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Bebop Spoken There

Brian Carrick: "I contacted Max Jones of Melody Maker and offered to be his correspondent in the States, but I should have done what Ken Colyer had done, get a job on a ship and then jump ship in the States. So I didn't make it [to New Orleans] till 1973." - (Just Jazz May 1999)

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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".

COVID-19

In the current climate we are doing our best to keep everyone up to date. All gigs, as we all know, are off.

However, good old YouTube has plenty to offer both old and new to help us survive whilst housebound. Plus now is a good time to stock up on your CDs.

Also, keep an eye out for live streaming sessions.

Alternatively, you could do as they do in Italy and sing from your balcony.

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.

Sunday, October 30, 2016

CD Review: Ben Lee Quintet - In the Tree

Ben Lee (guitars), Chris Young (alto), Richard Foote (trombone), David Ferris (organ), Euan Palmer (drums).
(Review by Steve T)
'Ben studied jazz guitar at Birmingham Conservatoire'. Since he and number one son are now acquainted I should be careful what I say. It's the best album in the world ever.
But seriously, there's an awful lot about this band and this album that I like: guitar, sax, trombone, sax and trombone, Hammond (almost), no piano, no bass - sorry guys.
He's also a fine composer, comparable with anybody around, and a good few years younger than most.
As a guitarist he cites Wes and Schofield as influences and I'd like to add Mike Walker, whether Ben realises it or not, who seems to be impacting on all the young guitarists in this country at the moment.
Away from Jazz, we're told he likes Radiohead and Nirvana, the latter with a track named after them on which he unleashes far more firepower than I've ever heard from Cobain
Further resonances I hear, which he may or may not be aware of, are prog rock, and more firmly within the genre than Radiohead, and seventies fusion, including specifically the funk end of things, and if he and/or trombonist Richard Foote haven't listened to the Crusaders with Wayne Henderson and Fred Wesley’s JBs, they should.
I almost hate to mention the Zee word (yet) again but I seem to hear him everywhere in contemporary Jazz. He asked the question 'does humour belong in music' and answered it in the affirmative, rather too often some might say. I agree and as an old, pre-teenage prog rocker, Genesis and Jethro Tull were also very effective at incorporating humour into their respective musical oeuvres.
Ben introduces some jocularity on the title track with some whistling before it develops into something close to ragtime, which illustrates his flair for melody but, at track two I found it premature.
There's also some joviality on track eight, Kickin' the Chicken and the album closes with some flippancy on Skateboarding on my Own, featuring spoken word, presumably from the man himself.
I hate to mention the Bea word (yet) again but, within mass culture this trend is attributed to Yellow Submarine. As an atheist who thinks the Bea word are more over-rated than Jesus, Yellow Submarine is the second best track on Revolver, and the best track is the only 'serious' record they ever made, I found three light-hearted stabs at humour on a debut album, brave.
Despite this minor reservation, it's a fine album with lots to appeal to guitarists, jazz fans and anyone with an interest in the rich tapestry of contemporary British Jazz. 
Moreover, everybody should buy every album by every guitarist who comes out of Birmingham Conservatoire.
This one's been out a week on Brummy's own Stoney Lane Records and the band are on a limited tour until mid-January.
Steve T.

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