Great North Big Band Jazz Festival @ Campus, Sunderland University. Saturday 6th March.

Chief BSH correspondent Lance Liddle reviewed Friday night's excellent concert featuring the BBC Big Band's Paul Jones in concert with the Festival Big Band at the Bonded Warehouse on the south bank of the River Wear. The concert served as an hors d'oeuvre to the main course of two days of the best in big band jazz. A short riverboat shuffle (were there such a thing) across the river to Sunderland University Students' Union's north bank 'Campus' HQ and the music resumed at that well known jazz hour - eleven o'clock Saturday morning.

----- The Youth Section opened proceedings with four bands taking part: Durham County Youth Big Band, Paraffernalia (a Gateshead schools' band directed by David Blakey), Northumberland Youth Jazz Orchestra (directed by Dave Hignett) and Wigan Youth Big Band. Durham County Youth Big Band swept the board - Outstanding Soloist, Best Section (saxophones) and Best Band. The Open Section attracted a large number of bands from the north east and beyond. Durham University Big Band rattled through a few numbers including Arturo Sandoval's 'Rhythm of Our World' (good work on trumpet/flugel by Ian Hartley) and 'Fascinating Rhythm'. Durham University Alumni Big Band (directed by Shaun Eland) and North Tyneside's Strictly Smokin' Big Band featured in their ranks Budvivarian keyboards man Chris Finch. One of the tunes Finch & co. played was the Yellow Jackets' 'Go-Go'. During his time on stage Finch coped admirably as all about him collapsed - well, the legs of his keyboard fell apart. Undeterred, our piano man said 'play on!', balancing the keys perched on his lap - this was improvisation at its best! The Strictly Smokin' outfit, with Steph Adams taking the vocals, took on a more contemporary tune in Oasis' 'Wonderwall'. Adams was one of several vocalists to be commended during the two days of competition.

Another pop tune - the Average White Band's 'Pick Up the Pieces' - was in the set list of Lancaster University's competition entry. One from the jazz canon, Neal Hefti's 'Lil Darlin'', featured perfectly realised muted trumpet work from Jenny Hughes. Wigan Youth Jazz Orchestra, a big band with a big reputation, arrived in Sunderland a little late having set off from Lancashire at a very early hour only to encounter traffic problems en route. The band got down to business straight away and their offering included Lennie Niehaus' 'Monday's Child'. Jennifer Grimshaw played some excellent flugel horn on this one. The orchestra's tenor saxophonist won the prize for Outstanding Soloist. A team of Black 'n' Whites (aka Newcastle University Jazz Orchestra - the inaugural winner's of this event seven years ago) ventured into hostile Red 'n' White Mackem country (Sunderland to the uninitiated) in an attempt to run off with some glassware; Sunderland, being home to the National Glass Centre, commissioned glass trophies were somehow appropriate. The orchestra performed as a standing unit, eschewing the conventional arrangement of chairs and stands, creating a vibrant street-band feel to the performance similar to the Chilli Road Band or the anarchic 10th Avenue Band.

Last up for examination was the Leeds College of Music Big Band. This band was superb. From the first few bars there was only one winner. Dynamic arrangements, razor-sharp sections, no contest. The band's rhythm section won a Special Prize and Best Section prize and the full band scooped the prize for Best Band. An evening concert followed featuring Leeds College of Music Big Band, Durham University Big Band and Wigan Youth Jazz Orchestra. Russell.

Festival Big Band & The Egglescliffe School Jazz Quartet

The Bonded Wharehouse, a waterfront bar down on Sunderland's southside, was the scene for the opening night of Sunderland's Annual Big Band Festival.

As in previous years trumpet player & Musical Director Bill Watson led his young stars from the front. Augmented by the BBC Radio Big Band's Paul Jones on alto - sadly, funding cuts mean the Radio Big Band will be absent this year - Gordon Marshall (tpt) and Colin Haikney, occasionally on keys, the 20 piece aggregation produced a big fat ensemble sound.

Paul Jones played some wonderful alto solos - loping vertical lines that really flowed - a present day Art Pepper. Not that he had it all his own way - there were a couple of young altoists in the section who stood up and soloed with equal intensity.

It had been some time since I'd seen, heard and chatted with Gordon Marshall but I'm pleased to say he seems to have recovered from a recent health scare although these days he does more teaching than gigging.

I passed on regards from Ray Harley.

