Word: basses
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Dates: during 1940-1949
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...Mass was written for available talent at Salzburg in 1782. In that case the abilities must have been reversed, for Monday night Paul Tibbetts did the best bit of solo work with the one short phrase that makes up the bass part. No one could have any criticism, however, of Eleanor Davis' "Laudamusic," which was altogether competent. The soprano, Phyllis Curtin, had the most difficult role of all, particularly in the jumps of the "Et incarnatus est." Though she had many exquisite tones, she showed a slight unwillingness to land decisively on a note and sustain it. Tenor Summer Crockett...
...more than a year does not need to read praise of his magnificent voice. This was, however, the first time I had seen him act (pose in this case in probably a better word), and D'Oyly Carte's Mikado never excelled him in evil expression. Handel's bass arias are distinguished for the acrobatics they demand. Tibbetts showed his complete competence, however, and some breath control that I haven't heard surpassed...
...quartet Little Louis was a tenor, but his ambition in 1913 was to sing bass. His change of mind began one New Year's Eve, when he was twelve. To celebrate, he had hauled his father's old .38 revolver out to the street and fired it off. He was picked up and taken to juvenile court where, he remembers, the magistrate told him that while he wasn't a bad boy he might get to be one if he kept playing around Perdido Street at night. Louis was packed off to ihe Colored Waif...
...Most of his band, like Armstrong, had been musically famous for more than two decades, though they were only in their early 405; Trombonist Jack Teagarden, Pianist Earl ("Father") Hines, Clarinetist Barney Bigard and Drummer Sidney ("Big Sid") Catlett. The only youngster, 25-year-old Arvell Shaw played bass fiddle. When Louis and his All-Stars swung into West End Blues, Confessin' or Rockin' Chair, it was hard for oldtimers to believe that Louis or jazz were ever better...
Hall, whose high-register playing still shows the delicacy and fluidity that have marked him as an unmatched technician, is almost crippled by a worthless piano-bass-drum trio behind him. Almost, that is, because he handles his solos--as well as those that ought to be taken by trumpet and trombone--with loving care. "Sister Kate" and "Basin Street Blues" came from his clarinet in almost unbelievable fashion...