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Bebop Spoken There

Sting: "I wrote that song [Roxanne], it was originally a bossa nova". - (Stewart Copeland's Adventures in Music BBC 4, 17 January 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.

Today Monday January 20

Afternoon

Jazz

Jazz in the Afternoon - Cullercoats Crescent Club, 1 Hudleston, Cullercoats NE30 4QS. Tel: 0191 253 0242. 1:00pm. Free admission.

Evening

?????

To the best of our knowledge, details of the above events are correct but may be subject to alteration.

Thursday, December 12, 2019

CD Review: John Allee – Bardfly

John Allee (vocals, composer, arranger, additional lyrics); Mahesh Balasooriya (piano); Aaron Mclendon (drums); Dominic Thiroux (bass); Javier Vergara (saxophone); Matt Von Roderick (trumpet).
(Review by Ann Alex)

Is Lance favouring me with the most unusual, interesting CDs to review? I ask after listening to this latest humdinger by John Allee, veteran stage and TV actor and singer/songwriter from LA. We get 13 delightful tracks of songs from Shakespeare's plays, set to jazz, with some added lyrics by Allee, who adopts the persona of Feste the jester. The plays range from Othello to Henry IV to Hamlet and the music includes elements of blues, ballads, swing, and even hymns and spoken word.

I have a theory that jazz is especially suitable to accompany Shakespeare's work. I've heard it at many performances; the universal 'feel' sits well with the Bard's universal themes, and much of the music played in the time of Shakespeare was dance music anyway, their 'swing'. The CD begins with Allee speaking to us over a piano jazz groove, introducing the band and setting the scene. Then comes the calm, slow strains of Until the Break of Day, followed by Tomorrow Is St Valentine's Day, with suitably saucy-sounding comments from the trumpet.

Philomel/Hold Thy Peace (You Spotted Snakes) took me back to schooldays when I sang this, but this version is much more fun, done as swing with scat. Oh Mistress Mine is a song of seduction and the shortness of life, a common Shakespearian theme and Sigh No More is a sensitive ballad with a pleasing sax solo. The Hungry Lion is a sly creepy number about graveyards, with a final dissonant chord. Green Willow is gentle and sad and Full Fathom Five has a suitable 'under water' feel from the mellow instrumentation. Then comes the lively irony of Heigh Ho The Holly, and Allee brings out the meaning of the words skilfully ' most friendship is failing, most loving mere folly.' Come Away Death is slow with a bass solo, which is the right instrument to portray death (hope no bass players are offended). Then another death song Never Come Again, and a humorous song to finish, The Wind and the Rain, which outlines the stages of human life.

It goes without saying that the instrumentalists are well up to and beyond the mark. John Allee has performed in many Shakespeare plays, including Twelfth Night and he has also played in the Benjamin Britten musical version of A Midsummer Night's Dream. It is worth noting that the CD deserves careful listening to catch the full meaning of the lyrics, maybe hearing the album three times would hardly be enough. The CD has been available everywhere from October 11 on the Portuguese Knees Music label. See www.johnallee.com
Ann Alex

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