Gordon blew well both solowise and leadwise. Leader Bill Watson also scored and took part in an exciting series of chase choruses with the other trumpet players who more than held their own.

The trombones were smooth as silk whilst the rhythym section - with or without mentor Colin Haikney - excelled. Jack the bass whom I heard on Tuesday with the Customs House Big Band and the Hot House Dragons before that soloed with a rich full tone and hit all the right ones in the underpinnings. Talking HHDs Willie Angus played tenor in the reed section although it was the stunning blonde Joanne? who took the solos and played in the band within a band set.

A girl vocalist also sang very effectively - cool sounding I'd have liked to have heard her with say a trio or a quartet.

Talking about quartets...

As they were last year, for me, the Egglescliffe School Jazz Quartet were the icing on the case.

Loretta on tenor, Angus (not Willie!) on bass, Jonny on keys and Tom on drums played a fine set of bop to jazz rock standards - Billie's Bounce, Canteloupe Island etc.

Now in their final year at school I hope they have the future in music that they deserve.

A grand opening to this year's festival - tomorrow and Sunday it's the cut and thrust of the competition. I will leave that report to Russell - the Simon Cowell of the jazzworld.

Photos.

Lance PS: Sorry but I didn't get all the names so if Jack or anyone else in the band cares to give me a run down I'll carve their names with pride.

SAGE GATESHEAD INTERNATIONAL JAZZ FESTIVAL PREVIEW - SCOTTISH NATIONAL JAZZ ORCHESTRA

Over the years Scotland has produced more than its fair share of outstanding jazz musicians and this concert features the cream of the current crop in a fascinating big band excursion under the direction of Tommy Smith.

Tommy, himself a sax player of international renown, leads a big band that features such players as Ryan Quigley, Paul Towndrow, Alwyn Cosker and Martin Kershaw.

Kershaw I know only by reputation so this will be a journey of discovery for me but Quigley, Towndrow and Cosker are familiar to many in the North-east via their appearances at the Corner House and also last year's Scarborough Jazz Festival.

Quigley is an amazing trumpet player capable of soaring into the upper register without loss of his full sound - can't wait to hear him again. Towndrow has an incredible alto technique that enables him to unleash long florid solos bursting through the seams of creativity. Cosker demonstrated his awesome drum technique with his trio at the Corner House as recently as last month. Frankly, the room was too small for his powerhouse drumming - there will be no such constriction in Hall One of the Sage. His is perhaps the most demanding role - that of the drummer in a tribute to Buddy Rich regarded by many drummers as the all-time greatest!

The Rich tribute will be the climax to, not just a great concert, but to what promises to be the Sage's best festival so far.

The first set of the concert is unusual to say the least - Rhapsody in Blue. Gershwin's most well-known classical piece has always been regarded as a hybrid composition. Too jazzy for the classical audience and not jazzy enough for the jazz audience.

However, with Brian Kellock (remember his performance with Sheila Jordan at last year's festival or his duo concert with Leanne Carroll?) sitting on the piano stool that I'm sure will change. This re-working by Tommy Smith could quite conceivably move it away from its Paul Whiteman quasi-jazz image into a work that stands alongside extended pieces such as Ellington's Tone Parallel to Harlem. We look forward to finding out.

Scottish National Jazz Orchestra: Rhapsody in Blue and a tribute to Buddy Rich, Sunday March 28, Hall One. £19.50.

Lance.

PS: See sidebar for other Sage Festival previews.

Maine Street Jazzmen @ Rosie Malone's.

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

Nothing much to say that wasn't said by John Taylor in last night's report from Ashington.

The tunes may have been different (ish) but the drive was the same. Malcolm Armstrong, back on the team, has the best left hand in the business and his right isn't bad either!

Olive laid "It Had To Be You" on us and scored ten. Ray blew out of his skull whilst Herbie once again made an honest woman out of 'r Monica'. Jim proved that you don't have to go to New Orleans to hear jazz clarinet whilst the boys in the backroom stoked the fire brilliantly.

Photos. Lance

Budvivar Take it to The Bridge @ The Chilli

Budvivar: Debra Milne (vcl), Stuart Findon (ten/vcl), Fiona Littlewood (ten/vcl), Nicola Weaver (alt/vcl), Chris Finch (pno), Jim Crinson (bs), Eric Stutt (dms).

Take it to the Bridge: Dave Weisser (tpt/vcl), Doug Fielder (ten), Barrie Ascroft (pno), Mathew Office (gtr),Jim Crinson (bs), Eric Stutt (dms).

