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Bebop Spoken There

Tineke Postma: “ I had a huge crush on him [Sting] when I was a teenager ". Jazzwise, June 2024.

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!"

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

16462 (and counting) posts since we started blogging 16 years ago. 342 of them this year alone and, so far, 54 this month (May 18).

From This Moment On ...

May

Thu 22: Olly Styles (saxophone): Stage 2 recital @ The Music Sudios, Newcastle University. 10:00am. Free, all welcome.
Thu 23: Vieux Carré Jazzmen @ The Holystone, Whitley Road, North Tyneside. 1:00pm. Free.
Thu 23: Gateshead Jazz Appreciation Society @ Gateshead Central Library, Gateshead. 2:30pm.
Thu 23: Castillo Nuevo Trio @ Revoluçion de Cuba, Newcastle. 5:30pm. Free.
Thu 23: Immortal Onion + Rivkala @ Cobalt Studios, Newcastle. 7:00pm.
Thu 23: Tees Hot Club @ Dorman’s Club, Middlesbrough. 8:30pm. Guests: Jeremy McMurray (keys); Dan Johnson (tenor sax); Donna Hewitt (alto sax); Bill Watson (trumpet); Adrian Beadnell (bass).

Fri 24: Hot Club du Nord @ The Gala, Durham. 1:00pm. £8.00. SOLD OUT!
Fri 24: Classic Swing @ Cullercoats Crescent Club. 1:00pm. Free.
Fri 24: Rendezvous Jazz @ The Monkseaton Arms. 1:00pm. Free.
Fri 24: New Orleans Preservation Jazz Band @ The Oxbridge Hotel, Stockton. 1:00pm. £5.00.
Fri 24: Swannek + support @ Hoochie Coochie, Newcastle. Time TBC.

Sat 25: Tyne Valley Big Band @ Bywell Hall, Stocksfield. 2:30pm.
Sat 25: Baghdaddies @ Spanish City Plaza, Whitley Bay. 3:00pm. Whitley Bay Carnival (outdoor stage).
Sat 25: Paul Edis Trio w. Bruce Adams & Alan Barnes @ Queen’s Hall, Hexham. 6:30pm. A Northumberland Jazz Festival event.
Sat 25: Nubiyan Twist @ The Glasshouse, Gateshead. 8:00pm.
Sat 25: Papa G’s Troves @ Prohibition Bar, Newcastle. 8:00pm. A ‘Jar on the Bar’ gig.

Sun 26: Tyne Valley Youth Big Band @ The Sele, Hexham. 12:30pm. Free. A Northumberland Jazz Festival event.
Sun 26: Musicians Unlimited @ Jackson’s Wharf, Hartlepool. 1:00pm. Free.
Sun 26: Alice Grace @ The Sele, Hexham. 1:30pm. Free. Alice Grace w. Joe Steels, Paul Susans & John Hirst.
Sun 26: Bryony Jarman-Pinto @ Queen’s Hall, Hexham. 3:00pm. A Northumberland Jazz Festival event.
Sun 26: Ruth Lambert Trio @ The Juke Shed, North Shields. 3:00pm. Free.
Sun 26: 4B @ The Ticket Office, Whitley Bay. 3:00pm. Free.
Sun 26: Northern Monkey Brass Band @ Spanish City Plaza, Whitley Bay. 4:30pm. Whitley Bay Carnival (outdoor stage).
Sun 26: Clark Tracey Quintet @ Queen’s Hall, Hexham. 6:00pm. A Northumberland Jazz Festival event.
Sun 26: Saltburn Big Band @ Saltburn Community Hall. 7:30pm.
Sun 26: Ruth Lambert Quartet @ The Globe, Newcastle. 8:00pm.
Sun 26: SARÃB @ The Glasshouse, Gateshead. 8:00pm.

Mon 27: Harmony Brass @ Cullercoats Crescent Club. 1:00pm. Free.

Tue 28: Bold Big Band @ The Black Swan, Newcastle. 8:00pm.

Wed 29: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm. Free.
Wed 29: Darlington Big Band @ Darlington & Simpson Rolling Mills Social Club, Darlington. 7:00pm. Free. Rehearsal session (open to the public).
Wed 29: Jazz Night @ The Tannery, Hexham. 7:00-9:00pm. Free. The first night of a new jam session!
Wed 29: Take it to the Bridge @ The Globe, Newcastle. 7:30pm. Free.

Saturday, November 24, 2018

CD Review: Kenny Carr - Departure

Kenny Carr (guitars, synthesisers); Donny McCaslin (tenor sax); Kenny Wollesen (drums, percussion); Hans Glawischnig (bass).
(Review by Max Goodall).

Departure is Kenny Carr’s sixth LP as a leader and the second in a row with this line-up. Having spent the early part of his career as lead guitarist in the Ray Charles live band, Carr seems to have manoeuvred himself slightly since Charles’ passing, spending a greater amount of time in more traditional jazz contexts.

Despite this, his style still retains the rocky, bluesy, accessible elements of Ray Charles’ music which enabled his incredible worldwide success. These are strong particularly in the ostinato and riff-driven tunes which periodically appear throughout Departure, such as Tell Me I Can’t, and D&P. At times, these simpler harmonic frameworks are highly successful. For example, on the album’s sixth track Evolutions; the uncomplicated undulations between chord one and chord four in the solo section acting as a perfect frame for Carr and Donny McCaslin’s (tenor saxophone) improvisations. The harder end of this scale though is also felt on tunes such as Time Change. Here the frequent returns to the opening ¾ ostinato almost begin to verge on monotony.

Carr’s guitar playing throughout the record also bears out his influence from Charles. He draws on two distinct sounds, an effect driven and distortion-heavy tone (heard on tunes such as Tell me I Can’t, D&P and Bear Call) and a more percussive, traditional jazz tone (which appears on Warmth, Departure and Parallels). I must express a personal preference for the latter, which I feel contains so much more depth and weight, giving Carr’s melodic lines substance. Moreover, at times Carr’s distortion driven sound becomes jarring alongside the acoustic timbre of the rest of the band – particularly noticeable on D&P. Although, the problem is sometimes addressed by Carr’s original introduction of synths into the album’s sound world which, on tracks such as Evolutions, create a nice blend between the styles.


The album’s best moments come in Carr’s more relaxed, thoughtful compositions. The opening of Warmth features some really lovely ideas, as does the title track, and the closer, Parallels. Their gentle chord sequences lead you down a path, which Carr and McCaslin tread admirably, with a feeling of movement, rather than just cycling through a short idea over and over. These tunes also feature some lovely textural ideas, particularly Carr’s chordal melodies, often with McCaslin floating above. A mention should also be given to Hans Glawischnig on bass, who solos well whenever given an opportunity, such as an on the eighth track Waiting.

Overall, this is a sweet album, with some great moments. While I’m not always convinced by some of its harsher and louder tracks, the lighter side to Kenny Carr’s compositions are infectious, mysterious, and at their best really quite beautiful.
Max G.
Departure was released on Zoozazz Music on Nov. 1.

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