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Bebop Spoken There

Stan Woodward: ''We're part of the British jazz scene, but we don't play London jazz. We play Newcastle jazz. The Knats album represents many things, but most importantly that Newcastle isn't overlooked". (DownBeat, April 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

17904 (and counting) posts since we started blogging 17 years ago. 225 of them this year alone and, so far, 72 this month (March 24).

From This Moment On ...

MARCH 2025.

Fri 28: Giles Strong Quartet @ The Gala, Durham. 1:00pm. £8.00 SOLD OUT!.
Fri 28: Classic Swing @ Cullercoats Crescent Club. 1:00pm. Free.
Fri 28: Rendezvous Jazz @ The Monkseaton Arms. 1:00pm. Free.
Fri 28: Spilt Milk @ St. James’ STACK, Newcastle. 7:00-9:00pm. Free. Nolan Brothers (vocal harmonies).
Fri 28: Castillo Nuevo Orquesta @ Pilgrim, Newcastle. 7:30pm (doors). £8.00.
Fri 28: Pete Tanton’s Chet Set @ Old Cinema Laundrette, Durham. 7:45pm.
Fri 28: Sue Ferris Quintet @ Traveller’s Rest, Darlington. 8:00pm. £10.00. Opus 4 Jazz Club.
Fri 28: Mostly Moonlight @ Prohibition Bar, Newcastle. 8:00pm. A ‘Jar on the Bar’ gig.
Fri 28: Juliana Day & Manon McCoy @ Cumberland Arms, Byker, Newcastle. 8:00pm. £12.00.; £10.00. advance. JNE.

Sat 29: Edison Herbert Trio @ The Vault, Darlington 7:00pm. Free.
Sat 29: Doris Day Story @ Phoenix Theatre, Blyth. 7:30pm.
Sat 29: Squabble! @ Prohibition Bar, Newcastle. 8:00pm. A ‘Jar on the Bar’ gig.

Sun 30: Jan Spencelayh & Dave Archbold @ Jackson’s Wharf, Hartlepool. 1:00pm. Free.
Sun 30: Paul Skerritt @ Hibou Blanc, Newcastle. 2:00pm. Free. Vocalist Skerritt working with backing tapes.
Sun 30: Jamil Sheriff Trio w. Nadim Teimoori @ Queen’s Hall, Hexham. 3:00pm.
Sun 30: Ruth Lambert Trio @ The Juke Shed, Union Quay, North Shields. 3:00pm. Free.
Sun 30: 4B @ The Ticket Office, Whitley Bay. 3:00pm. Free.
Sun 30: Jazz Jam Sandwich! @ Prohibition Bar, Newcastle. 7:00pm. A ‘Jar on the Bar’ gig.
Sun 30: Jamil Sheriff Trio w. Nadim Teimoori @ The Globe, Newcastle. 8:00pm.

Mon 31: Harmony Brass @ Cullercoats Crescent Club. 1:00pm. Free.

APRIL 2025

Tue 01: Jam session @ The Black Swan, Newcastle. 7:30pm. Free. House trio: Joe Steels, Paul Grainger, Mark Robertson.
Tue 01: Customs House Big Band @ The Masonic Hall, North St., Ferryhill DL17 8HX. 7:30pm. Free.

Wed 02: Lauren Bush: The Jazz Singer’s Toolkit @ The Pele, Corbridge. 1:00-4:00pm. Vocalist Lauren Bush with pianist Jamil Sheriff presents a jazz singing workshop. £40.00. (inc. evening concert, see below). Registration required for workshop: www.laurenbushjazz.com. All ability levels welcome.
Wed 02: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm. Free.
Wed 02: Jason Isaacs @ St. James’ STACK, Newcastle. 2:30-4:30pm. Free. Vocalist Isaacs working with backing tapes.
Wed 02: Lauren Bush & Jamil Sheriff @ The Pele, Corbridge. 7:00-9:00pm. £10.00. Concert performance. Tickets: www.laurenbushjazz.com.
Wed 02: Darlington Big Band @ Darlington & Simpson Rolling Mills Social Club, Darlington. 7:00pm. Free. Rehearsal session (open to the public).
Wed 02: Take it to the Bridge @ The Globe, Newcastle. 7:30pm. Free. POSSIBLE CANCELLATION. See website for updates: www.theglobenewcastle.bar.