Budvivar just get better and better. New numbers, new routines, co-ordination - you could take them anywhere - they're musically house-trained.

The hour long set, unfolded before an intimate audience - no, that's not right you need two to be intimate (joke) - was possibly the best I've heard from them yet even though the saxes were slightly undermiked.

Nicola, on alto as opposed to bari, had some juicy solos and, as her familiarity with the book grows, expect even more from the good doctor. The lady even chipped in with some vocal harmony alongside Fiona and Stuart on the backing vocal to Centrepiece. It didn't quite have the edge on last weeks Ian Shaw/Emma Smith vocal at the Spice but it was in the same ballpark.

There were a few other unexpected vocal moments tonight. Apart from Debra's immaculate conceptions of Four, Fine and Mellow, Gee Baby Ain't I Good To You, Nica's Dream, Love Me or Leave Me and Louis Jordan's Daddy-o where Stuart took the part of Mammy-o, their was also my old favourite Hit That Jive Jack.

Instrumentally the solos were great and the sax intro to Love Me Or Leave me was something else but the non-vocal side was heard to absolute perfection on the opening Oleo. Should also mention Chris who played fine piano throughout.

Jim and Eric made sure it swung and it did!

Budvivar photos.

Earlier, the resident Take it to the Bridge crew had moments to reflect on in Solar, Wave, Alice in Wonderland and Killer Joe among others and later finished off the night with, after some deliberation, Mercy, Mercy, Mercy. This was Eric's last session with Dave and the boys we wish him well.

Lance.

PS: Where's Harley Johnson these days?

Maine Street Jazzmen @ Ashington Jazz Club.

Jim McBriaty (clt/vcl), Ray Harley (tpt), Herbie Hudson (tmb/hca/vcl), Colin Haikney (pno), Ian Hetherington (dms), Alan Rudd (bass), Olive Rudd (vcl).

This is definitely the favourite band of the Elephant stalwarts - so much so that they turn up an hour early to secure a front row seat!

Better than average turnout - almost 50.

After a couple of openers Nobody's Sweetheart saw Jim giving a "New Century Ragtime" slant to his vocal followed by Herbie singing Ballin the Jack and an instrumental version of Blues My Naughty Sweetie Gives To Me.

The ever popular Olive sang Some of These Days and they rode out to the interval on My Girl Sal with Ray Harley in top form.

After the raffle Herbie took the vocal on Sonny Boy, Olive sang Just Friends before, in my opinion, the highlight of the evening, Herbie's only harmonica number, the George Benson style Masquerade. Dep piano player Colin Haikney got a nice setting on the keyboard and played very sympathetically.

They received an unbelievable round of applause at the end.

Next came Momma's Gone Goodbye, Melancholy Baby, Sally and In a Mellow Tone. They ended with Swing That Music. Two of Olive's numbers went into double tempo - both carried out without a hitch.

Photos.

John Taylor.

Martin Scorsese Picks Leonardo DiCaprio for Sinatra Biopic.

But can the guy sing?

So Who's Minding the Baby?

I'd spent the early evening rehearsing with the Chilli Road Band. It was a good rehearsal and I felt in the mood for more music. I'd semi-promised to go down to the New Crown Hotel in South Shields to catch Ruth Lambert and the Customs House Big Band doing their open rehearsal thing. Indeed, having missed Ruth and the band's, by all reports well received, session at Blaydon last week I felt that it was my duty to go!

However, I'd also promised to look in at Stepney's - a pub in the heart of student diggeryland - where the music graduates from Gateshead College were unveiling their talents to the world. So, accompanied by Russell and Paul Bream, I ventured down some relatively new mean streets passing the intriguingly named Nancy's Bordello en route to the wharehouse like structure that is Stepney's.

I only had time to hear a couple of numbers by Splint'a's - a 9 piece band.

Didn't catch any names but I discovered later, not much later, that the cool guy in the suit was one Jimmy O'Neill. Jimmy sang Sunny and Moondance whilst I was there.

Two great tunes and Jimmy did okay. Nice soprano solo from one of the saxes.

A glance at my watch and South Shields beckoned so I left Russell to take copious notes on the rest of the evening whilst I sped eastwards.

The Customs House Band were in good form as they kicked off their second set with Have You Met Miss Jones. A good stomping arrangement that showed off the band's precision section work to perfection.

Ruth chipped in with I've Got The World on a String - our girl was in good voice. Later she revitalised Blue Moon, Hard Hearted Hannah and S'wonderful.

