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Bebop Spoken There

Charles Lloyd: "I'm raring to go out to play, because I know I'll find something to explain the inexplicable." (DownBeat August 2022)

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!"

Postage

14454 (and counting) posts since we started blogging 14 years ago. 732 of them this year alone and, so far, 30 this month (August 11).

From This Moment On ...

August

Thu 18: Vieux Carré Jazzmen @ The Holystone, North Tyneside. 1:00pm.
Thu 18: Gateshead Jazz Appreciation Society @ Gateshead Central Library. 3:00-5:00pm. £1.00. All welcome.
Thu 18: Castillo Nuevo @ Revoluçion de Cuba, Newcastle. 5:30-8:30pm.
Thu 18: Newcastle Jazz Festival @ Bridge Hotel, Newcastle. Strictly Smokin’ Big Band. 7:00pm. Free (four-day festival ticket £40.00.). www.newcastlejazzfestival.co.uk.
Thu 18: Tees Hot Club @ Dorman’s Club, Middlesbrough. 9:00pm. Guests: Dave Archbold (keys); Dan Johnson (sax); Josh Bentham (sax); Bill Watson (trumpet); Ron Smith (bass)

Fri 19: Jo Harrop & Jamie McCredie @ Lit & Phil, Newcastle. 1:00pm. SOLD OUT!
Fri 19: Classic Swing @ Cullercoats Crescent Club. 1:00pm.
Fri 19: New Orleans Preservation Jazz Band @ Oxbridge Hotel, Stockton. 1:00pm. £5.00.
Fri 19: Rendezvous Jazz @ The Monkseaton Arms, Monkseaton. 1:00pm.
Fri. 19: Vieux Carré Jazzmen @ Ayr Jazz Club, Fairfield House Hotel, Fairfield Rd, AYR KA7 2AS. 7:30pm. For accommodation call the hotel on 01292 267461. For tickets call Ayr Jazz Club Secretary, Stuart McLean, on 01292 590773.
Fri 19: Jo Harrop & Jamie McCredie @ St Cuthbert’s Centre, Crook. 7:30pm.
Fri 19: Newcastle Jazz Festival @ Black Swan, Newcastle. 7:30pm. Harry Keeble Duo + Northern Monkey Brass Band. £15.00. (four-day festival ticket £40.00.). www.newcastlejazzfestival.co.uk.
Fri 19: Mo Scott @ The Millstone, South Gosforth, Newcastle. 8:00pm. Scott w Gary Dunn, Neil Harland & Paul Smith.

Sat 20: Newcastle Jazz Festival @ Tyne Bank Brewery, Newcastle. All day event (from 1:30pm): Riviera Effect + Alter Ego + Graham Hardy Quartet + Jo Harrop & Jamie McCredie + Ivo Neame Quartet. £17.00. (four-day festival ticket £40.00.). www.newcastlejazzfestival.co.uk.
Sat 20: Anth Purdy @ Prohibition Bar, Newcastle. 8:00pm. Free (donations).
Sat 20: Boys of Brass @ Brandling Villa, South Gosforth, Newcastle. 8:00pm.

Sun 21 Vieux Carré Hot 4 @ Spanish City, Whitley Bay. 12 noon.
Sun 21: Newcastle Jazz Festival @ Tyne Bank Brewery, Newcastle. All day event (from 1:30pm): Lindsay Hannon & Alan Law + Knats + David Gray’s Flextet + Ben Gilbert Trio + Emma Rawicz. £17.00. (four-day festival ticket £40.00.). www.newcastlejazzfestival.co.uk.
Sun 21: Foundry Jazz Ensemble @ The Exchange, North Shields. 3:00pm.

Mon 22: Jazz in the Afternoon @ Cullercoats Crescent Club. 1:00pm.

