Word: basse
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Dates: during 1960-1969
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...when flashy incoherent groups like Cream, and as yet unrealized ones like the Doors are raking it in, this is a strange blindness because the Who are artists of the noblest rank. All four of them--Peter Townshend, lead guitar, Roger Daltrey, singer, Keith Moon, drummer and John Entwistle, bass--have distinct powerful styles which are among the greatest that rock has so far produced. And their collective sound is wilfully original and bursting with the most exciting potential for the future...
Within a musical framework of this frenzied a pace there is no place for the eloquent bass guitarist building up elegant harmonies a la Paul McCartney, and John Entwistle knows and does better. A big solid unsmiling figure on stage dressed in black with a white ruffled vest ("I don't move around so I can wear fancy clothes") he is jovial and enourmously pleasant in the dressing room. "There's no other bass guitarist that's better than me because I don't play it like a bass guitar." And it's true, he doesn't. He plays...
...second. The assumption is that most orchestras have the high instruments on the left and the deeper ones on the right, and that the left-right rechanneling will thus accomplish a sense of directionality, spread and depth. Of course, some orchestras are not arranged that way. Worse, the bass line is often muddied in the filtering and echo processes...
Keith Moon, a short man, was on a raised platform with his drums, which have orange psychedelic sides and look expensive, the significance of which fact will appear by and by. John Entwistle, one of the more accomplished rock musicians around, who plays bass guitar and French horn and has been known to still a frenzied unruly crowd with a 20 minute horn solo, stood to the left of the stage, making it clear that he, for one, was not going to prance around. Funny how bass guitarists are generally more sober than their partners on the other instruments. Maybe...
...Bottle. The latest of these new works is Gunther Schuller's wispy, astringent Concerto for Double Bass and Chamber Orchestra, which the New York Philharmonic premiered under Schuller's baton last week at Manhattan's Philharmonic Hall. While the 20-minute work scarcely explored the lyrical side of the bass, it did give Karr plenty of opportunity to display an awesome technique. Bowing and plucking in quick succession, deftly grabbing knotty clusters of double-stops, he skittered from basso groans up to ghostly coloratura harmonics, shading effortlessly from the sound of a human voice to that...