Word: cymbal
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...managers and conductors. Names are passed around, and eventually you are part of the standard list. I’ve made the rounds with three different orchestras, the percussion and wind ensembles, four operas and numerous pit orchestras, but playing in HRO is about more than just a few cymbal crashes at one rehearsal...
...physically set off from the rest of the orchestra, and we really only interact with each other. Being a percussionist also means doing lots of waiting. My section probably has the best rest counters and listeners in the whole orchestra simply because we play so little. For example, my cymbal part for Shostakovich’s Symphony No. 5 doesn’t even begin until a good nine minutes into the first movement. The five of us, my four first-year section mates and I, know the second violin part down pat from peering over the shoulders...
...beats are equally impressive: “A Charmed Life” lays uplifting bass plucks over cymbal-heavy jazz drums; “Satisfied?” boasts an infectious dub groove; “How Real It Is” breaks unexpectedly into vibrant drum ’n bass. At his best, J-Live succeeds in making his voice one with the tracks; they become inseparable. Whether he’s imploring a girl to choose her men wisely, ruminating on the false sense of righteousness the government forged after Sept. 11, or telling studio thugs...
...regular arrangement wasn’t close enough, local band Eloe Omoe (consisting of a drummer and bassist hailing from Charlestown) played smack-dab in the middle of the crowd, so that the closest spectators were standing literally inches away from a cymbal or bass amp. Despite not being quite as physically close as Eloe Omoe, the featured Chicago bands, My Name is Rar Rar and Lozenge, were able to eradicate any sense of distance that playing on stage would have normally produced...
...break from earlier Charles work was evident from the first note -on an electric piano that sounded like a guitar with a mitten muffling the strings. It was blues, all right, but (like so much other Atlantic music of the period) with a Latin accent, thanks to great cymbal, conga and stick work by Milt Turner. It featured his urgent vocal, but not until almost 50 seconds into the song. And where was Fathead?s mandatory solo? Withheld; he played the final choruses, behind the Raelets, on part ". The complex simplicity of the number made it seem both roughhouse...