In between vocals the band paid tribute to Buddy Rich with Big Swing Face, Basie with The Kid From Red Bank whilst tenorist Alan Marshall nodded towards Coleman Hawkins with his take on Body and Soul.

Talking to Ruth between numbers I told her about Stepney's.

"My partner's singing there". she said.

Jimmy O'Neill!

Small world eh?

But I still don't know who's minding the baby - maybe he's got a gig of his own.

Lance.

A Triumph not just a Tribute - Roz Sluman’s Big Shoes Band – Lanercost Cricket Club Feb 27

Roz Sluman (alt), Ray Johnson (tpt), Brian Melville (kbd), Laurence Blackadder (bs), Kenny Reed (dms).

The musical legacy of the great alto saxophonist Cannonball Adderley provides a wide variety of styles ranging from hard bop through to soulful ballads and on Saturday night Roz Sluman, with her Big Shoes Band, superbly demonstrated his wonderful and articulate musicianship. Interspersed with snippets of Cannonball’s life story and descriptions of his compositional style Roz led a lively, well balanced and informative set that not only paid tribute but also demonstrated her own considerable talent on the alto saxophone. Kicking of with ‘Freddie Freeloader’, strongly underpinned by Laurence Blackadder on bass and Kenny Reed on drums, the scene was set for a ‘jazz treat’ of the highest order. Brian Melville and Ray Johnson, keyboards and trumpet/flugel respectively, completed the Big Shoes Band and had fine individual moments as the ensemble moved effortlessly through ‘Sack O’woe’, ‘Blue Daniel’, ‘Teaneck’, ‘Work Song’ and ‘Dat Dere’ to name but a few. Kenny Reed, clearly enjoying himself, came into his own on the aptly named (for a drummer at least!) ‘Sticks’ whilst the highlight of the evening for me was the wonderful ballad ‘Save Your Love For Me’. Taken from the 1961 Cannonball and Nancy Wilson album, the band were never going to be able to capture Wilson’s seductive vocal but the way they moved effortlessly through the changes and the interplay between alto sax and Ray Johnson’s trumpet was a reminder of what beautiful music a jazz ballad can be. Apparently this was the first time this line-up has played together and also the first time many of them had attempted the music of Cannonball Adderley. Big shoes to step into indeed and the fact that they did so in such style suggests even greater things to come – Miles Davis perhaps? Catch this band when you can – you will not be disappointed!

Photos from David Gosling.

David Gosling.

Zoe Gilby Quartet @ The Cherry Tree Restaurant, Jesmond.

Zoe Gilby (vcl), Mark Williams (gtr), Andy Champion (bs), Richard Brown (dms).

Zoe is a class act. Not only does she sing good but she looks and dresses good too.

Perched atop her trademark stilettos, wearing a long black gown avec cleavage and the long auborn tresses framing her face she looked like the diva she undoubtedly is; Lady Ga-Ga with taste.

And taste is what tonight was all about. Whether it be my starter of Poached Chicken with Cucumber, Peanut & Sesame Sauce or Zoe's exquisitely served That Old Black Magic followed by I Didn't Know What Time It Was, both left me with a feeling of inner satisfaction.

I'm pretty familiar with Zoe's sets by now but inevitably she pulls one out I haven't heard for a while. Such a gem tonight was Too Late Now - God I'm old enough to remember when it was in the Hit Parade (Jane Powell). It's a great tune whoever sings it and nobody does it much better than Z.

Talking of which, nobody does a much better steak than Tony the Chef at the Cherry Tree particularly when, as tonight, it is enhanced with Bernaise Sauce nor Zoe when she's enhanced by the sound backing from Mark (here there and everywhere) Williams, Andy Champion & Richard Brown.

In the words of another song tonight - Some Cats Know.

First time I ever heard Zoe, back in the days of the Side Café, she sang If I Only Had A Brain. I still remember thinking 'Oh no! she's going to sing the millionth version of Over The Rainbow! Instead she sang the aforementioned Brain - a far superior song - and tonight she sang it again.

Another first was Johnny Mandel's The Shadow of Your Smile which may still need a little work done on it.

Nevertheless, it was an excellent night despite a dip in attendance.

Lance.

PS: For the 'Foodies' I was full after the main course so I skipped dessert. If I hadn't I may have opted for Prune and Armagnac Parfait with Boozy Prunes and ended up getting breathylised!