Tue 23: FILM: Space is the Place @ Tyneside Cinema, Newcastle. 6:25pm. Dir. John Coney (1974). Starring Sun Ra!
Tue 23: Paul Skerritt @ The Rabbit Hole, Durham. 7:00pm. Free (to reserve a table phone 0191 386 5556).
Tue 23: Jam session @ Black Swan, Newcastle. 7:30pm. House trio: Steve Glendinning, Paul Grainger, Abbie Finn.

Wed 24: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm.
Wed 24: 4B @ The Exchange, North Shields. 7:00pm.
Wed 24: Take it to the Bridge @ The Globe, Newcastle. 7:30pm.

Saturday, October 29, 2016

Tony Joe White @Sage Gateshead October 28

Tony Joe White – vocal, guitar, harmonica. Drummer unknown.
(Review by Steve T)
I had it in my head that Tony Joe White recorded at Muscle Shoals, not that it would have made any difference to me, but the legendary studio was, with Memphis and Nashville, part of that southern triangle, the melting pot at the intersection between black and white music and culture which created such legendary, important, and sometimes fantastic music.
I must have been going to lots of Jazz gigs because I thought I could just turn up on the night and choose my seat. Luckily, I checked earlier in the week to find my choice limited to five tickets behind the stage on level two or eleven standing on level three.

I should have expected it; he’s a legend, an icon, the sort of artist who sells out Sage One on Saturday night at the Americana Festival. Like his peers, but even more so, he’s tough to pigeon-hole: country, blues, rock and roll, soul, funk, pop. Just prefix any or all of the above with ‘swamp’.
Popped in for the support, Jack Broadbent, who looked the part in big hair, big beard, cowboy boots and two big guitars that FDT would sell his dad for, but betrayed by local accent and charisma.
He turned one on its side to the delight of the full house. Some Delta Blues, he claimed, and played with a hip flask, though I was thinking his ancestors would have been at the other end of the whip, and very few have successfully breached the cultural divide (except in Jazz). The big question would be how well the headliner managed.
'Some Little Feat' and the audience were ecstatic. One lady asked who they are, and somebody asked her if she was in the right place. I wondered whether I was in the right place until he dedicated it to Lowell George, the ex-Mother who created Little Feat, and St Frank, who created the Mothers.
Big rock star entrance in hat, harmonica attachment, cowboy boots and, once seated, shades. I imagined some cultural discourse which had him as Neil Young for the thinking man or Bob Dylan for people who wanted to dig deeper.      
After the first song, he was joined by a drummer and I was troubled by the absence of any bass, particularly as the drummer seemed so pedestrian. The balance was only really redressed when his beaten up Fender Strat went into overdrive, his playing rough and raw, charged with energy and some serious feedback, wah wah and other effects. Thankfully, harmonica was kept to a minimum. His voice was low and gruff and, particularly when talking in his southern drawl, almost inaudible, so apologies to the drummer for failing to catch his name.
Couldn’t really make out any of the songs but vaguely recognised his biggest hit Polk Salad Annie and Even Trolls Love Rock and Roll, but that really wasn’t the point. Gradually the relentless, repetitive drumming, the course guitar, his fingers never far up the neck, his deep monotone voice, and the sheer power of the whole had a hypnotic effect which put huge grins on the faces of middle-aged men who should have grown up by now.
Georgia somebody shouted as he returned for an encore, referring to the rainy night of his most famous song, which presumably pays the bills, but in hindsight he was never going to play.
Did he successfully cross the cultural divide still so divisive when he started out in the late sixties and still unresolved today? Between black and white, underdog and privileged, oppressed and oppressor, outsider and insider, art and populism. The asking of the question is perhaps more important than the answer. 
Was mine one of the middle-aged faces with a perpetual grin? I definitely had my move on, that’s usual, but I didn’t make last lattes at the Jazz Caff.

Steve H.

1 comment :

Steven T said...

Apparently the Sage had a number of people wanting their money back because he was drunk. I couldn't possibly comment though he drank water during the gig and only turned it into wine for the encore.
It's ironic how the Gallagher Brothers and the like boast about their 'rock and roll' credentials and here's the genuine article, with warts to prove it, and people still aren't happy.

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