Word: basses
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Dates: during 1980-1989
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...Dinah Shore came on with Blues in the Night; Mary Martin with My Heart Belongs to Daddy. Ethel Merman belted There's No Business Like Show Business. Leontyne Price sang a moving What I Did for Love from A Chorus Line; Renata Scotto decided to Over the Rainbow. Bass-Baritone Donald Gramm brought down the house with a Sillified version of I Want What I Want When I Want...
...three, Silverman's Madame Adare. Using a libretto by Richard Foreman, his longtime collaborator, the composer has written a fantasy, or more precisely a phantasmagoria, about psychoanalysis and creativity. As the piece begins, Miss Adare, played by Soprano Carol Gutknecht, is seeing her psychiatrist Dr. Hoffman (Bass-Baritone Richard Cross). Her problem: she cannot make up her mind whether she wants to be an opera star or a movie star, and while she dallies, she cannot even make enough money to pay for her sessions. When Hoffman refuses to treat her again until she pays up, she tries...
...screamers. McNeely's ferocious sax attacks coupled with some of Rock & Roll's earliest arrangements are powerful statements indeed. In a sense, this record hints at a very primative form of jazz rock: highly improvised yet controlled-by-the-arrangement sax playing is set against Jazz's traditional "walking bass" and pounded home with a solid 4/4 beat. Uplifiting stuff...
...befits the score for an upcoming film, One-Trick Pony has a consistent musical mood, sustained by a glossy studio sound which refines Fifties rock and r&b styles into a sophisticated whole. While Richard Tee's shimmering electric piano is overused and Tony Levin's bass lines are muddy at times, the overall sound mix is lovely, highlighting Simon's understated vocal manner to good effect. The basic tune-writing is strong--"Nobody" gently rocks to one of the prettiest melodies I've heard in ages. Simon put a lot of care into the composing, arranging and recording...
Elsewhere Bowie uses ballads ("Teenage Wildfire"), funk ("Fashion"), and pop ("Up the Hill Backwards") to deliver his dejection. But the dominant musical scheme of Scary Monsters is a more accessible, refined edition of Bowie's sound on Heroes--guitar screams and synthesizer whooshes on top and an aggressively precise bass on bottom frame Bowie's vocal trapeze act, which swings from throaty baritone to wide-open tenor with effort but control...