Thu 03: Jazz Appreciation North East @ Brunswick Methodist Church, Newcastle NE1 7BJ. 2:00pm. £4.00. Subject: Women in Jazz.
Thu 03: Eva Fox & the Jazz Guys @ Prohibition Bar, Newcastle. 8:00pm. Free. A ‘Jar on the Bar’ gig.
Thu 03: New ’58 Jazz Collective @ Dorman’s Club, Middlesbrough. 8:30pm. Free. A Tees Hot Club promotion. First Thursday in the month.

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

Tuesday, May 21, 2024

Theo Croker @ the Jazz Arena, Cheltenham Jazz Festival - May 5

Theo Croker (trumpet and electronics); Idris Frederick (piano, keyboards); Eric Wheeler (bass); Jeremiah Collier (drums). 

Amen Waters(?) opens with long, cool astral notes over tumbling bass, drums and piano while Croker does things with his collection of knobs and electronics to, it must be said, with little discernible effect. This sets the scene for much of the rest of the gig. Croker proves several times across the course of the performance what a fine trumpeter he is but breaks off, just as his solo starts to really take off, to do things electrical.

During this first piece he manipulates his trumpet sound live, mixing in altered notes and African soundscapes, introduces a tapping rhythm and the drummer follows that whilst the bass adds pulse and the pianist contributes some fluid, floral runs, Croker’s trumpet is a clarion call to the faithful. The drummer fragments the rhythm on his old, beaten up cymbals that crack rather than splash, and the bassist drives it on. Croker settles into a groove and adds echo to his trumpet, but, as things start to get interesting the trumpet goes back in the case so Croker can produce some more sonic manipulation.

64 Joints (?) carries a '60s soul vibe over a thumping hip-hop beat; Collier excels on the drums, a real powerhouse. It’s an energy that the others don’t really match until Croker solos and everything moves up a gear; a ferocious bass solo anchors the tune whilst electric piano adds the soul. Croker floats another spacey line over the top and starts to add echo, reverb and various squelches which don’t really enhance the piece.

The next tune opens with a recording of Malcolm X talking about the contribution of women in developing countries and how their untapped potential can hold a country back. A nice, steady rolling, mellow groove develops behind the speech as Croker blows long, echoing, bluesy lines and Frederick adds decorative piano frills. Croker starts to construct a solo that takes him into the higher register before breaking off and blowing into the microphone he has set up for recording and mixing.

Frederick shines again as he opens Where Will You Go with a solo full of rich, elegant flourishes. His solo resolves into rhythmic pulse surrounded by cascades of notes from his right hand and we’re now working in a 1970s' soul/jazz groove. Croker launches into a rap and, unfortunately, the piano is lost in the mix beneath the bass and drums, which is unfortunate as it was providing the soul and the heart of the song. Croker plays a lovely solo, building from short notes until he is really reaching for the skies.

Croker and the rhythm section playfully call and respond before he blows some long, elegant lines as the tune settles into a propulsive, swinging funk that turns into a full-pace steeplechase. Now we can hear the electric piano as Frederick delivers a dense, chiming solo, driven hard from behind by bass and drums; Croker punctuates with a sharp line which grows into a long fluid solo.

A pounding opening brings on the closing tune, full of fury, it aims for the same level of transcendence as A Love Supreme. Croker’s echo fades and he comes roaring back over a punching, regular beat; the pianist establishes a rolling, bopping groove that is taken up by the drummer, Croker’s echo on his trumpet adds layers to his playing. Frederick’s Tyner-esque pianism tries to resolve the dichotomy of whether the piano is rhythm or harmony or both at the same time. Croker’s closing solo is full of flair and attack, driven on by Collier’s drums before the leader breaks off again to play with his array of effects and the energy level plummets again.

Croker is a fine player but clearly thinks his contributions on effects and electronics are the equal of those he provides with his trumpet. I fear that, on this score, he is mistaken. It may be that the group would work better with someone on the knobs full time, such as Leafcutter John did when he played with Polar Bear. That would allow Croker to get his trumpet out of its case more than he did on the night. Dave Sayer

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