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Bebop Spoken There

Brian Carrick: "I contacted Max Jones of Melody Maker and offered to be his correspondent in the States, but I should have done what Ken Colyer had done, get a job on a ship and then jump ship in the States. So I didn't make it [to New Orleans] till 1973." - (Just Jazz May 1999)

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COVID-19

In the current climate we are doing our best to keep everyone up to date. All gigs, as we all know, are off.

However, good old YouTube has plenty to offer both old and new to help us survive whilst housebound. Plus now is a good time to stock up on your CDs.

Also, keep an eye out for live streaming sessions.

Alternatively, you could do as they do in Italy and sing from your balcony.

Today

As we all know there are no live gigs taking place in the immediate future. However, any links to jazz streaming that are deemed suitable - i.e. with a professional approach - will be considered for posting.

Friday, July 05, 2019

Ruth Lambert Quartet @ The Gala Theatre, Durham - July 5

Ruth Lambert (vocals); Paul Edis (piano); Neil Harland (double bass); Russ Morgan (drums)
(Review/photo by Russell/Collage & Quartet photo courtesy of Brian Ebbatson)

Ruth Lambert has few if any pretenders to her crown as the supreme interpreter of the Great American Songbook. The Cullercoats-based singer works with the best of them and this Gala Theatre engagement found her in A-list company. Pianist Paul Edis, fresh from gigging in Glasgow the previous evening, short-notice dep bassist Neil Harland and sought-after drummer Russ Morgan were on duty for a one hour, lunchtime masterclass. 

The Gala's top floor studio space welcomed yet another capacity audience as Lambert opened her vocal masterclass with No Moon at All - succinct introductory solos from Edis and Harland with a concise round of fours, this was going to be good! Ms Lambert revealed she was battling a sore throat - we wouldn't have known! - as she ascended high, then higher again on Hoagy's Skylark. Cole Porter's You'd Be So Nice To Come Home To showcased Edis' stupendous piano playing followed by Lambert's take on Harold Arlen's I've Got the World on a String - quite simply, you couldn't find a better example of an innate sense of swing.  

West Coast Blues is a favourite of Lambert...good, any time! Edis and Harland stepped up on Bob Dorough's Devil May Care but, boy-oh-boy, Russ Morgan's pillar-to-post surging brushes were something else! 

Lambert the composer contributed two numbers - a mid-set A Love That Never Dies and the set-closing Mr Wonderful - which Messrs Edis, Harland and Morgan executed with due care and attention. Hearing Ruth Lambert fronting a big band (the Customs House Big Band) or, as on this occasion, singing in small combo company is one of the joys of gig-going.   
Russell   
More Gala photos.

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