Total Pageviews

Bebop Spoken There

Greg Osby: “I have my own style, my own attitude, my own opinions about things. I'm not a follower". DownBeat, February, 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

16233 (and counting) posts since we started blogging 16 years ago. 115 of them this year alone and, so far, 59 this month (Feb. 23).

From This Moment On ...

February 2024

Fri 23: Mark Williams Trio @ The Gala, Durham. 1:00pm. £8.00. SOLD OUT!
Fri 23: Classic Swing @ Cullercoats Crescent Club. 1:00pm. Free.
Fri 23: Rendezvous Jazz @ The Monkseaton Arms. 1:00pm. Free.
Fri 23: New Orleans Preservation Jazz Band @ The Oxbridge Hotel, Stockton. 1:00pm. £5.00.
Fri 23: Salty Dog Trio @ The Greenhouse, Tynemouth. 7:00pm. £8.00. (£6.00. adv.). CANCELLED!
Fri 23: Crooners @ The Maltings, Berwick upon Tweed. 7:30pm. £30.00., £28.00.
Fri 23: Strictly Smokin' Big Band w Dennis Rollins @ Glasshouse, Gateshead. 8:00pm.

Sat 24: NUJO Jazz Jam @ Cobalt Studios, Newcastle. 7:00pm (doors). Free (donations). A Newcastle University Jazz Orchestra event, all welcome.
Sat 24: Bradley Creswick’s Western Swingfonia @ Hexham Abbey, Hexham. 7:30pm. £15.00. A fundraiser for Hexham Abbey.
Sat 24: Papa G’s Troves @ Prohibition Bar, Newcastle. 8:00pm. A ‘Jar on the Bar’ gig.

Sun 25: Musicians Unlimited @ The Park Inn, Hartlepool. 1:00pm. Free.
Sun 25: More Jam @ The Globe, Newcastle. 2:30pm. Free.
Sun 25: 4B @ The Ticket Office, Whitley Bay Metro Station. 3:00pm. Free.
Sun 25: Lindsay Hannon: Tom Waits for No Man + Lee Maddison @ Laurels, Whitley Bay. 4:00pm (3:30pm doors). £11.00., £8.80. inc. bf. SOLD OUT!
Sun 25: Bex Burch + Rachel Musson @ The Globe, Newcastle. 8:00pm. £11.00. Two solo performances. JNE.
Sun 25: Jazz Jam @ Fabio's, Saddler St., Durham. 8:00pm. Free. A Durham University Jazz Society event. All welcome.

Mon 26: Harmony Brass @ Cullercoats Crescent Club. 1:00pm. Free.

Tue 27: Ruth Lambert Quartet @ The Black Swan, Newcastle. 8:00pm (7:00pm doors). £12.00., £10.00. (adv.).

Wed 28: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm. Free.
Wed 28: Darlington Big Band @ Darlington & Simpson Rolling Mills Social Club, Darlington. 7:00pm. Free. Rehearsal session (open to the public).
Wed 28: Take it to the Bridge @ The Globe, Newcastle. 7:30pm. Free.

Thu 29: Vieux Carré Jazzmen @ The Holystone, Whitley Road, North Tyneside. 1:00pm. Free.
Thu 29: Gateshead Jazz Appreciation Society @ Gateshead Central Library, Gateshead. 2:30pm.
Thu 29: Student Performances @ King’s Hall, Newcastle University. 4:00pm. Free. Inc. Olly Styles (saxophone).
Thu 29: ’58 Jazz Collective @ Hops & Cheese, Hartlepool. 7:00pm. Free.
Thu 27: Student Jazz Jam @ The Globe, Newcastle. 7:30pm.
Thu 29: Tees Hot Club @ Dorman’s Club, Middlesbrough. 8:30pm. Guests: Richie Emmerson (tenor sax); Josh Bentham (alto sax); Graham Thompson (keys); Adrian Beadnell (bass).

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.

No comments :

Blog Archive