Extreme Pleasures From Extreme Measures - Splinter @ The Bridge

Gary Turner (ten), Mark Williams (gtr), Stu Collingwood (keys), Stuart Davies (bs), David Carnegie (dms).

Another good turnout at the Bridge Hotel for Extreme Measures. As I pointed out in my previous post, in years to come you'll want to tell your grandchildren about this band. They are simply the best in their chosen genre - jazz/rock/funk.

Tonight saw the first appearance with the band of Stuart Collingwood who has taken over on piano, or 'keys', - to use the current buzz word - from Ben Gilbert.

Totally different stylistically from Ben, Stu and the band have gelled together well to bring a different dimension to the music. Stu has also added a couple of his own pieces to the library both of which were premiered tonight.

Out front, Gary and Mark sell excitement. Mark is well known on the scene - he pops up anywhere from the Cherry Tree to The Chilli and can adapt to any situation. Catch his trio at this venue in two weeks time in a Splinter/JNE co-promotion.

Gary Turner is less predictable rarely being seen with other bands. Unless I'm missing something I find this strange as he can blow modern with the best of them.

With EM they each tend to begin with laid-back, meandering, probing phrases that gently lull the listener into a false sense of security before, almost imperceptibly, building up to a wild guitar thrash or a Coltranic 'sheets of sound' tenor blast that has the heart pumping out a cardiacal rhythm faster than a David Carnegie drum solo which brings me to David Carnegie.

David is not just a powerhouse drummer, he can do subtle and often does, but it is as the driving force behind EM where he excels. Constantly urging the soloists forward he drives them to unbelievable heights before taking off on his own helter-skelter multi-rhythmic ride.

Last, and by no means least and dispelling my doubts about his availability, Stuart Davies provided the bass guitar anchor that keeps it all within the extremities of the measure.

If the Sunday nights continue at this level I guess the Bridge is here to stay.

Photos.

Lance.

PS: Next week the Zoe Gilby Quintet.

It's Worth Taking Extreme Measures to Hear Extreme Measures at the Bridge Tonight.

Top jazz rock funk band Extreme Measures play the Bridge tonight as part of the Splinter @ The Bridge series of gigs.

With David Carnegie leading from the drums and such luminaries as Gary Turner on tenor, Mark Williams, guitar, Stu Collingwood, piano, not sure about bass as Stuart Davies I think will be away, It will be a night to remember.

This is one of those bands that you will tell your grandchildren about so start now - tell your kids to go out and procreate.

Lance.

R.I.P. SIR JOHN DANKWORTH

To say I'm shocked and saddened at hearing of the death of Johnny Dankworth is an understatement.

His music and I go back a long way and, even now, 60 years later, I have to be honest and admit that I've still not got around to thinking of him as Sir John or even plain and simple John. To me, and just about every modern jazz fan of a certain age, he will always be Johnny Dankworth.

In the 1950s the Johnny Dankworth Seven were frequent visitors to Newcastle and I recall seeing the band many times at the Odeon Cinema - in those days live music was allowed on a Sunday but the latest films weren't so the Odeon and the Essoldo featured Band Shows by all the top bands of the day.

The Seven also appeared at the City Hall and, believe it or not, the Memorial Hall (The Mem) in Wallsend.

The Dankworth Seven would be high on any list I drew up of the best British bands.

When the small group folded Johnny introduced the first of his many big bands. I seem to recall his was the first band where each section wore different, very bright, coloured jackets.

Although he was a forward thinker the Dankworth bands always swung and bore comparison with any band anywhere.

Other memories I recall were of a Festival Hall concert with the London Philharmonic Orchestra where he, and the band, performed a work by himself and Mattius Seiber 'Improvisations For Jazz Band & Symphony Orchestra'.

Another time at the Festival Hall the band backed the phenomenal trumpet player Maynard Ferguson whilst back in Newcastle he did the business at the City Hall behind Anita O'Day.

In the 1980s he fronted a quintet for a Channel 4 broadcast that included son Alec on bass. This was recorded at Newcastle University Theatre and was split with Art Blakey's Jazz Messengers.

There were other concerts I attended although, unfortunately, I missed his last appearance at the Sage Gateshead Jazz Festival 2 years ago.

He was one of those people, like Ronnie Scott and Humph, who you think will be with us for ever but although he's gone the music will live on. I'm already reaching for some vinyl of those Esquire tracks by the Seven.

Sincere condolences to Dame Cleo, Jacqui and Alec Dankworth.

Lance.

Sir John Dankworth died today (Feb 6) in hospital aged 82.

Obituary.

(Even) Better Than the Bridge! PAUL EDIS SEXTET – Jazz in the café at the Queen’s Hall Hexham. Friday Feb. 5

PAUL EDIS piano, ADAM SINCLAIR drums, PAUL SUSANS bass, GRAEME WILSON sax, GRAHAM HARDY trumpet/flugel, CHRIS HIBBARD trombone. My first time at this venue: it will not be the last – I commend it to you. “In the sticks”, yes, but, at 25 minutes drive from Chester-le-Street, hardly an odyssey!

