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Bebop Spoken There

Raymond Chandler: “ I was walking the floor and listening to Khatchaturian working in a tractor factory. He called it a violin concerto. I called it a loose fan belt and the hell with it ". The Long Goodbye, Penguin 1959.

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'"

The Strictly Smokin' Big Band included Be Bop Spoken Here (sic) in their 5 Favourite Jazz Blogs.

Ann Braithwaite (Braithwaite & Katz Communications) You’re the BEST!

Holly Cooper, Mouthpiece Music: "Lance writes pull quotes like no one else!"

Simon Spillett: A lovely review from the dean of jazz bloggers, Lance Liddle...

Josh Weir: I love the writing on bebop spoken here... I think the work you are doing is amazing.

Postage

16350 (and counting) posts since we started blogging 16 years ago. 230 of them this year alone and, so far, 27 this month (April 11).

From This Moment On ...

April

Tue 16: The Horne Section’s Hit Show @ Middlesbrough Town Hall. 7:30pm.
Tue 16: Jam session @ The Black Swan, Newcastle. 7:30pm. Free. House trio: Bradley Johnston, Paul Grainger, Bailey Rudd.

Wed 17: Bailey Rudd (Minor Recital) @ The Music Studios, Haymarket Lane, Newcastle University. 11:40am. Bailey Rudd (drums). Open to the public.
Wed 17: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm. Free.
Wed 17: Darlington Big Band @ Darlington & Simpson Rolling Mills Social Club, Darlington. 7:00pm. Free. Rehearsal session (open to the public).
Wed 17: The Horne Section’s Hit Show @ The Gala, Durham. 7:30pm. SOLD OUT!
Wed 17: Take it to the Bridge @ The Globe, Newcastle. 7:30pm. Free.

Thu 18: Vieux Carré Jazzmen @ The Holystone, Whitley Road, North Tyneside. 1:00pm. Free.
Thu 18: NONUNONU @ Elder Beer Café, Chillingham Road, Newcastle. 7:30pm.
Thu 18: Knats @ Hoochie Coochie, Newcastle. 8:00pm (doors 7:30pm). £8.00. + bf. Support act TBC.
Thu 18: Merlin Roxby @ Prohibition Bar, Newcastle. 8:00pm. Free. A ‘Jar on the Bar’ gig. Ragtime piano.
Thu 18: Tees Hot Club @ Dorman’s Club, Middlesbrough. 8:30pm. Guest band night with Just Friends: Ian Bosworth (guitar); Donna Hewitt (sax); Dave Archbold (keys); Ron Smith (bass); Mark Hawkins (drums).

Fri 19: Cia Tomasso @ The Lit & Phil, Newcastle. 1:00pm. ‘Cia Tomasso sings Billie Holiday’. SOLD OUT!
Fri 19: Classic Swing @ Cullercoats Crescent Club. 1:00pm. Free.
Fri 19: Rendezvous Jazz @ The Monkseaton Arms. 1:00pm. Free.
Fri 19: New Orleans Preservation Jazz Band @ The Oxbridge Hotel, Stockton. 1:00pm. £5.00.
Fri 19: Tweed River Jazz Band @ The Radio Rooms, Berwick. 7:00pm (doors). £5.00.
Fri 19: Lindsay Hannon: Tom Waits for No Man @ Seventeen Nineteen, Hendon, Sunderland. 7:30pm.
Fri 19: Levitation Orchestra + Nauta @ Cluny 2, Newcastle. 7:30pm (doors). £11.00.
Fri 19: Strictly Smokin’ Big Band @ The Witham, Barnard Castle. 8:00pm. ‘Ella & Ellington’.

Sat 20: Record Store Day…at a store near you!
Sat 20: Bright Street Band @ Washington Arts Centre. 6:30pm. Swing dance taster session (6:30pm) followed by Bright Street Big Band (7:30pm). £12.00.
Sat 20: Michael Woods @ Victoria Tunnel, Ouseburn, Newcastle. 7:00pm. Acoustic blues.
Sat 20: Rendezvous Jazz @ St Andrew’s Church, Monkseaton. 7:30pm. £10.00. (inc. a drink on arrival).

Sun 21: Jamie Toms Quartet @ Queen’s Hall, Hexham. 3:00pm.
Sun 21: 4B @ The Ticket Office, Whitley Bay Metro Station. 3:00pm. Free.
Sun 21: Lindsay Hannon: Tom Waits for No Man @ Holy Grale, Durham. 5:00pm.
Sun 21: The Jazz Defenders @ Cluny 2. Doors 6:00pm. £15.00.
Sun 21: Edgar Rubenis @ Prohibition Bar, Newcastle. 7:00pm. Free. A ‘Jar on the Bar’ gig. Blues & ragtime guitar.
Sun 21: Tweed River Jazz Band @ Barrels Ale House, Berwick. 7:00pm. Free.
Sun 21: Art Themen with the Dean Stockdale Trio @ The Globe, Newcastle. 8:00pm. £10.00. +bf. JNE. SOLD OUT!

Mon 22: Harmony Brass @ Cullercoats Crescent Club. 1:00pm. Free.

Friday, December 04, 2015

Roly Veitch was right!

(By Dave Brownlow)
Responding to your recent re-blog of Roly Veitch’s conclusion that “the bass player is the most important member of the band” as a one-time bassist myself I can wholeheartedly agree! Roly’s comment set me thinking about some of the “greats” in jazz history and their bassists.
Tommy Potter was Charlie Parker’s first-choice bass player from 1947 – 51 for good reason. He had a light, bouncy, rhythmic tone - perfect for the Bebop Quintet Bird was developing then. Tommy’s sure-footed choice of notes helps listeners to know exactly ‘where you are’ in the chord sequence which must have given Charlie great confidence to launch into his Bird-Flights-Of-Fancy.
Ray Brown was a stalwart of Oscar Peterson’s Duos and Trios from 1949 – 1966 which provided a musical association of great benefit to both men. Ray had a formidable attack, a huge, rounded, sustained sound emanating from the centre or lower reaches of the bass soaring up into the cello registers in solos. His ‘time’ was rock solid – it needed to be to hold together Oscar’s at times break-neck playing within the group!
The great Bill Evans chose his bassists with care because he was looking for a musician who could be an “equal” in his conception of the piano trio in jazz. At the forefront was Scott La Faro whose association with Bill was tragically short. Scott’s sound was huge throughout all the bass range, his drive powerful and he took technique up to a new level. With the drummer, he was able to challenge the leader, and raise the tension in pieces, building up to resolution in dramatic ways.
Miles Davis’ long-time bass player was Paul Chambers who worked with the trumpeter through several of his career phases – namely The Quintets, The Gil Evans Projects and The Kind Of Blue Sextet. Paul’s playing was light toned, ‘springy’ and swinging and his note choice was more unusual because his bass-lines did not contain so many ‘root’ notes. As a result, the bass part was more free-flowing which made Paul one of the first players who could play competently within Miles’ idea of  using tunes based on modes, scales or one or two chords (i.e. So What).
Finally in this brief review of some of the “greats” and their bassists is Gary Peacock within the “Standards Trio” of Keith Jarrett. Gary had (and has) the most extravagant technical ability on the bass moving from strong ‘root’ notes into cello-like sorties into the upper reaches of harmony and indeed harmonics, taking risks even when just accompanying ! This constantly imaginative playing undoubtedly spurred on Jarrett to reach his more outrageous moments.
I believe these few examples from the history of jazz fully support Roly’s wise assertion!
Dave Brownlow

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