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Bebop Spoken There

Steve Fishwick: “I can’t get behind the attitude that new is always somehow better than old”. (Jazz Journal, April 15, 2019).

The Things They Say!

Hudson Music: Lance's "Bebop Spoken Here" is one of the heaviest and most influential jazz blogs in the UK.

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'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

16542 (and counting) posts since we started blogging 16 years ago. 422 of them this year alone and, so far, 29 this month (June 17).

From This Moment On ...

June

Thu 20: Vieux Carré Jazzmen @ The Holystone, Whitley Road, North Tyneside. 1:00pm. Free.
Thu 20 Gateshead Jazz Appreciation Society @ Brunswick Methodist Church, Newcastle. 2:00pm. £4.00. Note new venue!
Thu 20: Karine Polwart & Dave Milligan @ The Fire Station, Sunderland. 7:30pm. £29.00., £23.00. Folk/jazz duo.
Thu 20: Richard Herdman & Ray Burns @ Prohibition Bar, Newcastle. 8:00pm. Free. A ‘Jar on the Bar’ gig.
Thu 20: Tees Hot Club @ Dorman’s Club, Middlesbrough. 8:30pm. Guests: Josh Bentham (tenor sax); Donna Hewitt (alto sax); Dave Archbold (keys); Dave Harrison (trumpet); Ron Smith (bass).

Fri 21: Alan Barnes with Dean Stockdale Trio @ The Lit & Phil, Newcastle. 1:00pm. SOLD OUT!
Fri 21: Joe Steels’ Borealis @ The Gala, Durham. 1:00pm. £8.00.
Fri 21: Classic Swing @ Cullercoats Crescent Club. 1:00pm. Free.
Fri 21: Rendezvous Jazz @ The Monkseaton Arms. 1:00pm. Free.
Fri 21: New Orleans Preservation Jazz Band @ The Oxbridge Hotel, Stockton. 1:00pm. £5.00.
Fri 21: Soznak @ The Bike Garden, Nunsmoor, Newcastle NE4 5NU. 5:00-9:00pm. Free.
Fri 21: Errol Linton + Michael Littlefield & Scott Taylor (King Bees) @ Gosforth Civic Theatre, Newcastle. 7:30pm. £20.00. Blues double bill.
Fri 21: Alan Barnes with the Dean Stockdale Trio @ Seventeen Nineteen, Sunderland. 7:30pm.
Fri 21: Strictly Smokin’ Big Band @ Alnwick Playhouse. 8:00pm. ‘Ella & Ellington’.
Fri 21: Mark Toomey Quartet @ Traveller’s Rest, Darlington. 8:00pm. Opus 4 Jazz Club.

Sat 22: Jason Isaacs @ Stack, Seaburn SR6 8AA. 12:30-2:30pm. Free.
Sat 22: Abbie Finn Trio @ The Vault, Darlington. 7:00pm. Free.
Sat 22: Hejira: Celebrating Joni Mitchell @ The Cluny, Newcastle. 7:30pm (doors). £22.50.
Sat 22: Rockin’ Turner Bros. @ Prohibition Bar, Newcastle. 8:00pm. Free. A ‘Jar on the Bar’ gig.

Sun 23: Paul Skerritt @ Hibou Blanc, Newcastle. 2:00pm.
Sun 23: More Jam @ The Globe, Newcastle. 2:00pm. Free.
Sun 23: Matt Carmichael @ St Mary’s Church, Wooler. 3:00pm. Carmichael (saxophone), Fergus McCreadie (piano), Charlie Stewart (fiddle). ‘Scottish jazz, folk-roots & landscape’ Wooler Arts: Summer Concerts.
Sun 23: 4B @ The Ticket Office, Whitley Bay. 3:00pm. Free.
Sun 23: Tweed River Jazz Band @ Barrels Ale House, Berwick. 7:00pm. Free.
Sun 23: Bede Trio @ The Globe, Newcastle. 8:00pm.
Sun 23: Leeway @ Prohibition Bar, Newcastle. 8:00pm. Free. A ‘Jar on the Bar’ gig.
Sun 23: Jazz Jam @ Fabio’s Bar, Saddler St., Durham. 8:00pm. Free. A Durham University Jazz Society event. All welcome.

Mon 24: Harmony Brass @ Cullercoats Crescent Club. 1:00pm. Free.
Mon 24: Remy CB @ The Hoppings, Newcastle Town Moor NE2 3NH. 5:00-7:00pm.

Tue 25: Louise Dodds & Elchin Shirinov @ The Black Swan, Newcastle. 8:00pm.

Wed 26: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm. Free.
Wed 26: Darlington Big Band @ Darlington & Simpson Rolling Mills Social Club, Darlington. 7:00pm. Free. Rehearsal session (open to the public).
Wed 26: Take it to the Bridge @ The Globe, Newcastle. 7:30pm. Free.

