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Bebop Spoken There

Terri Lyne Carrington: "... a long time ago, only privileged people could study and work in the arts." - (Jazziz, Winter 2020).
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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".

Today Saturday February 22

Afternoon

Jazz

Electric Guitar Masterclass – The Music of Robben Ford - Sage Gateshead, St Mary’s Square, Gateshead Quays, Gateshead NE8 2JR. Tel: 0191 443 4661. 10:00am. £15.00. Jamie Mackay conducts a masterclass looking at the work of former Miles Davis’ sideman Robben Ford.

Evening

Daniel John Martin w Swing Manouche - Core Music, 14a/b Gilesgate, Hexham NE46 3NJ. Tel: 01434 601993. 8:00pm. Donations (suggested donation £10.00.). DJM w Mick Shoulder (guitar); Giles Strong (guitar); Ian Paterson (double bass).

Blues/Funk/Soul

Half Hand Hoodoo Band - Billy Bootleggers, Nelson St, Newcastle NE1 5AN. 9:00pm. Free.

Boys of Brass - Brandling Villa, Haddricks Mill Road, South Gosforth, Newcastle NE3 1QL. Tel: 0191 284 0490. 9:00pm. Free.

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

Wednesday, October 10, 2018

Newcastle Festival of Jazz and Improvised Music: Full Blast w. Peter Brötzmann @ the Lit & Phil - Oct. 6

Peter Brötzmann (reeds); Mario Pliakas (electric bass); Michael Wertümller (drums).
(Review by Steve T/Photos courtesy of Ken Drew)
Brötzmann is a big deal in European free jazz, maybe in jazz, and I suspect and hope he was, the reason this night was a sell-out.

Full blast it was, right from the off. Had Trane survived to use a bass guitar, he'd probably have done something like this. The bass player thumping his instrument percussively, relentlessly; the drummer clattering away like the proverbial bull; Brötzmann - like the guitarist and pianist before him - using his instrument to create sound; a noisy, raw, unbridled cacophony of unashamed power. 
There was no real melody to speak of; more a succession of crescendos, the dynamic created by the switching interplay of the three participants.  After fifteen minutes, it came to an end. A chance to catch our collective breath, to regroup before we were off again with more wailing sax in a bombardment of the senses which pinned you to the wall. 

Another break at thirty minutes while the bass player announced a third short piece; more of the same. Ideally, I'd have had more of this and either of the support acts doing half an hour, but most here seemed to think the whole night was some sort of second coming, and I'm left wondering what they considered the first. 
Photos.
Steve T


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