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...into anarchy if Powell hadn't been able to restrain his own abandon. He was so good and so graceful, he could realize his inspirations with tremendously controlled dexterity. The earliest of the Verve recordings are from 1949, and they end with a 1955 session in which Powell, his bass player and drummer close out with a heavyweight combination: Gillespie's Bebop and Monk's 52nd Street Theme. The Capitol compilation ranges a little further, giving a last glimpse of Powell in Paris, where he lived much of his later life, cosseted and honored. His version of Like Someone...

Author: /time Magazine | Title: JAZZ: The King of the Hill | 10/31/1994 | See Source »

...Phair isn't a great singer (her intonation is sometimes uncertain), her songs too often sound alike (a slight melody with a plucky bass), and she is no longer an independent-label secret (she just appeared on the cover of Rolling Stone). Yet there is something so vital and appealing about this Chicago rocker that it's hard not to admire her. Not many singer-songwriters manage to be so honest and so much fun at the same time...

Author: /time Magazine | Title: MUSIC: Exile's Return | 10/17/1994 | See Source »

...film, but here she is at last -- the ideal woman of feminist song, story and legend. Her name is Gail, she is played -- make that attractively humanized -- by the admirable Meryl Streep in The River Wild, and if men have any sense left, they will add a few bass notes to the trilling chorus of approval that is soon likely to rise from the soprano section when this otherwise rather routine movie opens...

Author: /time Magazine | Title: CINEMA: Supermom Shoots the Rapids | 10/3/1994 | See Source »

...foot drum, nearly stolen in 1973, has long been the band's signature. It is the largest playable bass drum in the world, band officials...

Author: By Jeremy L. Mccarter, | Title: Harvard Band Still Crazy After 75 Long Years | 10/1/1994 | See Source »

...point; the listener is treated to a seemingly endless (actually only three-minute-33-second) passing of the mindless theme from section to section. The best advice here is to listen for the melding of one texture into the next. Shostakovich manages to keep within the same balance of bass and treble parts, though he sometimes bursts into a gaudy burlesque...

Author: By Daniel Altman, | Title: Shostakovich's Jazz Stands in a Genre of Its Own | 8/19/1994 | See Source »

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