Word: balladic
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Dates: during 1990-1999
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Several songs stand out. On the mournfully romantic ballad Laura, Hargrove takes the lead, lingering over each note of the song as if slowed by sorrow. On the nostalgic April in Paris, Scott goes solo and, through a succession of stately, undulating shifts in mood and rhythm, finds fresh, melancholy elegance in an old standard...
...radio station is playing 81 hours of Sinatra tunes, one for each of his years, plus one for luck. "Sinatra brought a physical vitality to his music that was unique," says TIME's Martha Duffy. "He's one of the few people, like Paul McCartney, who has kept the ballad tradition alive. As a singer, he's truly an artist of the first rank. He doesn't debase a line, and his phrasings bring out the real meaning of a song." On Thursday, ABC television will air a two-hour birthday special, which was taped in November. Among the stars...
...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...
...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...