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HOWAY THE LADS!

Bebop Spoken There

John McLaughlin: '' A Love Supreme coincided with my search for meaning in life". (DownBeat, March 2025).

The Things They Say!

This is a good opportunity to say thanks to BSH for their support of the jazz scene in the North East (and beyond) - it's no exaggeration to say that if it wasn't for them many, many fine musicians, bands and projects across a huge cross section of jazz wouldn't be getting reviewed at all, because we're in the "desolate"(!) North. (M & SSBB on F/book 23/12/24)

Postage

17873 (and counting) posts since we started blogging 17 years ago. 194 of them this year alone and, so far, 41 this month (March 14).

From This Moment On ...

MARCH 2025.

Sun 16: Jason Isaacs @ STACK, Exchange Sq., Middlesbrough. 1:00-2:45pm. Free. Vocalist Isaacs working with backing tapes.
Sun 16: Paul Skerritt @ Hibou Blanc, Newcastle. 2:00pm. Free. Vocalist Skerritt working with backing tapes.
Sun 16: 4B @ The Ticket Office, Whitley Bay. 3:00pm. Free.
Sun 16: Pearl Blossoms @ Prohibition Bar, Newcastle. 7:00pm. A ‘Jar on the Bar’ gig. Ragtime.
Sun 16: Hot 8 Brass Band @ Wylam Brewery. 7:30pm. ‘Big Tuba Tour’.
Sun 16: ARQ @ The Globe, Newcastle. 8:00pm.
Sun 16: Air4ce @ The Cluny, Newcastle. 8:30pm (8:00pm doors). £12.00.; £10.00. Tom Atkinson’s all-star band (line-up inc. Lindsay Hannon & Sue Ferris).
Sun 16: Jazz Jam @ Fabio’s, Saddler St., Durham. 8:00pm. Free. A Durham University Jazz Society promotion. All welcome.

Mon 17: Harmony Brass @ Cullercoats Crescent Club. 1:00pm. Free.
Mon 17: Jamie Toms Quartet @ The Black Bull, Blaydon. 8:00pm. £10.00.

Tue 18: Jam session @ The Black Swan, Newcastle. 7:30pm. Free. House trio: Laurence Harrison, Paul Grainger, Tim Johnston.
Tue 18: Phil Bancroft’s Beautiful Storm @ The Cluny, Newcastle. 8:00pm. £13.20 & £11.00.. A JNE-Gem Arts co-promotion.

Wed 19: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm. Free.
Wed 19: Darlington Big Band @ Darlington & Simpson Rolling Mills Social Club, Darlington. 7:00pm. Free. Rehearsal session (open to the public).
Wed 19: Take it to the Bridge @ The Globe, Newcastle. 7:30pm. Free.

Thu 20: Vieux Carré Jazzmen @ The Holystone, Whitley Road, Holystone. 1:00pm. Free.
Thu 20: Jazz Appreciation North East @ Brunswick Methodist Church, Newcastle NE1 7BJ. 2:00pm. £4.00. Subject: Nicknames.
Thu 20: Terri Green Experience @ Pilgrim, Newcastle. 7:30pm. £15.90.
Thu 20: Lindsay Hannon Trio @ The Harbour View, Roker, Sunderland. 8:00pm. Free. Hannon’s ‘Tom Waits for No Man’ set.
Thu 20: Ray Stubbs R&B All Stars @ Mill Tavern, Hebburn. 8:30pm. Free.

Fri 21: Paul Skerritt @ The Lit & Phil, Newcastle. 1:00pm. SOLD OUT!
Fri 21: Classic Swing @ Cullercoats Crescent Club. 1:00pm. Free.
Fri 21: Rendezvous Jazz @ The Monkseaton Arms. 1:00pm. Free.
Fri 21: New Orleans Preservation Jazz Band @ The Oxbridge Hotel, Stockton. 1:00pm. £5.00.
Fri 21: Giles Strong Quartet @ 1719, Hendon, Sunderland. 7:30pm. CANCELLED!
Fri 21: New Century Ragtime Orchestra @ Gosforth Civic Theatre, Newcastle. 7:30pm. Featuring special guest Martin Litton (piano).

Sat 22: Jason Isaacs @ St. James’ STACK, Newcastle. 12:30-2:30pm. Free. Vocalist Isaacs working with backing tapes.
Sat 22: Jason Isaacs @ Seaburn STACK, Seaburn. 3:30pm-5:30pm. Free. Vocalist Isaacs working with backing tapes.
Sat 22: Abbie Finn Trio @ The Vault, Darlington. 7:00pm. Free.
Sat 22: Swamp Stomp String Band @ The White Room, Stanley. 7:45pm.
Sat 22: Rivkala @ Prohibition Bar, Newcastle. 8:00pm. A ‘Jar on the Bar’ gig. Country blues guitar & vocals.

