Word: jazze
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Dates: during 1990-1999
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...Freberg skewered the schmaltzy Johnnie Ray and the early Elvis, made fun of gabby folk singers (Rock Island Line) and Harry Belafonte's calypso shout (Banana Boat). Freberg's parodies were notable not just for their dead-on mimicry but also for the sophistication of their musical commentary. A jazz lover, Freberg fought a rearguard action against rock 'n' roll, which he considered undisciplined and musically simplistic. Only Freberg would have had the idea to satirize the Platters' Great Pretender by focusing on the hipster studio pianist who's forced to play the boring "clink clink clink" accompaniment. His critique...
...Lolita Rooney-Burton-Winn-Fortensky-Guccioni," she said, omitting a few names for time and adding a few to jazz...
...chronological span of Gorey's work runs from the hornbook-inspired Eclectic Abecedarium through the Jazz Age-naughtiness of The Curious Sofa but will budge no further. An enthusiasm for the obsolete furnishes his rooms with daguerreotypes, gramophones and bell-pulls, and his diction matches the furniture-- his characters say things like "Mercy!" and "Drat!." Gorey's nonsense verse is the direct descendant of Edward Lear's and Lewis Carroll's, and, as it would be impossible to transplant Lear or Carroll to another era, Gorey inherits their Victorian world along with their spirit...
...bass. (Bela Fleck themselves are all too often merely the opener for bands such as the Dave Matthews Band.) This solo outing reaffirmed his position as the most prolific and talented bassist since Jacko Pastore. The ambience of The House of Blues, with its bas-reliefs of Blues and Jazz greats, enhanced the funky bass-lines and fostered the dialogue between Wooten, the band and his audience. Coming on close to 40 minutes late with his band of a DJ, percussionist, keyboard player and guitar player, Wooten's arrival help goad the crowd (mostly students from the Berklee School...
...tune. Others follow, tripping down the fire escape in the back of the room or popping up from behind the piano. The act has started and won't be over until the Kroks have knocked off a few 1950s tunes, a handful of ballads and scads of Jazz standards. The crowd gradually quiets down, probably somewhere in the middle of the old Scottish air "Loch Lomond," and by the dom-dom-dom-dom-dom of "Come Go With Me," they're singing along. After 25 minutes, the boys take a collective bow and blow out of the room, leaving...