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Bebop Spoken There

Ferg Ireland: “I was very ignorant about early jazz - it's bizarrely skirted over in jazz education." - (Jazzwise, 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

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.

Sat 25: Silent Music Seeing Sound + Spinningwork @ Newcastle Arts Centre. 6:30pm. Newcastle Festival of Jazz & Improvised Music (NFOJIM).
Sat 25: Knats @ Prohibition Bar, Newcastle. 8:00pm.

Sun 26: Vieux Carré Hot 4 @ Spanish City, Whitley Bay. 12 noon. .
Sun 26: Musicians Unlimited @ South Durham Social Club, Hartlepool. 1:00pm. .
Sun 26: Foundry Jazz Ensemble @ The Exchange, North Shields. 4:00pm. .
Sun 26: David Gray Flextet @ The Globe, Newcastle. 8:00pm. .
Sun 26: Nubiyan Twist @ The Cluny, Newcastle. 8:00pm.

Mon 27: Jazz in the Afternoon @ Cullercoats Crescent Club. 1:00pm.

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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