For the past sixteen years we've been updating the world about jazz in the north east of England and updating the north east of England about jazz in the world. WINNER of the Jazz Media Category in the 2018 All Party Parliamentary Jazz Awards. Contact lanceliddle@gmail.com
Ann Braithwaite (Braithwaite & Katz Communications) You’re the BEST!
Holly Cooper, Mouthpiece Music: "Lance writes pull quotes like no one else!"
Simon Spillett: A lovely review from the dean of jazz bloggers, Lance Liddle...Josh Weir: I love the writing on bebop spoken here... I think the work you are doing is amazing.
October
Wed 30: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm. Free.
Wed 30: Darlington Big Band @ Darlington & Simpson Rolling Mills Social Club, Darlington. 7:00pm. Free. Rehearsal session (open to the public).
Wed 30: Take it to the Bridge @ The Globe, Newcastle. 7:30pm. Free.
Thu 31: Vieux Carré Jazzmen @ The Holystone, Whitley Road, North Tyneside. 1:00pm. Free. Fortnightly, next one Nov. 14.
Thu 31: The New '58 Jazz Collective @ Hops & Cheese, Hartlepool. 7:30pm. Free.
Thu 31: Vieux Carré Jazzmen @ Carlisle Rugby Club. Warwick Road, Carlisle CA1 1LW. 8:30pm. £12.
Thu 31: Tees Hot Club @ Dorman’s Club, Middlesborough. 8:30pm. Free. Guests Josh Bentham (sax); Dave Harrison (trumpet); Garry Hadfield (keys); Ron Smith (bass)
November
Fri 01: Mike Durham’s International Classic Jazz Party @ The Village Hotel, North Tyneside. 12 noon. Day 1/3. SOLD OUT!
Fri 01: Will Howard Quartet @ The Old Library, Auckland Castle, Bishop Auckland. 1:00pm. £8.00.
Fri 01: Classic Swing @ Cullercoats Crescent Club. 1:00pm. Free.
Fri 01: Rendezvous Jazz @ The Monkseaton Arms. 1:00pm. Free.
Fri 01: New Orleans Preservation Jazz Band @ The Oxbridge Hotel, Stockton. 1:00pm. £5.00.
Fri 01: Louis, Louis, Louis @ Saltburn Community Hall. 7:30pm.
Sat 02: Mike Durham’s International Classic Jazz Party @ The Village Hotel, North Tyneside. 12 noon. Day 2/3. SOLD OUT!
Sat 02: Red Stripe @ St Augustine's Parish Centre, Darlington. 12:30pm. Darlington New Orleans Jazz Club.
Sat 02: Play Jazz! workshop @ The Globe, Newcastle. 1:30pm. £25.00. Tutor: Steve Glendinning. ‘Bebop Language by Barry Harris.’. Enrol at: learning@jazz.coop.
Sat 02: Guy Davis @ The Witham, 3 Horse Market, Barnard Castle, DL12 8LY. &:30pm. £18-£20. Legendary American blues artist.
Sat 02: Rendezvous Jazz @ The Red Lion, Earsdon. 8:00pm. £3.00.
Sun 03: Mike Durham’s International Classic Jazz Party @ The Village Hotel, North Tyneside. 12 noon. Day 3/3. SOLD OUT!
Sun 03: Smokin’ Spitfires @ The Cluny, Newcastle. 12:45pm (12:30pm doors). £7.50.
Sun 03: Dean Stockdale Trio @ Central Bar, Gateshead. 2:00pm. £10.00. Dean Stockdale, Mick Shoulder, John Bradford.
Sun 03: Sax Choir @ The Globe, Newcastle. 2:00pm. Free.
Sun 03: Ruth Lambert Trio @ The Juke Shed, Union Quay, North Shields. 3:00pm. Free. Rescheduled date from Sunday 27 October.
Sun 03: 4B @ The Ticket Office, Whitley Bay. 3:00pm. Free.
Sun 03: Leeway @ Prohibition Bar, Newcastle. 7:00pm. A ‘Jar on the Bar’ gig.
Sun 03: Hi Res Heart @ The Globe, Newcastle. 8:00pm. Pyne/Archer/Keefe/Bardon. JNE.
Mon 04: Enrico Tomasso/Cia Tomasso/Curtis Volp @ Yamaha Music School, Blyth. 1:00pm. £9.00.
Mon 04: Harmony Brass @ Cullercoats Crescent Club. 1:00pm. Free.
Mon 04: Vieux Carré Jazzmen @ The Wheatsheaf, Benton Square, Whitley Road, Palmersville, Newcastle upon Tyne NE12 9SU. Tel: 0191 266 8137. 1.00pm. Free.
Mon 04: Michael Young Trio @ The Engine Room, Sunderland. 6:30-8:30pm. Free.
Tue 05: Vieux Carré Jazzmen @ The Victoria & Albert Inn, Seaton Delaval NE25 0AT. 12:30pm. £12.00. ‘Guy Fawkes Steak & Ale Pie & Pea Lunch’. To book tel: 0191 237 3697.
Tue 05: Customs House Big Band @ The Masonic Hall, North St., Ferryhill DL17 8HX. 7:00pm. Free.
Tue 05: Jam session @ The Black Swan, Newcastle. 7:30pm. Free. House trio: Stu Collingwood, Paul Grainger, Abbie Finn.
5 comments :
Perhaps it's not so much bias as politic not to say what you really think. Some who would be on the receiving end of a less than complimentary review may not speak to you again, that's assuming they deign to speak to you in the first place!
This is something that has given me sleepless nights ever since BSH started over 12 years ago. By and large, if I don't like an album, I simply don't review it. But is that fair? When it's someone you know personally it becomes even more difficult - particularly if it's a live gig and your presence is noted.
If I hear, say a sax player, who's a much better player than me but I don't like what he's doing, how do I point out the error of his ways when I couldn't do it better myself?
Then again, if you praise a bad player you are equally doing him/her a disservice whereas you should be offering advice, in a friendly way.
The answer of course is objectivity which, unfortunately, usually means boring writing. The public en masse prefer the lurid headlines of a tabloid to the more strait-laced headings of the "the quality papers" even though they may be saying the same thing.
However, it's not just BSH who may (very occasionally) promote the bad to mediocre, the mediocre to good and the good to fantastic. The jazz mags rarely give anything less than 3 stars and the Blindfold Tests where, once upon a time, the testers would never mince their words now find that everything's fine and maybe it is.
Someone once said to me he can get something out of any music he hears whether it be good or bad - even if it's learning what not to do!
At the end of the day, the top and bottom of it is, if you've got the guts to get up and play or record you should be encouraged.
Having said that, would Charlie Parker have become the giant he was if Jo Jones hadn't thrown his cymbal at him?
Lance has made very fair comment, I usually review women singers and don't generally like scat at all, but I have to consider it impartially as it has a valid place in jazz singing. Just 1 small example. I've found that playing an instrument (awkwardly In my case) helps a critic to understand just a bit more about jazz, including knowing the differences between playing a single line instrument and one that can produce chords.
Interesting Ann. The big question is, should a critic be a musician or not? The musician invariably is impressed by the technique of the performer often to the detriment of the content.
For the non-musician he judges by what he hears irrespective of whether or not he knows that the performer is playing in six sharps on a crap reed with a pianist who doesn't play the "right chords".
What do other folk think?
I've said before, Music is not just for musicians, any more than houses are just for builders. As a listener and occasional commentator, I want to be educated and/or entertained and would try to point out why either or neither of these things have been fulfilled.
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