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Bebop Spoken There

Marc Myers: " If the original group with Baker was Dover sole, the group with Brookmeyer was beef stew." - (JazzWax, December 7, 2019).

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Today Monday December 9

Afternoon

Jazz

Jazz in the Afternoon - Cullercoats Crescent Club, 1 Hudleston, Cullercoats NE30 4QS. Tel: 0191 253 0242. 1:00pm. Free admission.

Evening

St Cuth’s Big Band - St Cuthbert’s Society, 12 South Bailey, Durham DH1 3EE. 8:00pm. Free (donations). St Cuth’s Big Band ‘Christmas Concert’. Concert in dining hall, licensed bar

To the best of our knowledge, details of the above events are correct but may be subject to alteration.

Wednesday, October 31, 2018

Jam Session @ the Black Swan - October 30.

Mark Williams (guitar); Paul Grainger (bass); Russ Morgan (drums) + Pete Tanton (trumpet/vocal); Nick Gould (tenor); Jeremy McMurray (keys); Michael Lamb (trumpet); Steve Summers (tenor); Kate O'Neill (vocal); Jamie Toms (tenor); David 'Showtime' Gray (trombone); Ian White (tenor).
(Review by Lance).
A brand new dawn - if 8pm can be classed as dawn - for the former Jazz Café Jam which has upped sticks and moved to the nearby Black Swan Bar and Arts Venue. The move is a masterstroke and, at last, we have a jazz joint that isn't 'a joint'.
The Jazz Café served its purpose but, somehow, despite or perhaps because of the sanitisation, it lacked the charisma of the old Crombie days. Maybe I'm an old sentimentalist but the past is past and the future lies at 59 Westgate Rd.

Previously, we've had singers unlimited, an alto summit and, on occasion, more drummers than the band of the Royal Scots Guards. However, tonight it was a case of "Anyone for tenors?" with four of the finest jousting for the crown.
It didn't begin with a slugfest - that came later - sedately and sensitively, the house trio, who were in brilliant form all evening, christened the room with easy, tasteful versions of Bill Evans' Peri's Scope and Without a Song. We weren't without a song for long. Pete Tanton, an American in Newcastle and a SSBB trumpet player, after a spirited Straight No Chaser, exercised his vocal chops on But Not For Me - trumpet and vocal à la Chet.

Pete was joined on stage by the first of the tenors - all the way down from Edinburgh - Nick Gould. The Scot, always a welcome visitor, and the American had a blast on Sonny Rollins' Oleo. This was turning into an international affair with two Englishmen, an Irishman, an American and a Scotsman strutting down Green Dolphin St. and, somehow or other, ending up on St. Thomas!

Michael Lamb and Steve Summers, two more escapees from SSBB, kept the trumpet /tenor format alive but with the addition of Jeremy McMurray on keys for Too Close For Comfort and Sam Rivers' Beatrice. Too close for comfort? Nah, this was so good we couldn't get close enough!

The rhythm section needed a break so we were treated to a couple of duo numbers from Jeremy and the emotive voice of Kate O'Neill. Kate never gives less than 110%, Jeremy neither and God Bless the Child was storming into the home straight when proceedings came to an abrupt halt with a malfunctioning keyboard pedal. However, troupers that they are, the offending item was quickly cured and they were off again with the minimum of delay. 'S Wonderful followed before les tout ensemble returned to give us Fever.

Enter tenor number three. Jamie Toms (another SSBB blower) hooked up with the self-effacing (not!) slider David Gray. Showtime was on form stunning the audience with a display of triple-tongued-tromboning. Bravo! Not to be outdone, Jamie Toms laid his cards on the table for the imminent battle royal with some cool sounds whilst Jeremy was in walnut cracking mode. Chick Corea's 500 Miles High had us, the listeners, even higher or was it the Old Peculier ale?

Tenor number four was thrown in at the deep end. Nick Gould (it's his birthday today - MHR), Steve Summers and Jamie Toms had all blown previously but Ian White was in the same position as Androcles when thrown to the lions. However, like the legendary figure, he emerged with his head held high after all four tenors and Showtime had worked out on It Don't Mean a Thing if it Ain't Got That Swing - It meant plenty to all concerned.

As I left, Ian White was blowing a tasty version of You Don't Know What Love is, this had been an impressive first night at an impressive new venue.
Lance.

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