Gideon Tazelaar Quartet @ Blaydon Jazz Club - Oct. 21

© Russell

Gideon Tazelaar (tenor sax); Joe Steels (guitar); Arnie Somogyi (double bass); John Hirst (drums)

My worthy constituent Russell covered most of the bases in his review of the quartet's lunchtime gig over at the Yamaha Music Centre in Blyth (see earlier post) so, rather than reiterate his glowing terms, most of which I agree with, I'll throw in a few observations of my own.

It was good to note that the audience were filling the small room of the Black Bull for the fourth month in a row at  Blaydon Jazz Club in this, its 40th year. Roly must be doing something right and he certainly did last night with the music on offer helped along by an Arts Council grant - the Dutch Arts Council that is.

This isn't as bizarre as it might seem as Tazelaar, born in Holland and a graduate of Julliard is well worthy of his home country's support. Pairing him with outstanding British bassist Somogyi and two local boys made good was an inspired  choice.

© Russell

In a Mellotone began with a bass intro that told me where 'we' were going. Tazelaar came in and I was immediately captivated by his sound. It was as if Johnny Hodges or Benny Carter were playing tenor. Steels too soloed and comped well with Hirst providing the rhythmic impetus.

The Shadow of Your Smile as a bossa was followed by Cottontail. Now the Dutchman was really flying taking the 'changes' in his stride, his fellow travellers with him all the way. John Hirst releasing one of the many explosions that erupted during the evening.

A rarely heard Ellington ballad, Don't You Know I Care?, was, to sum-up in one word, beautiful. The set finished on Wes Montgomery's West Coast Blues and, naturally, Steels had plenty to say musically before the whole shebang closed with a round of fours. 

The consensus on the ground was a general feeling of comfort. Neither too demanding nor too familiar. It was just right.

Love You Madly, as Duke used to address the audience, opened the second set and the Blaydon audience returned the greeting with vociferous applause.

As part of an Ellington project he is involved in the bassist composed a couple of as yet unnamed Ellington inspired tunes. The first one, based on one of the 'get out jail free cards' - rhythm changes - had an extended round of fours between bass and drums. Fours are fine but they do have a tendency to overstay their welcome.

You go to my Head was ballad playing as close to perfection as you're ever going to get on a Monday night in Blaydon - maybe even in New York. I liked the way Joe Steels seamlessly slipped a quote from Misty into his solo.

The second untitled tune was that other get out jail free card, the blues. This had a rockin' Kansas City groove maybe more Basie than Ellington. If there had been enough room those that were able would have been dancing their butts off!

The hour was getting late, there were trains and cars and buses to catch and what better way to send us home than with an emotive version of Body and Soul? Arnie played the melody to bring it in and to take it out with Joe and Gideon supplying a very tasty filling indeed. Nice brushwork from John and then it was all over. Tot ziens. Lance