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Bebop Spoken There

Kurt Elling: ''There's something to learn from every musician you play with''. (DownBeat, December 2024).

The Things They Say!

This is a good opportunity to say thanks to BSH for their support of the jazz scene in the North East (and beyond) - it's no exaggeration to say that if it wasn't for them many, many fine musicians, bands and projects across a huge cross section of jazz wouldn't be getting reviewed at all, because we're in the "desolate"(!) North. (M & SSBB on F/book 23/12/24)

Postage

17630 (and counting) posts since we started blogging 16 years ago. 904 of them this year alone and, so far, 49 this month (Dec. 20).

From This Moment On ...

December

Wed 25: Wot? No jazz!

Thu 26: The Boneshakers @ Tyne Bar, Ouseburn, Newcastle. 4:00pm. Free. The 17th annual Boneshakers’ Shindig.

Fri 27: Classic Swing @ Cullercoats Crescent Club. 1:00pm. Free.
Fri 27: Rendezvous Jazz @ The Monkseaton Arms. 1:00pm. Free. Business as usual!.
Fri 27: Jason Isaacs @ Seaburn STACK, Seaburn. 3:30-5:30pm. Free. Vocalist Isaacs working with backing tapes.
Fri 27: Michael Woods @ Prohibition Bar, Newcastle. 8:00pm. A ‘Jar on the Bar’ gig. Country blues guitar & vocals.

Sat 28: Jason Isaacs @ St. James’ STACK, Newcastle. 11:30am. Free. Vocalist Isaacs working with backing tapes.
Sat 28: Fri 20: Castillo Nuevo @ Revoluçion de Cuba, Newcastle. 5:30pm. Free.
Sat 28: Jude Murphy, Rich Herdman & Giles Strong @ Prohibition Bar, Newcastle. 8:00pm. A ‘Jar on the Bar’ gig.
Sat 28: Ray Stubbs R & B All-Stars @ Billy Bootlegger’s, Stepney Bank, Newcastle. 9:00pm. Free.

Sun 29: Paul Skerritt @ Hibou Blanc, Newcastle. 2:00pm. Free. Vocalist Skerritt working with backing tapes.
Sun 29: Alexia Gardner Quintet @ The Globe, Newcastle. 8:00pm.

Mon 30: Harmony Brass @ Cullercoats Crescent Club. 1:00pm. Free.
Mon 30: Vieux Carré Jazzmen @ The Wheatsheaf, Benton Sq., Whitley Road, Palmersville NE12 9SU. Tel: 0191 266 8137. 1:00pm. Free.
Mon 30: Jason Isaacs @ STACK, Exchange Sq., Middlesbrough. 4:00-6:00pm. Free. Vocalist Isaacs working with backing tapes.

Tue 31: Jason Isaacs @ Seaburn STACK, Seaburn. 12 noon-2:00pm. Free. Vocalist Isaacs working with backing tapes.
Tue 31: Lapwing Trio @ Wallington (National Trust), Cambo, Morpeth NE61 4AR. 12 noon & 2:00pm. Admission to site £19.00.
Tue 31: Jason Isaacs @ St. James’ STACK, Newcastle. 3:30-5:30pm. Free. Vocalist Isaacs working with backing tapes.
Tue 31: Archie Brown & Friends @ Tyne Bar, Ouseburn, Newcastle. 4:00-8:00pm. Free.

Reviewers wanted

Whilst BSH attempts to cover as many gigs, festivals and albums as possible, to make the site even more comprehensive we need more 'boots on the ground' to cover the albums seeking review - a large percentage of which never get heard - report on gigs or just to air your views on anything jazz related. Interested? then please get in touch. Contact details are on the blog. Look forward to hearing from you. Lance

Sunday, November 04, 2018

Review: Charkie Parlour @ the Globe - November 1

John Garner (violin, composer); Mark Williams (guitar); John Pope (bass); Russ Morgan (drums)
(Review by Ann Alex).
This was a thrilling evening of music, especially from a band which, according to Mr Garner, doesn’t actually exist, because they don’t have a website, haven’t yet produced a CD, and this was their first gig anyway! 

How best to describe this very varied music, all band originals, with influences from free jazz, classical, folk, Eastern music and South African music? I’ll start with the musicians themselves who are known to jazz fans from other bands. John Garner is a classically expert violinist who produced sounds which no violin ought to make, long slides, weeping, squeaking, scratching, besides the more ‘normal’ lyrical tunes, pizzicato, double-stopped chords, and even a cadenza which would have fitted well into a violin concerto by Beethoven.

Mark was quieter than other times I’d seen him, but giving us flowing tunes or jagged effects as required and lots of call and response with the violin. John simply did all sorts, sometimes down at the dusty end of the bass, tweaking, clapping, bowing,  much improvised I’d guess, and with quite a bit of comedy. Our drummer was a million miles away from swing for much of the time, sticks, brushes, mallets, hands, very adaptable and varied.

The sound was great, but even if you hadn’t liked the sound, it was so, so interesting to watch. The free end of jazz is very visual.

So what was played? Twelve or so long pieces, three of them from a suite composed by Garner. Garner explained that the suite was influenced loosely by the writings of Kahlil Gibran in his meditative book The Prophet. Garner had also thrown a dice to help decide the notes and chords to be used.

So Love began with a bowed bass and ‘scratchy’ violin, rather Schoenberg-like, rumbling drums, then pizzicato violin and lots of guitar riffs. The description doesn’t do it justice and it all worked well. The other two pieces from the suite were called Children and Giving.

The first tune of the night was a bit more conventional, opening with riffs and grooves from bass and drum, then a beautiful flowing folky tune from violin, bell-like guitar, a long guitar solo, ensemble climax, and repeated riffs at the end. The Bump, ‘to do with pregnancy’ said Garner, was amusing, with sliding violin, mad guitar, sounds which reminded me of a plane landing or of the music which goes with cartoons.

Foot Fluff was also funny, a short piece with, to my ears, Klezmer effects. Have Violin Will Travel featured ‘travelling’ music, lines of melody appearing to move along, and this morphed at some point into a John Pope composition called Ing. A tune for Halloween was followed by the final piece, There’s No Time Like The Future, which was a lovely hymn-like melody on violin, with improvisation from the others.  

The band play in Edinburgh early in the New Year and a CD is in the pipeline. I spoke to many of the audience who said how much they had enjoyed the performance, so I predict that this band has a promising future. A great evening, with much to interest lovers of more conventional jazz as well as those who like the more ‘free’ style.
Ann Alex

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