With 50 – 60 people, plus musicians and staff it was standing-room only by 8.00 last night so be early if you want a table.

A full-house made for a good atmosphere – a kind of cross between Blaydon and The Cherry Tree. People clearly like to eat as part of the package and most were finishing eating at 7.30, when we arrived. It looked good – more cottage supper than haute cuisine but it required wifely restraint to keep me from trying the corned-beef pie, served in wedges you could chock a 147 with!

Friendly staff and good ales (Allendale beers in bottle) completed the picture. As I was driving, the ale, too, was off-limits. Shame! At 8.00, the lights dimmed and “Out of Nowhere” the band launched into exactly that and the applause which greeted solos by Graeme, Graham and Paul, showed that the audience know, and like, their jazz. “Ah,Um”, a Mingus-inspired original introduced a more baleful note and showcased Chris Hibbard on trombone as well as giving Adam and Paul Susans some space in the “fours”.

This was followed by Ellington’s “In a Sentimental Mood” which, with a slow, mellow flugelhorn solo, lived up to the title. In contrast, “Black Orpheus” with trombone again to the fore (how expressive an instrument in the right hands!) built up in rhythm and volume to something akin to carnival firecrackers. They closed the set (where can you go after firecrackers?) with some “kamikaze jazz” (also used at the Bridge) – Graeme Wilson’s “Up Late”, with stomping crescendos and a clever finish: a musical exclamation mark! Again, as at the Bridge, the second set opened with “All the things you are(n’t)”, complete with fugue intro: a case of “Welcome Bach?” An aberrant mobile phone added a novel “obligato” at the end of the piece but the audience seemed to love it all.

Also very well received was Paul’s “suite” in four parts which, when premiered at the Bridge, was so fresh as to be still untitled – a defect which has now been remedied. Inspired by post pantomime stress disorder it is now fittingly entitled “It’s behind You!” – which title, apparently, was suggested by Adam Sinclair. And very good it was – even better than at the Bridge, the first and the last bass notes sandwiching 26 minutes (yes, I timed it) of varied moods and virtuoso playing.

The second and third sections (waltz and ballad?) best illustrate the variety with “Favourite Things” from the “Sound of Music” popping into my mind at times in the waltz, while the ballad took me back to Ellington’s mood from the first set. “Angular” featured more excellent solos most notably from Graham Hardy on trumpet and finished the night with upbeat humour sending the audience home happy. A special mention for Paul Susans (deputising at short notice for Mick Shoulder) who contributed much to the solid rhythm section as well as some solos and a key part in the suite. A really enjoyable gig: I would go back for more of the sextet and (given a lift) some pie, beer and Hexham hospitality!

Photos.

Jerry Edis.

John Hallam & The Roly Veitch Quartet @ The Saville Exchange, North Shields.

John Hallam (clt/ten/bar), Jeremy McMurray (pno), Andy Champion (bs), Roly Veitch (gtr), John Hirst (dms).

When I was young(er) if someone had asked me to choose my dream concert line-up I may well have came up with; Artie Shaw's Gramercy 5, the Stan Getz Quartet/Quintet, the Gerry Mulligan Quartet and possibly a Benny Goodman small group.

Nobody ever did ask me and, although they are now all dead, tonight the dream came true in the form of John Hallam.

On a wet night in North Shields the somewhat less than capacity audience who braved the unpleasant conditions were rewarded with an evening of musical magic from Manchester's John Hallam and the local Roly Veitch Quartet.

Deep Purple and Do You Know What it Means to Miss New Orleans - both had a Shavian fluency about them - the phrasing and, most of all the sound, were neo-Artie. Later John switched into Goodman mode for Stealing Apples.

On tenor he achieved the cool, without being cold, feel of Stan Getz. Whether on the uptempo Blues in the Closet or the almost sensuous take on A Nightingale Sang in Berkely Square he conjured up an image of Getz's classic 50's small groups.

The same effect on baritone 'cept this time it was Gerry Mulligan who provided the inspiration. Line For Lyons, a few Ellington's including Love You Madly and I Let a Song Go Out of My Heart - all that was missing from this "Mulligan's Stew" was a Chet Baker vocal (wonder where we could have found one of those in this band?).

Behind John, the Roly Veitch Quartet provided not just the kind of support a strolling player needs but they also held their heads up high individually.

Roly, modest and restrained as ever, on his mildly miked-up Epiphone was the epitome of taste and tasty solo flights. Jeremy McMurray, this was his kind of gig and his solos proved it. Andy Champion - the jury returned on Andy a long time ago. The verdict was unanimous: 'guilty as charged of being one of the best bassists around.'

And on drums! John Hirst. A young man capable of crossing many genre and able to say more in his four bar exchanges than some others do in a ten minute solo.

This was an evening of sheer pleasure and a laudable attempt to introduce the Saville audience to jazz sans banjo.

Next month Daryl Sherman and Digby Fairweather.

Photos.

Lance.

