one." - (DownBeat October 2019).

Archive

Daily: July 6 - October 27

Precarity John Akomfrah’s film (2017, 46 mins) about Buddy Bolden - Baltic Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA. Tel: 0191 478 1810. Screenings at intervals during the day. Part of Akomfrah's exhibition Ballasts of Memory. Exhibition (daily) July 6 - October 27. 10:00am-6:00pm. Free.

Today Monday September 23

Afternoon

Jazz

Precarity John Akomfrah’s film (2017, 46 mins) about Buddy Bolden (see centre column).

Jazz in the Afternoon - Cullercoats Crescent Club, 1 Hudleston, Cullercoats NE30 4QS. Tel: 0191 253 0242. 1:00pm. Free admission.

Evening

?????

To the best of our knowledge, details of the above events are correct but may be subject to alteration.

Sunday, January 12, 2014

Mark Williams Trio + Claude Werner @ Jazz Café January 11

Mark Williams (gtr); Paul Susans (bs.gtr); Richard Brown (dms) + Claude Werner (ten).
(Review by Lance)
I arrived early and although there were as yet few in attendance the signs were promising. Zoe Gilby's latest CD was playing in the background which was only right and proper as two thirds of tonight's trio were on the CD. Bottles of real ale jostled with the inevitable Peroni and, whilst the walls still need jazzing up a bit, overall the feel was good. As the free admission cut off time (9pm) approached the room filled up and by the time Williams and co hit the deck running there was a respectable sized audience.
The set comprised Mark Williams' originals that served to display the jovial Irishman's facility. Shades of Schofield and Metheny (as Russell pointed out) were interspersed with passages of soulful lyricism including one incredible stretched out cadenza-like break. In particular, Weird Waltz displayed the ease with which he coped with ever changing moods and modes. Unsure what Mark's final chord was  but it must have included ruptured ninths and flatulent fifths - a well named and brilliant composition!
Not that Mark was the only driver on the bus., in one of several fine bass guitar solos, Susans defied the prevailing winds with a solo of such rare and delicate beauty that the room became enveloped in a hushed silence before erupting with tumultuous applause.
Throughout all these contrasting emotions Richard Brown was rock solid, going with the flow until his moment arrived. Richard may look the epitome of cool but, beneath that outward demeanour, lurks a volcanic interior that, when ignited, erupts with such a rhythmic complexity the listener could be fooled into thinking he had an extra arm, maybe two.
Time to re-charge our glasses, exchange the latest jazz gossip and eagerly await the second set and the pre departure arrival of Claude Werner - surely Chile's greatest gift to Newcastle and I haven't overlooked the Robledo brothers (football reference)! Claude is heading south so this was his north-east swansong.
What can I say? He leaves behind a wonderful legacy. Tenor playing that exudes emotion, technique and just so much soul.  Surely he was born with a silver saxophone in his mouth! Man and machine as one - joined at the hip and I use the word advisedly.
From the opening belter via the rhapsodic You've Changed to the final Williams  opus Booze Blues (Bloos?) the Santiago Supersax left us with a night to remember,
not least the final exchanges with Mark which saw the pair musically entwined.
Phew!
Photos.
Lance.

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Bebop Spoken Here -- Here, being the north-east of England -- centred in the blues heartland of Newcastle and reaching down to the Tees Delta and looking upwards to the Land of the Kilt.
Not a very original title, I know; not even an accurate one as my taste, whilst centred around the music of Bird and Diz, extends in many directions and I listen to everything from King Oliver to Chick Corea and beyond. Not forgetting the Great American Songbook the contents of which has provided the inspiration for much great jazz and quality popular singing for round about a century.
The idea of this blog is for you to share your thoughts and pass on your comments on discs, gigs, jazz - music in general. If you've been to a gig/concert or heard a CD that knocked you sideways please share your views with us. Tell us about your favourites, your memories, your dislikes.
Lance (Who wishes it to be known that he is not responsible for postings other than his own and that he's not always responsible for them.)
Contact: lanceliddle@gmail.com I look forward to hearing from you.

Submissions for review

Whilst we appreciate the many emails, texts, messages and other communications we receive requesting album/gig reviews on BSH, regrettably, we are unable to reply to all of them other than those we are able to answer with a positive response.
Similarly, CDs received by post will only be considered if accompanied by sufficient background material.
Finally, bear in mind that this is a jazz-based site when submitting your album.
Lance