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Bebop Spoken There

Pat Thomas: “He’s definitely one to watch, he's going to be a breath of fresh air for the jazz scene. What I like is he [Xhosa Cole] plays like Dexter Gordon and Sonny Rollins - you don't hear anybody come from that. He knows tunes like "Fried Bananas" by Dexter Gordon and he can play free as well." - (The Wire September 2021)

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! --

Postage

13,698 (and counting) posts since we started blogging 13 years ago. 1115 of them this year alone and, so far, 59 this month (Sept. 17).

From This Moment On ...

September

Fri 17: Classic Swing @ Cullercoats Crescent Club. 1:00pm.
Fri 17: Rendezvous Jazz @ Monkseaton Arms, Monkseaton. 1:00pm.
Fri 17: New Orleans Preservation Jazz Band @ Oxbridge Hotel, Stockton. 1:00pm.
Fri 17: Abbie Finn's Finntet @ Traveller's Rest, Cockerton, Darlington. 8:00pm.

Sat 18: Baghdaddies @ The Globe, Newcastle. 8:00pm.
Sat 18: David Gray Trio @ Prohibition Bar, Newcastle. 8:00pm.

Sun 19: Vieux Carré Hot 4 @ Spanish City, Whitley Bay. 12 noon.
Sun 19: Musicians Unlimited @ South Durham Social Club, Westbourne Road, Hartlepool TS25 5RB. 1:00pm. South Durham Social Club aka Steelworks or Steelies. New venue for Teesside's premier big band.
Sun 19: Hand to Mouth: Lindsay Hannon & Bradley Johnston @ St James' & St Basil's Church, Newcastle. 3:00pm.
Sun 19: Green Tangerines + Knats @ Punch Bowl Hotel, Newcastle. 3:30pm.
Sun 19: Alice Grace Quartet @ The Globe, Newcastle. 8:00pm.

Mon 20: Jazz in the Afternoon @ Cullercoats Crescent Club. 1:00pm.

Wed 22: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm.
Wed 22: Darlington Big Band @ Rolling Mills Social Club, Darlington. 7:00pm. Rehearsal session (open to the public)
Wed 22: Take it to the Bridge @ The Globe, Newcastle. 8:00pm. Celebrating TITTB's 20th anniversary & Dave Weisser's forthcoming birthday! Limited gig tickets (£1.00.). Free live stream. www.jazz.coop.

Thu 23: Vieux Carré Jazzmen @ The Holystone, North Tyneside. 1:00pm.
Thu 23: Jeremy McMurray & the Jazz Pocket Orchestra @ Middlesbrough Town Hall 8:00pm. .
Thu 23: Maine Street Jazzmen @ Sunniside Social Club, Sunniside, Gateshead. 8:30pm. .

Fri 24: Sue Ferris Quintet @ Gala Theatre, Durham. 1:00pm.
Fri 24: Classic Swing @ Cullercoats Crescent Club. 1:00pm.
Fri 24: Rendezvous Jazz @ Monkseaton Arms, Monkseaton. 1:00pm.
Fri 24: New Orleans Preservation Jazz Band, Stockton. 1:00pm.
Fri 24: FILM: Jazz on a Summer's Day + Swing Bridge Trio (in the bar) @ Forum Cinema, Hexham. 7:00pm.

Friday, December 08, 2017

The Improvisers' Workshop Ensemble - “Magic Mirrors" @ The Jazz Café - December 1

Nigel of Coalburns (Voice & Toys) / Gabriele Heller (Voice & Objects) / John Harrison (Saxophone) / Thomas Dixon (Saxophone) / Karen Rann (Saxophone) / Crispian Heath (Acoustic Guitar) / Martin Donkin (Electric Guitar) / Paul Taylor (Keyboards) Tobias lllingworth (Keyboards and other instrumentation) / Wesley Stephenson (Drums and Percussion)
(Review/photo by Ken Drew).
“Gathering monthly for sessions at The Bridge Hotel 'The Improvisers' Workshop' is a space where people interested in sound and improvisation gather to play, discuss and explore the nature and mysteries of improvisation. These sessions often result in different games and strategies used as vehicles for the improvisation that takes place. "Magic Mirrors" was such an idea that was conceived for a performance by the ensemble.
As a durational piece “Magic Mirrors” explores the space where a large group ensemble works in unison, and the way that unity dissolves and breaks into smaller groupings of players or soloists, which may also be symbolised by silence. Through mirroring and a Chinese whispers style of communication, the growth of the music is shaped by the decisions of the players and the way they choose to mirror, this could be rhythmically, tonally, texturally, emotionally or any such inspiration of their own choosing.”
Part 1:    A quiet start, building on individual notes & timbres, nicely demonstrating the use of voices as instruments, then building to include all performers. The rhythm of the piece changing many times, from steady to percussive single beats. Then it slowed to a more contemplative section, with the sounds of wafted paper ('other devices') taking over from voice. Then into a longer section of disparate sounds including vocal utterances from Coalburns, and wailing saxes. The piece continued to develop around the group where you could detect the flow of ideas being passed around. Pleasantly quiet ending, with keys (lllingworth) and small bells gently struck by Coalburns.

Part 2: This was a longer piece, introduced by shimmering notes on the keys (Taylor this time) and gentle sax (Harrison initially, then Dixon). Initially more meandering, but developing with the addition of voices and soprano sax. In fact getting quite heated as more voicings joined in, Heller in particular becoming quite frantic with vocal exclamations. The small bells rang and brought in a quiet section which heralded the introduction of a wide range of pitches and timbres from all. Then to close, the keys brought in a mellow flute-like tone to gracefully fade. This piece certainly explored the sonorous nature of a range of instruments, and their interaction, whilst still flowing as a single improvised piece.

Part 3:  Starting with a profound drum beat initiated by Stephenson, with saxes and voices joining in, this quickly became quite an energetic piece with all contributing. At one point it took on an almost marching-band funky rhythm, but only fleetingly. Then back to a quiet section, with Coalburns adding vocal effects sounding as if the wind were gusting outside, or maybe you were overhearing just the bass tones of a distant conversation.  No matter, a distinctly odd sound, but one which held the piece together as the others continued to exchange and interpret sonic ideas.  Heller and Rann then struck up such a conversation, taken further by Rann and Harrison to close the piece.

Overall, this was a good demonstration of live improvisation. Of the 3 pieces, I had no particular favourite, as they each flowed differently, yet each stood alone in their own right. I was actually struck by how different these pieces were, given the short pause between them giving time to ‘regroup’ their thoughts and start again from pure silence.   This performance was appreciated by the assembled audience, and a good advert for the output of the monthly Improv Workshops held by JNE at the Bridge.
Ken

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