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Bebop Spoken There

Ethan Iverson: "I asked Bertha [Hope] if she ever used the word "contrafact" to describe the process of writing new tunes over old changes, and she replied, "Of course not. The only people who used that word went to a university to learn about jazz."" - (Jazz Times March 2020).

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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".

COFID- 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.

Wednesday, October 30, 2019

Jam Session @ The Black Swan - Oct. 29


(Review by Lance)

It began as a very low-key affair. Where was everyone? Had they broomsticked home for Halloween? Who knows? 

The trio set the scene with Airegin, I Love You and Chick Corea’s Windows which provided Grainger with the opportunity to crack that “the latter tune was dedicated to Lance’s former workplace (J.G. Windows Ltd., Central Arcade Newcastle)” – Don’t give up the day job Paul.



Another PG (the third one’s in Thailand), Paul Gowland, took to the stage armed with a Conn underslung alto and gave us his impression of how Ornette Coleman may have played Take Five – incredible! There is no Greater Love referred to by PG II as The Cheese Song – greater/grater – get it? This could enter into the Jazz Bumper Fun Book alongside The Sheep Song – You/Ewe – any more folks?


Straight down the middle swinging alto followed by straight down the middle swinging tenor from Graham Easthope on Blue Train.

Time for a song. Debra stepped up to the plate with MJ on guitar for a spirited version of Billie’s Bounce that kept bouncing – the song was ended but the melody lingered on. Born to be Blue reminded me that Mel Tormé could compose as well as sing – a trait he shared with Debra albeit not on this occasion.

Back to the saxophones and Paul and Graham had a Night in Tunisia. A big sound from the two saxes and an excellent solo from Mark Williams. Graham stayed on board for Blue Bossa.

Mo took over on the kit and Ray Burns gave us some mouthy magic on Stormy Weather and Ain’t Misbehavin’ with a vocal chorus on the old Fats Waller tune.

The news that Sunderland had lost a penalty shootout to Oxford United was soon forgotten with the arrival of Jordan Alfonso and Steve Summers – looked like a saxophone shootout was about to take place.

Someday My Prince Will Come then the big one – Four saxes and a harmonica blowing St.Thomas to smithereens.

Not such a bad evening after all – special thanks to Messrs Grainger, Williams and Bradford. And, remember, remember, as Paul Grainger kept reminding us, the jam is back next week on the 5th of November with Giles Strong, Abbi Finn and, of course, his good self.
Lance.
PHOTOS 

Paul Grainger (bass); Mark Williams (guitar); John Bradford (drums) + Paul Gowland, Jordan Alfonso (alto sax); Graham Easthope (tenor sax); Steve Summers (soprano sax); Debra Milne (vocals); MJ (guitar); Hazem Mohammed (drums); Ray Burns harmonica/vocals).

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