Sun 23: Musicians Unlimited @ Jackson’s Wharf, Hartlepool. 1:00pm. Free.
Sun 23: Paul Skerritt @ Hibou Blanc, Newcastle. 2:00pm. Free. Vocalist Skerritt working with backing tapes.
Sun 23: More Jam @ The Globe, Newcastle. 2:00pm. Free.
Sun 23: 4B @ The Ticket Office, Whitley Bay. 3:00pm. Free.
Sun 23: Mississippi MacDonald @ Georgian Theatre, Stockton. 3:00pm. Blues.
Sun 23: Tweed River Jazz Band @ Barrels Ale House, Berwick. 7:00pm. Free.
Sun 23: The Great Deceivers @ The Globe, Newcastle. 8:00pm. Tom Atkinson & co play King Crimson (1969-1974). Atkinson (guitar); Josh Bentham (alto sax); Stu Dawson (bass); Jeff Armstrong (drums).

Reviewers wanted

Whilst BSH attempts to cover as many gigs, festivals and albums as possible, to make the site even more comprehensive we need more 'boots on the ground' to cover the albums seeking review - a large percentage of which never get heard - report on gigs or just to air your views on anything jazz related. Interested? then please get in touch. Contact details are on the blog. Look forward to hearing from you. Lance

Thursday, December 17, 2020

Book review: Owen Martell - Intermission

On June 25, 1961, the Bill Evans Trio recorded the concerts that would become the albums Sunday Night at the Village Vanguard and Waltz for Debby, two of the defining albums in jazz piano history, both held in the same high regard as Jarrett’s The Köln Concert.

On the two albums the trio is a fully wedded, integrated unit, not a leader plus sidemen. All three musicians play in and around each other, fully entwined in each other’s performance.  Eleven days later bassist Scott LaFaro was killed in a car crash.

The recordings and the death of LaFaro, happening so closely together are the launchpad for Owen Martell’s novel about Evans’ lost weekend, the period during which he dropped out of sight and grieved for his friend. Evans is described as ‘shocked and numbed’ at the death and is reported to have ‘wandered round New York City wearing some of Scott’s clothes’.

The novel is told through the eyes of Evans’ brother, Harry, and his mother, Mary, and father, Harry Sr, and, at the end, Evans himself. For most of the novel Evans is a passive, melancholy presence at the centre whilst others are the characters taking care of him. It is only in the last few pages, when we hear his own voice, that he starts to rise up from his despair.  

We first see Evans as, on hearing the news of the crash, Harry seeks him out. Harry describes him at this point as gaunt, “like something cadaverous, eaten” in clothes two sizes too big for him. "He was an odd looking brother", Harry thought. Eventually the wanderings bring them to the Village Vanguard; Max Roach is playing, "Poor souls," Harry thought, "these jazzmen called to improvise on tunes they could play but couldn’t hum".

Harry remembers their childhood, both the music and the running around, riding bikes, falling out of trees, images a world away from the hollowed out Bill Evans on the cover of the Village Vanguard album. Of course, by 1961, Evans had been a heroin addict for several years.

Harry takes him home but Bill is there in body "but elsewhere in spirit". Even Debby, (Yes, that Debby), Harry’s young daughter senses that something isn’t right with Uncle Bill. She starts to draw him out but by now Evans has overstayed his welcome and Harry is annoyed at his brother’s sneaking out to score.

Bill is sent to his parents in Florida and falls back into the dependency of childhood in his mother’s presence. Communication is still an issue but Harry Sr. ignores the obstacle and simply pulls Bill into his life of golf, the bar and talks about ‘man’ things, ‘sport and TV, politics and weather’. Bill says nothing but Harry decides that ‘He will talk for two and in that way help Bill out’.

One day the postman brings a letter from the record company about the new album and that night his parents lie in bed and hear Bill playing piano again. Soon after, on his journey back to New York, he finds he has ‘half a tune in his head which he can’t quite bring to his lips’, but ‘he can only take it so far … it is the expression of a defective mechanism, mind and body and soul, bound together in hapless unbeknowing’. 

This isn’t a simple story arc from despair to recovery, though, there is a glimmer of something when Bill and Paul Motian, the drummer in the Trio, meet with Chuck Israels and the next chapter in Evans’ musical life can begin.

Owen Martell gives us three sketches of Evans during this period but he still remains an enigma. The simplicity of the writing, the absence of speech marks, indeed, the brevity of the novel (162 pages) itself serve to emphasise this. This is a novel not a biography (go to the excellent Bill Evans: How My Heart Sings by Peter Pettinger for that). Conversations and characters’ thoughts are the imagined flesh on the historical bones and the mood reflects the Trio’s music as much as the events.

Martell is a bit of an enigma himself. Intermission was his third novel and his first in English. He grew up in Pontneddfechan in South Wales and his only connection to the story seems to be that Harry Sr. was descended from Welsh immigrants to the US. At one point he bemoans the fact that the Irish uprising of 1916 wasn’t exported over to Wales.

One for Evans devotees? Then yes, I would count myself among that number, indeed Bill Evans was the first jazz artist that I got into. I bought A Kind of Blue because he was on it.

Dave Sayer

Owen Martell - Intermission (Heinemann 2013. ISBN: 9780099558828)

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