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Word: bopping (lookup in dictionary) (lookup stats)
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Axis. 13 Lansdowne St., Boston. 262-2437. Bop Harvey, Agent 13, Authority on Thursday, Oct. 22. DJ Debo downstairs and DJ David James upstairs on Friday...

Author: NO WRITER ATTRIBUTED | Title: Listings | 10/22/1992 | See Source »

...Success Has Made a Failure of Our Home" is definitely the weak link on this album because O'Connor's vocals get lost in the screaming trumpets of Doug Katsaros' neo-bop arrangement...

Author: By J.c. Herz, | Title: Sinead: The Bald Soprano Swings | 9/24/1992 | See Source »

Although both rely on improvisation and solos, jazz and rap have never found much common ground. The great jazz trumpeter MILES DAVIS was in a recording studio trying to remedy this at the time he died last September. But the unfinished album, Doo-Bop, recorded with the rapper EASY MO BEE, merely skims the rich possibilities of a synthesis. Mo Bee and Davis perform together on just three of the record's nine cuts. Even then, they do not unite. While Mo Bee's rapping is nimble and sharp, and Davis' muted horn hot and restless, the , numbers have...

Author: /time Magazine | Title: Short Takes: Aug. 10, 1992 | 8/10/1992 | See Source »

Most intriguingly, the album shows Shaw crossing the shadow line that divided swing from bop and the other modernist idioms that took over after 1950. In the hands of most other players, including Shaw's great rival Goodman, the clarinet did not make this transition -- at least not without sacrificing its warmth and lyricism -- which is why it soon was eclipsed by the saxophone as a primary jazz voice. But here Shaw effortlessly absorbs some of bop's angular chromaticism, and his out-of-rhythm codas, all fluttery murmurings or boiling surges of notes, seem to anticipate the free-form...

Author: /time Magazine | Title: The Man Who Walked Away | 5/18/1992 | See Source »

...band of the '80s, to go solo, Byrne has found his muse in the unexpected: an album of Latin salsa (1989's Rei Momo) and a mystical orchestral soundscape (last year's The Forest). Now Byrne has transplanted his rock roots into fertile tropical soil. In UH-OH (Luaka Bop), / released last week, jangling electric-guitar riffs alternate with piquant Caribbean rhythms, often in the same song, while Byrne aims his quirky intelligence at sex-change operations, domestic discord and even the Deity: "Well God can turn the world around/ And he can push it in the dirt...

Author: /time Magazine | Title: Critics' Voices: Mar. 16, 1992 | 3/16/1992 | See Source »

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