Total Pageviews

Bebop Spoken There

Val Wilmer: "The festival [New York Musicians Festival], an impressive exercise in African-American self-reliance, had come about after the promoter George Wein had moved his annual Newport Jazz Festival to New York the previous year [1972], and paid scant attention to the avant garde." - (Wire 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)

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".

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.

Wednesday, May 27, 2015

The Bill Laurance Project @ Sage Gateshead. May 26

Bill Laurance (keyboards), Michael League (double bass, electric bass & Moog synth), Robert ‘Sput’ Searight (drums) with the West Side Trio: Vera van der Bie (violin), Isabella Petersen (viola), Annie Tangberg (cello) + Katie Christie (French horn)
(Review by Russell).
Michael League and co came, saw and conquered. That was a little over a year ago. The Snarky Puppy phenomenon shows little sign of abating with this Bill Laurance return to the scene of their triumphant debut appearance – at Sage Gateshead. The keyboards man has been on a European tour promoting the release of his latest CD and this last leg – the British dates – has been a homecoming for the Brooklyn-based Londoner.
Snarky Puppy gigs often feature upwards of ten musicians on stage (forty and more have been known on more than one occasion!) but for this tour Laurance has brought with him his regular rhythm section partners – bassist Michael League and groove machine Robert ‘Sput’ Searight (drums). Hire a string trio (the West Side Trio), add a brass player and an altogether different sound emerged…at times. Full on, high level volume, subtlety isn’t a priority for these boys. Strings and horn plugged in to the power supply. Chamber music? Not a chance! Groove merchant Searight hammered his pneumatic bass drum, giving the others no option but to crank it up. Laurance’s new album – Swift – featured heavily, and a couple of cuts from his debut CD Flint made it onto the set list.
December in New York, a trio work out on The Good Things, a League arrangement of an Indonesian-inspired The Isles (Snarky Puppy’s reach embraces festival dates in the Indian Ocean) and Smokers Castle elicited huge applause from the Hall Two standing crowd of devoted followers. Laurance surveyed the scene from his three-sided control room of six or seven keyboards (including a house Steinway, Fender Rhodes and his new toy capable of pitch-bending notes – ‘the future for keyboards’, claimed the main man).
The second set offered more of the same (a French horn solo offered something different) with Denmark Hill perhaps the pick of the night. The Real One (a pitch-bending feature), bassist League alternating between electric and heavily amplified double bass, some West Side Trio features and, to close the set, the opening track on Swift, Laurance’s Fjords.
The Snarky Puppy lot tour relentlessly. Laurance and League have come a long way from their days of post-gig fish and chips in Bridlington (they had a Chet Baker tribute band!). Laurance’s Swift project will be filed in the archive, Snarky Puppy will write many more chapters before they are done.      
Russell.

No comments :

Blog Archive