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Hand to Mouth, livestream 8 November 2020
Review by Lance Liddle, Bebop Spoken Here

Lindsay Hannon (vocal); Bradley Johnston (guitar).

No doubt about it, Hand to Mouth are a class act, in fact they don’t come much classier. Bradley can turn his hand to just about anything from Django to Pat Metheny or, as was the case last night, Joe Pass. Likewise, Lindsay’s mouth can encompass the world between old-time Mississippi blues singers to Joni Mitchell and beyond or, as was the case last night, Ella Fitzgerald and Carmen McRae.

Sound and camera work were perfect – the duo deserved nothing less – and when Bradley, tuxedoed and looking every inch the consummate professional that he is, opened up with a beautifully melodic When You Wish Upon a Star the die was cast. The Disney classic segued seamlessly into The Very Thought of You and Lindsay, looking fantastic and sounding as though she were singing for me alone (me and everyone else who had logged in that is) confirmed that this was going to be a night to remember.

The guitar solos were imaginative, the vocals sublime, the material pure magic. What I would have given to be sitting at a front row table, a bottle of Wainwright’s and this. It would certainly beat a book of verse and a jug of wine, maybe even with a thou thrown in! As it was, a can of Hobgoblin and a live stream such as this made up for it.

All Too Soon – immortalised by Ivie Anderson with Duke and Peggy Lee with George Shearing – achieved further immortality with Lindsay and Brad. I Ain’t Got Nothin’ But the Blues; Take Love Easy; Down With Love; ‘Tis Autumn (what a gorgeous tune!); I Can’t Give You Anything But Love; I Can’t Escape From You; Dindi; Some Other Time and, finally, Gee Baby Ain’t I Good to You.

Marks out of ten? – Eleven!

The Riviera Quartet, live and online 20 September 2020
Review by Lance Liddle, Bebop Spoken Here

Pete Tanton (flugelhorn, trumpet, vocals, shakers); Mark Williams (guitar); Andy Champion (bass); Russ Morgan (drums).
It was a great feeling to be at a live, indoor gig in an actual jazz club. The ever forward thinking Jazz Co-op have kept the jazz flame burning in the northeast with a regular programme of live streams featuring both local and national names since lockdown began. However, this was the first actual jazz gig at the venue where a small, socially distanced, credit card wielding audience of bottled beer drinkers and wine connoisseurs ventured forth into the redecorated, refurnished, refurbished and more spacious ground floor bar.

They couldn’t have chosen a better band for such an auspicious occasion (which was also going out via the usual streaming channels to a global audience – no pun intended!) than the Riviera Quartet.

The Alabama born Northumbrian revealed that, as of October, he will be a UK citizen. He should have hung on for a couple of months – his vote may have swung the election!

Many instrumentalists double on vocals and some vocalists also play an instrument but few are equally adept both ways. Pete Tanton is an exception – he does both better than most.

It was a storming set from start to finish with Tanton playing, mainly flugel, an occasional number on trumpet and some great vocals. All but two of the selections were his own compositions including lyrics where applicable. The two exceptions were No More Blues, a number he first heard on an album by Dizzy Gillespie – Dizzy on the French Riviera. This was a game changing moment for Pete and ultimately led, many years later, to the band’s name and much of its music. In the year of Charlie Parker’s centennial it’s good that Dizzy too is remembered even though he would have hit the 100 mark 3 years earlier.

The other non-Tanton original was guitarist Mark Williams’ Booze Blues, a number we’ve heard Mark do in many different settings. Tonight, it must be said, he played an absolute blinder (does he ever do any other? Probably, but never when I’ve been present!).

For the rest we had engaging vocals from Pete on To Heaven Overnight; When Monday Came; I Fall in Love; Tell me When It’s Safe to Open my Eyes. Sizzling instrumentals inc. Turf War; Barbados; The Wait and the loudly demanded encore – The Cat’s Reply.

Needless to say it wan’t just Pete and Mark who were at the top of their game, Andy and Russ too showed us how it is done. Bass solos don’t usually thrill me over much but Andy is one of the rare exceptions and tonight was one of those exceptions. On the aforementioned Booze Blues, after Pete’s tightly muted trumpet solo and Mark’s blast it was as if nothing could possibly follow which was vastly underrating Andy who added a further dimension and that was that – or was it?

Come in Russ the Brush! Morgan began his solo deftly flicking brushes – a drum solo doesn’t have to be all Flash! Bang! Wallop! That came later, gradually building up. Brushes, brush and stick, stick and stick and we’re off to the races! No wonder the fans wanted more. They got it with The Cat’s Reply. Another killler no less because of Pete’s introductory patter describing the actions of his own cat (and just about every cat in the world!) which inspired the tune.

A splendid conclusion to a most enjoyable evening.