(Review by Russell/photos courtesy of Roly Veitch.)On the first day of spring (the meteorologists will tell you it was) F’reez opened with On a Clear Day. MC Guy Swinton admitted to shamelessly nicking the arrangement from a friend of the band, Mr Anthony Strong! Our man F’reez sang it in his Nu soul-jazz style. Standard material, the band sounded good. There was little indication of things to come.
Bandleader Michael Lamb has filed hundreds of numbers in the pad. Classic charts take their place, of course, but trumpeter Lamb looks to America’s contemporary composers and arrangers for inspiration. Tim Davies, working out of Hollywood, and Denver-based Adam Bartczak two such figures. Davies’ Blacknail made things clear; this was to be an exhilarating ride in the confines of the Black Bull’s compact lounge. Fantastic playing – ensemble and soloists. Direct, powerful, an ear-ringing experience! The reed section, assembled on the floor out front, pulled no punches. Excoriating solos - all given a chance to blow the roof off during the evening – altos, sopranos, tenors, baritone anchor Laurie Rangecroft, the doubling-up soloists on various reeds including clarinet and flute.
Lullaby of Bigfoot, dedicated to former band pianist Mark Jolliffe, heard a bona fide USA trumpet player – Pete Tanton – ‘kick ass’ as he, or his fellow Americans, might say. Wow! The audience got it, the applause suggested nothing else. Everyone gets Kenny Wheeler and a typically elegant composition – For PA – with Lamb conducting matters out front, saw a temporary lowering of the decibel count. F’reez returned once more to take us to Stevie Wonder’s Higher Ground (arr A Strong). Adam Bartczak’s Minor’s Holiday sent tremors up the Tyne valley thanks to Lamb’s killer solo and aftershocks were registered due to an equally brutal effort from altoist Keith Robinson. Guitarist Pawel ‘Pav’ Jedrzejewski, seated more or less in the audience, had his say too. 
Lindsay Hannon, engrossed in a dime novel, stepped up to tell us about That Ole’ Devil Called Love sensitively backed by Guy Swinton’s big band drummer brush work. Film Noir – 1 (we didn’t get to hear parts 2 and 3) closed an exhilarating first set; Swinton set up a N’Awlins shuffle, Steve Summers strolled along on clarinet and trumpeter Tanton followed him.
Bob Mintzer’s TV Blues is a work in progress. The iPad-aided Hannon got her Blonde Bombshell head around the lyrics – something like I’m gonna give up my life and watch tv – and then we visited the Scandinavian big band scene with Not Just a Date; Laurie Rangecroft stood up and tamed his baritone beast, reedman Robinson switching to flute. Blakey alumnus Bobby Watson is a favourite of many a band. The Strictly Smokin’ boys like him. They played his Like It Was Before with Summers blowing soprano as if it was to be his last solo before departing this Earth! It Had to Be You – it had to be F’reez and before we knew it the Blaydon Jazz Club regulars were demanding an encore. Bartczak’s Greta’s Groove hit a groove. The band could have played ’til midnight and the audience would have demanded more. The Strictly Smokin’ Big Band has come a long way since Michael Lamb first hit on the idea of forming a big band. In an interview with this blog Lamb said: You can’t nail the Mintzer without knowing the Miller!
Russell.
Strictly Smokin’ Big Band: MD Michael Lamb, Pete Tanton, Gordon Marshall, Dick Stacey (trumpets); Kieran Parnaby, Mark Ferris, Robert ‘Pez’ Perry, Dr John Flood (trombones); Laurie Rangecroft (baritone saxophone); Paul Gowland (tenor & soprano saxophones), Dave Kerridge (tenor saxophone), Steve Summers (alto & soprano saxophones, clarinet, flute, Aztec breathing machine ), Keith Robinson (alto saxophone, flute); Graham Don (piano), Pawel Jedrzejewski (guitar), Michael Whent (bass), Guy Swinton (drums), Lindsay Hannon (vocals) & F’reez (vocals)
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