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REVIEWS

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the FULL VERSION of De Broize Custom Drums Zine Issue 3 review and interview!

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Bebop Spoken Here, Review by Russell, Tuesday 20th August, 2019, 17:12

Freelance Drummer, Joe Reid: Postgraduate Recital @ The Music Studios, Newcastle University - August 20

 

Joe Reid (drums) + Neil Graham (guitar, vocals); Josh Fascia (bass guitar); Steve Grant (keyboards, vocals); Liam Mulpetre (guitar); Alex Brand (bass guitar)

(Review by Russell)

 

Earlier this year BSH caught drummer Joe Reid in action, first at the Dun Cow with the Bold Big Band and subsequently at his interim postgrad recital in Newcastle University's purpose-built Music Studios. On this late summer day Reid was about to undertake his final recital before  heading out into the scary world of hustling for gigs hoping to bag a seat on a globetrotting tour bus.  

 

The title of Reid's recital took the form of a question: How Can Complexity Be Musical? Earplugs were on offer as they had been earlier in the day at fellow drummer Will Earl's recital. One again BSH eschewed the offer. Noise? Bring it on! Reid's set list included riffing, shredding numbers by the likes of Porcupine Tree, Animals as Leaders (it appears Reid and Earl are of a like mind) and Wasting Destiny (Reid's gigging band). Time signatures (7/8, 7/4, 7/16, 20/16 - there were others!), meter changes, polyrhythms, evidence of endurance - so this is the kind of thing Reid has been looking at during his time at university. 

 

Wasting Destiny band mates Neil Graham and Josh Fascia joined him once again as they had done earlier in the year and on this occasion additional help came in the form of Liam Mulpetre (busking/gigging guitarist of local repute) and bassist Alex Brand. As with Will Earl's recital, Reid's performance occupied the fast lane with more frenetic shredding from Mulpetre. It wasn't jazz, it was loud, no two ways about it. Reid's programme notes included a quote from Aaron Copland: Music that is born complex is not inherently better or worse than music that is born simple. Reid will continue to gig with Wasting Destiny. Who knows what lies ahead, time will tell.   

Bebop Spoken Here, Review by Russell, Monday 29th April, 2019, 21:25 

Freelance Drummer, Joe Reid: Postgraduate Recital @ Newcastle University - April 29  

 

Joe Reid (drums)

(Review by Russell)

 

Postgraduate student Joe Reid (heard recently with the Bold Big Band at the Dun Cow) presented his recital in the purpose-built basement Band Room in Newcastle University's Music Studios. The title of his recital probably gained Reid one mark: Shining a spotlight on the unique relationship between Indian and progressive music. How many marks would be awarded for his performance? 

A recital under examination conditions must be a nerve-wracking affair. As Reid readied himself behind his extensive Tama kit his bandmates - Neil Graham (guitar, vocals) and Josh Fascia (bass) - took to the stage in a show of support. Three pieces were to be examined. The first piece - Ergonomic Pepper - proved to be an extended six-part

power-prog-thrash workout with guitarist Graham shredding for all he was worth. The headbanging Band Room audience whooped in delight.

The second of three pieces required additional artillery - Murray Wankling (keys) and Will Earl (electric drum kit, tabla) - as Reid tackled Pete Lockett's An Excursion into Ambiguity. This extended version (Reid added sections to the original composition) would involve 'concepts of metric modulation' and the phrasing would 'be structured in 2/4, 5/4 & 23/16...' Your correspondent pondered '23/16'...

 

Prog Whip (comp. J Reid) would demonstrate 'multiple odd time signatures, subdivisions and note displacement'. Better to simply listen, perhaps the 'note displacement' would be all too obvious...perhaps not. As a power Indian music-influenced prog-rock trio Reid (and co) seemingly passed with flying colours. Our examinee thanked Geoff Hutchinson (drum tutor), Mick Wright and Paul Fleet. 

Now then, about that 23/16 time signature... 

Russell
(Lance: I knew a club drummer who often played in 23/16 - he sometimes even managed 29/17. This didn't go down too well with the dancers who were trying to do a waltz - he's since retired and taken up teaching.)

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