Word: basses
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Dates: during 1950-1959
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...that magic moment Ellington's Paul Gonsalves was ripping off a fast but insinuating solo on his tenor saxophone, his fancies dandled by a bounding beat on bass and drums (Jimmy Woode and Sam Woodyard). The Duke himself tweaked an occasional fragment on the high piano. Gradually, the beat began to ricochet from the audience as more and more fans began to clap hands on the offbeats until the crowd was one vast, rhythmic chorus, yelling its approval. There were howls of "More! More!" and there was dancing in the aisles. One young woman broke loose from her escort...
...those were two-fisted piano players," he recalls. "Men like Sticky Mack and Doc Perry and James P. Johnson and Willie 'The Lion' Smith. With their left hand, they'd play big chords for the bass note, and just as big ones for the offbeat, and they really swang. The right hand played real pretty. They did things technically you wouldn't believe...
...pair of 75? steaks, beer for a quarter, and have a quarter left for tomorrow." He did his own housework, including mending and pressing his tailor-made suits, always impeccably kept. Periodically, there was work for his five-man combo-Arthur Whetsel on trumpet, Otto Hardwick on bass and alto, Sonny Greer on drums and Elmer Snowden on banjo-but the real break came in 1927. "You know, I'm lucky," says Duke. "I'm lucky because I like pretty music-some people don't-and can write it down. And I was lucky when we auditioned...
...played Byrd's showy Praeludium and jaunty variations on the folk tune The Carman's Whistle. But most intriguing was Hugh Aston's Hornepype, taken from the earliest source of English harpsichord music; this too was a set of variations--not on a tune, but rather on a repeated bass pattern. It is striking for its period in its unusual length, and in the fact that it has an ever-increasing intensity whereas most Renaissance pieces preserve their initial level throughout...
...first movement of the Telemann was a good example of the Baroque convention of using descending chromatic scale fragments to express sadness. In both works, Miss Olson's viol was far too weak, although she was fine in her two solo recercadas by Ortiz. In Baroque music, the bass line cannot be too strong...