Word: basses
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Dates: during 1950-1959
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bandstand of the narrow, crepe paper-festooned dance hall behind the bar ("Ladies Will Not Be Let in at the Door Wearing Shorts or Slacks") sit a pianist, trumpeter, guitarist, bass fiddler. As the evening wears on and the smoke from the wall tables eddies through the room, the band is likely to swing with a pile-driver beat into some old favorites-Big Mamou or Shake It and Break It. The style, as raw and jolting as a shot of bootleg rye, offers the last authentic taste of the music that once helped make New Orleans the world...
Lateef at Cranbrook (Yusef Lateef, tenor sax; Frank Morelli, baritone sax; Terry Pollard, piano; William Austin, bass; Frank Gant, drums; Argo). A quintet given to spicing the group sound with finger cymbals, a one-stringed rebab, and a scraped ram's horn turns its talents to exploring Leader-Composer Lateef's oriental-flavored jazz fancies. Morning and Let Every Soul Say Amen may be too exotic for some tastes, but the easy-swinging sax flights of Gillespie's Woody'n You ought to set any pulse to bouncing...
...Rollins and the Big Brass (Metrojazz). On one side of this disk, Tenor Saxophonist Rollins silhouettes his dry, spare sax sound against a textured curtain of trumpets and trombones, with striking effect in such numbers as Who Cares? and Far Out East. On the other side, backed only by bass and drums, he noodles his way through a series of willowy inventions (on Manhattan, Body and Soul) as continuously surprising as a meandering country road...
...hope the gentleman will not try to make a statesman out of me," rumbled Tennessee's Democratic Congressman Ross Bass on the House floor last week. "Let's talk politics." Rarely has Ross Bass or any other Congressman come closer to expressing the will of the House. Under debate was a wheat-subsidy bill-and the outcome was 100% political, unalloyed by the slightest pretense of statesmanship...
...Salvi, it had its premiere in Rome in 1882, was rarely heard after that. Conductor Schippers, of the Metropolitan Opera, spent eight months unscrambling the "blurred, impossible handwriting" of the original score, shaved away Salvi additions, reconstructed most of the originally proposed ending from Donizetti's own figured bass and some solo sketches. What he arrived at was, said Schippers, "pure Donizetti and pure delight...