Monday, September 11, 2017

The Ushaw Ensemble: St Cuthbert’s Suite and The Sound of Achill @ The Gala Studio, Durham - August 25


(Review by Brian Ebbatson)
The Ushaw Ensemble was put together by Musical Director Paul Edis to perform Paul’s St Cuthbert Suite on the occasion of St Cuthbert’s Day 2016 at Ushaw College and in the Chapel in Durham Cathedral. This was - to my knowledge - only its third public performance.
Paul was somewhat nervous as to how the Durham Gala Lunchtime concert audience would respond to longer compositions, requiring more engagement. However, his two pieces were received with the warmth and appreciation now customary at these concerts. Many in particularly commented on the depth and inventive narrative of the music, as well as its interpretation by the band.
The suite - in two parts - follows the life of Cuthbert in Melrose, Richmond, Lindisfarne and the Farne Islands, his death and subsequent canonisation, Viking raids, and the flight and wanderings of the Lindisfarne monks with his coffin, their Gospel and other treasured possessions to their ultimate refuge on the peninsula in Durham. Paul’s programme notes guided the audience through the suite and were important to the understanding and appreciation of the musical narrative and exposition.

The instrumentalists assembled through the Ensemble allow the work to feature a wide sound palette, exploring the different tones and textures offered both by conventional jazz instrumentation as well as that from Northumbrian folk traditions, while the composition reflects the moods and emotional impact of composers such as Debussy and Ravel, Ellington and Messiaen. All instruments contribute both to the ensemble work as well as featuring in solos. The combination of violin and reeds is familiar to jazz composition, and pipes and violin to folk music, but the combination of pipes, violin and brass (not to mention flute and bass clarinet) produce new and exciting ensemble sounds which merit further exposure.

The Suite opens on violin with St Cuthbert’s Theme, which is developed and returned to throughout the work. Andy’s pipes feature first on A Shepherd from Melrose, backed by trumpet, sax and piano. They are joined in impressionistic lines by Emma’s violin for Cuthbert’s Vision, with harmonies from the other players. Trumpet and pipes, piano and sax all feature on The Indefatigable Evangelist, which concludes with an abrupt stop, after which the musicians move straight into Solitude, a reflective piece depicting the saint’s later hermit life on Lindisfarne and the Farne Islands. Paul Susan’s pizzicato double bass introduces the melody, which is then picked up by Graeme’s bass clarinet, another beautiful tonal combination, followed by a carefully constructed solo by Graham on flugel. Then flugel and sax develop the thematic lines, with Emma concluding Part I as she began it on violin.

Rob’s muffled percussion creates the setting for Many Miracles, opening Part II. Pipes, sax, trumpet and violin develop the musical narrative against Rob’s compelling percussion. Emma’s violin introduces The Death of Cuthbert on an exquisite high note, with accompanying harmonies from the front-line players. In contrast, The Vikings is a more explosive and at times violent piece. Paul Susan’s slow dark bowed bass line foreshadows the ensuing tumult, strident trumpet notes and piano chords build the tension, the drums crash as the ominous mood builds. The bass, now plucked at pace, leads in to the onslaught, the percussion clashes wildly, Graeme’s tenor improvises screeching lines up, down and across the scales, Rob’s lengthy drum solo reaches a rolling climax and the music fades back to the bowed bass as the fighting concludes.

Paul’s piano sets out in 7/8 time for Seven Years Wandering as the monks flee Lindisfarne with Cuthbert’s coffin, Graeme solos on tenor, followed by Paul on piano, Emma’s violin, Graeme’s flute, Paul Susan’s bowed bass and Rob’s cymbal crash. The Wonder Worker of England restates the opening Cuthbert’s Theme, featuring tight ensemble playing, and the suite concludes with Dunholme, in which the musicians improvise around the sounds of birdsong on the banks of the Wear. The pipes close the suite with a final lament.

The Sound of Achill is a new piece, approximately ten minutes long, so the audience was treated to a World Premiere! It seeks to depict both the serenity and the wildness experienced on Ireland’s Atlantic coast.  Again the pipes play the introductory theme, backed by trumpet, sax, and violin. Then piano, accompanied by pizzicato violin, lead to sax and trumpet weaving patterns around the theme. Paul’s piano introduces a pipes solo, bass and drums in support. Rob changes the rhythm and Paul stretches out on a long solo, building intensity to lead to Rob’s final drums – no serenity here. The piece concludes with bass and pizzicato violin again, and brass and pipes bringing the piece to close.
This ensemble and these compositions certainly deserve more exposure, either through performance or recording, particularly as the repertoire expands. Perhaps we can only then gain and give a full appreciation of their music. Hopefully the logistics of getting the musicians together and the finances will not overly restrict the opportunities.
Brian 
Paul Edis (MD/composer/piano); Graeme Wilson (saxes/bass clarinet, flute); Graham Hardy (trumpet/flugel); Emma Fisk (violin); Andy May (Northumbrian pipes); Rob Walker (drums/percussion); Paus Susans (double bass).

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