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Bebop Spoken There

Gil Goldstein: "The first three days I was in Florida, I heard Jaco Pastorius play at a club in Fort Lauderdale, and then I heard Pat [Metheny] play in a class on jazz composition. My whole experience of the world changed in those three days." - (DownBeat, March 2020).
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Archive

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".

Today Tuesday February 25

Afternoon

Jazz

Classic Swing - The Ship Inn, Front Street, Monkseaton NE25 8DP. Tel: 0191 251 3677. 1:00pm. Free.

Evening

Jam session - Black Swan Bar, Newcastle Arts Centre, Westgate Road, Newcastle NE1 1SG. Tel: 0191 222 9882. 8:00pm. House trio: Dean Stockdale, Paul Grainger, Rob Walker.

A Roaring 20s Social - Durham Students' Union, Dunelm House, New Elvet, Durham DH1 3AN. 7:30pm. £12.00.,£10.00. Music student, £8.00. DUJS member. A Durham University Jazz Society event. Open to all.

Blues/Soul/Folk etc.

?????

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

Saturday, February 08, 2020

Paris Review: Elie Martin-Charriere Group @ Le Baiser Sale – January 21 et Christophe Brunard Connexion @ MONK Taverne de Cluny - January 26


Elie Martin-Charriere (drums); Theo N'Guyen (saxophone); Martin Ferreyos (guitar); Roman Maresz (keyboards); Juan Villarrael (bass).

(Reviews by JC)

When Bob Dylan sang 'I lived with them on Montague Street/A basement down the stairs/There was music in the cafes at night/And revolution in the air' on Blood on the Tracks in 1975 he was probably talking about New Orleans but the same could be said about Paris in 2020.

The opportunity to spend a little time there was too good to miss even though the apartment was not in the basement but on the 3eme etage. However, there certainly was revolution in the air as the street the apartment was on was the main route from the Bastille to Place de la Republic and the scene of numerous marches.

Thousands of very angry public service workers would regularly take over both sides of the road throwing firecrackers and setting bins alight, watched by hundreds of seriously threatening riot police. It was very obvious that French workers are not going to allow Macron to reduce their pensions without a major fight.

As strikes meant the metro was off and there was no sign of le bus numero vingt-sept, it was shank's pony to get out and find the music in the cafes. This was no hardship though, as everybody knows walking around Paris is fabulous, even when dodging the various demonstrations - school kids, students, firemen, farmers on tractors and even ballet dancers outside the Royal Opera house. But the biggest risk to life and limb was the extra traffic in the cycle lanes where people had purloined any kind of wheeled transport they could get to move around: pedal bikes and electric bikes, push scooters and the latest electric versions, skateboards and hover boards and even police on roller skates.

Thankfully your erstwhile correspondent made it unscathed to Rue de Lombards which has no less than three different jazz clubs within soloing distance of each other - four, if you include the fact that Sunrise Sunset is two clubs in one; jazz upstairs and a funkier place down below - and I noticed that even the Irish pub on the street was advertising regular music sessions.

I was headed for Le Baiser Sale club ('the salty kiss' seems to be the polite translation) which the weekly Paris jazz guide had listed the category 'contemporary' beside the group leader's non-gender specific name (to English-speaking eyes anyway), Elie Martin-Charriere.  A singer maybe? piano player? No, it turned out to be a young (male) drummer with a group presenting a tribute to The Tony Williams Lifetime. Tony Williams formed the group in 1969, a mere 50 years ago - that's my kind of contemporary - and Martin-Charriere was born two years before Williams died - that's my kind of tribute artist.

I'm not over-familiar with the specific Lifetime oeuvre but I know the general jazz-rock fusion style and Martin-Charriere and his equally young guns powered into the music with real ferocity testing their already impressive techniques with some very fast playing. Martin Ferreyos on guitar demonstrated no little ability and much of the speed of the early McLaughlin and Juan Villarreal was very solid on bass but maybe lacked a little of the Joker-like grinning evil menace that Jack Bruce brought to both his demeanour and his playing. On keyboards Roman Maresz played some fine solos and leader Martin-Charriere performed with real assurance powering the band forward. Out front and centre, possibly the youngest member of the group, Theo N'Guyen, played some blistering sax with that easy confidence of youth. They produced a great sound. There was a small but appreciative audience of mainly young people at the gig and I wondered afterwards how many would now want to check out some Lifetime albums. I know I do.

Christophe Brunard (guitar); Julien Brunard (guitar/violin).

However, Paris to me always means the Hot Club de France of Django Reinhardt and Stephane Grappelli as it was the first LP I ever bought. Therefore my next foray found me in a place called MONK La Taverne de Cluny on the Left Bank (no relation to our Ouseburn venue as far as I know). Here Christophe Brunard and his son, Julien have a regular weekly gig in the bar ('gypsy' was the style indicator in my music guide). For the first set both were playing guitars, with Brunard jr. taking most of the main solos and he was an excellent musician rooted in the Hot Club style with fast, rippling, inventive solos but clearly showing a knowledge of later guitar developments. Brunard snr. provided much of the rhythmic chordal drive with added walking bass lines for good measure but also showing he was no slouch when it came to his turn to be out front.

In the second set Julien switched to violin to give a real touch of Reinhardt/Grappelli vibe and if anything he was even more accomplished on this instrument. He played with great technique and considerable emotional intensity. Again, the pair complemented each other beautifully and played (unsurprisingly) with a great deal of empathic musical understanding.

Although no titles were given in any language except 'musical' I was sure I recognised many of the pieces but as l'homme dit 'I never forget a tune but I've no idea what its name is'.
One thing I spotted about Julien is that he was wearing a tie-pin, a feature I have noticed with a number of jazz musicians, and in my experience a sign of a musician who pays close attention to both musical and sartorial details. Certainly true in this case.

Then it was back out in the night and a chance to participate in the adventure known as a late night Paris taxi drive, not because of demonstrations, but due to a number of reckless road-crossing revellers who had no idea how close they were to a possible life-changing experience (and I don't mean musical) as we zoomed past.
JC

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