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...Harris tries vainly to provide locomotion with his consistently stellar playing. The lean, muscular feel of the first tracks has deteriorated into a shapeless wash of strings and flute, a tone which blurs many of the remaining Ellington tunes, illuminating the danger of re-orchestrating the work of jazz??s most masterful arranger...

Author: By Tom C. Denison, CRIMSON STAFF WRITER | Title: CD Review: Stefon Harris | 11/2/2006 | See Source »

...weighs heavily on his shoulders. No era of jazz ever includes more than a few great vibraphonists, and now, with musicians like Steve Nelson doing their best playing as sidemen, and with greats like Bobby Hutcherson decades past their most important work, Harris has taken up the mantle of jazz??s highest-profile practitioner of the instrument and all of the expectation that comes with...

Author: By Tom C. Denison, CRIMSON STAFF WRITER | Title: CD Review: Stefon Harris | 11/2/2006 | See Source »

...shift towards jazz.”Several of the dances will be choreographed to songs that fit the “Made” theme of glamour and fame—Jessica Simpson’s “Boots,” “All that Jazz?? from “Chicago,” and songs from the movie “Center Stage.” But the choreographers have also exercised creative freedom and diversity in their choice of numbers—Chang says she’s selected Godsmack?...

Author: By Kristina M. Moore, CRIMSON STAFF WRITER | Title: Dance Team Gets "Made" | 5/4/2006 | See Source »

...Thinking Up a New Name for the Act (Meat and Potatoes).” It encompassed a lengthy and impassioned argument, several sexual puns, and three musical numbers (one “West Side Story” medley, one takeoff on “All That Jazz?? from “Chicago,” and one on “Chicago’s” “Cell Block Tango”)—yet the only words spoken were, as the scene title insinuates, “meat and potatoes...

Author: By Marin J.D. Orlosky, CRIMSON STAFF WRITER | Title: Silverstein Delights and Disturbs | 3/13/2006 | See Source »

...like Charlie Parker were part of a legitimization process going on in musical terms. They challenged the idea that African-American music was less.” Along with this revolution in the language of music, Monson also points out that economic issues were another profoundly important part of jazz??s dialogue with politics. She reasons, “The 1960s were a battle of ownership and control. African-Americans got a raw deal in the music industry. An African-American artist would come up with a song, a major label would decide that this was a happening...

Author: By Zoe M. Savitsky, CONTRIBUTING WRITER | Title: Ingrid Monson | 2/23/2006 | See Source »

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