Word: balladeers
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...anyone starts the countdown clock, be warned that there are no unpanned nuggets here. The five vocals and two instrumentals hold mainly archaeological interest, offering vague signposts to the musical trails the lads would later blaze. The first, In Spite of All the Danger, is a Paul-and-George ballad with John singing lead, the others singing doo-wop with a perversely rockabilly twist, and an anonymous pal banging out triplets on a piano. They imitate the Everly Brothers' tight harmonies on Hello Little Girl, Maurice Williams on Like Dreamers...
THOSE NYE COUNTY, NEVADA, "COWBOYS" must have gazed at the moon until they lost their senses. Gene Autry predicted that such things could happen in the famous cowboy ballad Don't Fence Me In. What modern men fail to realize is that those open skies are open because they are owned and operated by the U.S. government. When activist Dick Carver climbed aboard his Caterpillar bulldozer to open a road in a national forest, he wasn't posturing for the independent Western man, he was lobbying for the cheap grazing fees charged by the Bureau of Land Management...
...skills, but not the overall aesthetic sense to find an appropriate setting for them. One of the most aggravating motifs that continually recurs in Redman's playing in his insistence on rising into the shrill falsetto of his tenor sax at utterly inappropriate times. On a ballad entitled "Never End," Redman seemed to mock any legitimate musical statements he may have made earlier in the piece by turning the tenor sax into a penny whistle. Irony in jazz is a good thing, but Redman's silliness is not the same as the sophisticated wit of a Duke Ellington, whose self...
...second set, however, Redman turned up the heat for the Sanders audience. With the support of his excellent rhythm section, Redman's composition, "Lyric," became a tour de force. The long, exotic ballad gradually increased in intensity and tempo until Redman gave the cue for a frenzied modal cycle which provided the framework for his most convincing playing of the evening. Finally, the patented falsetto shrieks had found an appropriate setting. The solo by pianist Peter Martin was one of many mesmerizing offerings by this quintessentially capable sideman...
...Paul Gonsalves feature. Marsalis ended the tune by leading the trumpet section offstage followed by trombones and saxes in a second-line march. A five-minute standing ovation brought Marsalis back with pianist Eric Reed for a rendition of Marsalis's best composition of the evening, the ballad "Spanish Yaounde." Another five minutes brought the entire band back for "Across the Track Blues" to close the night...