Word: cymbal
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
This account may seem to indicate that Come To Daddy is a cacophonous, nearly unlistenable mess, which is not the case at all. The amount of percussion is matched only by James's care in crafting his music--each snare hit, cymbal crash and synthesizer note is there for a reason. The complexity of the arrangements serves to emphasize that this is music that cannot be internalized in one listen, and, indeed, Come To Daddy is not for everyone...
...company settling into a groove so deep it sounds like they might never come up. It is 1972, and the old rhythm section has replaced by a new one whose grounding is purely R&B. The difference shows itself as mind-bending, morphing rhythms are replaced by swirling cymbal crashes and striking beats. Dizzying bass acrobatics are replaced by percolating, rock-steady lines. The band seems to find one voice, and in tracks stretching up to 30 minutes long, the musicians lay into one repetitive groove after another with a vengeance. Miles, in the center of it all as always...
...while the deans are working together in a "University" campaign, the monies that they raise go to coffers under their individual control. For this reason, a "cymbal clanging" approach to central administration fundraising could be seen as an attempt by Rudenstine to diminish the deanships...
...Carter and Tony Williams on bass and drums, respectively. For some reason, the producer of Twenty One, Teo Macero (who produced all of the great Miles Davis and Thelonious Monk albums on Columbia) ,chose to have an incredibly bass-heavy mix, which, coupled with Williams's tooth-rattling cymbal crashes, threatens to drown out the subtleties of Allen's phrasing and unique harmonic conception. It is to Allen's credit that the clarity of her lines and the sharpness of her unceasing string of musical ideas are able to penetrate the intimidating throbbing set up by Carter and Williams...
...hall to help her gauge dynamic levels, but otherwise her concessions to deafness are few. "I don't think in terms of loud and soft," says Glennie. "Instead I think of sounds as thin or fat, strong or weak. The amount of sounds you can create with just one cymbal are infinite...