Rosemary Squires Cancer Appeal Show

Forgive this rather bold approach but those who live within reasonable distance may like to know that, as a feature of her Diamond Anniversary in the business, there is to be 'An Audience with...LIFE IS A SONG' Rosemary's current touring show - as a Charity Matinee for the Royal Marsden Hospital Cancer Appeal at the Epsom Playhouse on Wednesday 21st April 2010 at 2.30pm. Tickets £10.50 from 01372 742555 or 742227.

So why not take a half day off work, get someone else to feed the cat, or whatever, and come along to a family afternoon of music and fun. Naturally she wants to maximise the benefit for this worthy charity.

However, should you be faint hearted or want to take the easy way out (joke!) then Liz Biddle of Upbeat Management, would be delighted to receive donations! (Liz by the way is not promoting this as an 'Agent' - on the contrary she is sponsoring at her own expense).

Donation Cheques should be made out to 'Royal Marsden Cancer Charity, Registered Charity 1095197 and sent to Upbeat Management, Larg House, Woodcore Grove, Coulsdon, Surrey CR5 2QQ.

Though, if you can make it, Rosemary would much prefer to see you there if only for a chat after and, by the way, bring your neighbours and friends or, if you belong to any local organisation perhaps to publish details of this event in any newsletter, parish or church magazine etc.

Thank you,

Frank Lockyer (Husband and Manager)

PS:Please visit Rosemary's refurbished website @ www.rosemarysquires.co.uk

Here There and Everywhere.

Truly a vintage night, tonight, with something for everyone so you pays your money and you makes your choice.

For discerning diners with an ear for piano jazz in a Buddist Monk mode (that's Bud Powell and Thelonious) that Stanley Steamer Harley Johnson plays solo at the Cherry Tree Restaurant in Jesmond.

Over at the Jazz Café on Newcastle's Pink Lane the Safe Sextet play their brand of hard bop whilst in North Shields, at the Saville Exchange, John Hallam is with the Roly Veitch Quartet.

Paradoxically, Mike Durham who is the guiding light behind the Saville's Jazz Program is himself performing at Gateshead Fell Cricket club with his West Jesmond Rhythm Kings.

Out in the sticks, the Paul Edis Sextet are at the Queens Hall, Hexham, and the TG Collective are at Hamsterley Village Hall.

That I had such a choice every night!

Lance.

River City Jazzmen R.I.P.

The sad news that the River City Jazzmen have finally called it a day brings to a close an era that, to my knowledge, ran for about 60 years.

Failing health and a shortage of stylistically compatable players have caused trombonist Gordon Solomon to finally say 'enough is enough'.

However, before it is too late I'd like to ask anyone, either players or fans, to mail me their memories and photos so we can put together a lasting memorial to the band.

For example, can anyone recall the names of the founder members?

Let's hear from you.

Lance.

A few photos.

Extract from an article by Peter Gascoigne ca 1960s.

"...the River City Jazzmen are a team of fine musicians who are very much jazz-based, but also include a fair amount of comedy, both spoken and musically, in their programme. They run sessions at two pubs in Newcastle. One at the Bridge Hotel on Mondays, and one at the Corner House Hotel, just in the suburbs, on Wednesdays."

Rosie's

Ray Harley (tpt), Herbie Hudson (tmb/vcl/hca), Jim McBriarty (clt), Malcolm Armstrong (pno), Alan Rudd (bs), Tommy Graham (dms), Olive Rudd (vcl).

I had to miss The Chilli last night because I'd got The Fever. This morning, the ague had subsided but so had the lights on my automobile which meant a look under the bonnet. This of course brought the neighbours out in force each offering their own pearls of wisdom none of which proved to be very helpful. The problem, we decided was neither in the fuse box nor in the bulbs - after all two bulbs wouldn't go simultaneously would they?

Eventually, we gave up and I took it to a specialist in car electrics whose lair was within walking distance of Rosie Malone's where, as is their wont on Thursday afternoons, the Maine Street Jazzmen were strutting.

I managed half an hour in the company of Gosling the Guitar (ret.) and heard some good bouncy dixie on such numbers as "I'm Beginning to See The Light", "My Mother's Eyes" and "Swannee River" plus vocals from Olive on "Jeepers Creepers" (inc. the verse) as well as "Swing That Music".

This took things to the end of the first set wherupon my phone rang.

It was the car people.

My car was ready.

What was the problem?

Two bulbs had blown simultaneously!

Lance.

Maureen Hall & Rendezvous Jazz @ Ashington Jazz Club. Feb3.

Maureen Hall, vocals, Barry Soulsby clt, Alan Smith tpt/flugel, Ian McCauley tromb, Bill College bass, Jim McEwen drums & Mac Smith piano.

Snow and tv football meant that numbers were down. It was quite understandable that our "travellers" did not risk it. By "travellers" I mean those from the likes of Cramlington, Morpeth and one guy who comes down from the Borders.

Maureen's established line up has been together for a while and, like good wine, gets better with age. A well thought out programme by Maureen meant that everyone was featured. Ian sang the old favourite Avalon, including his version of the lyric! Barry did The Old Bazaar in Cairo, which is a testing tongue twister. Maureen and Barry also did an appropriate duet - Ice Cream. What a smart turn out - black and silver music waistcoats no less.

They certainly delivered a great evening for the regular few.

John Taylor.