Word: jazzing
(lookup in dictionary)
(lookup stats)
Dates: during 2000-2009
Sort By: most recent first
(reverse)
Like many young jazz singers nowadays, Dobson, 26, is trying for a mellow pop-jazz groove à la Norah Jones. Her plangent, almost vibrato-free voice rides over a mélange of island rhythms, bossa nova and folky acoustics, mostly in new songs she has co-written. They go down as easily as frozen margaritas, never more beguilingly than when she slips in scat syllables like "dit-doo, die-yah-da-doo" in Four Leaf Clover, or simply "ooh-ooh-ooh, ooh-ooh-ooh" in Cold to Colder...
...thought, at great price, he liberated stand-up, and all showbiz behavior. A live performance, for comics and rockers and actors, was henceforth designed not to seduce the audience, to play to the old expectations of charm and propriety, but to confront, challenge, titillate, outrage it. I think only jazz musicians had tried that before. Secure in their improv skills, they dared to investigate the farthest reaches of aural experimentation. And if the ringsiders didn't get it ? if a Charlie Parker was literally playing only to the band, and sometimes even they couldn't follow...
...songs (at least seven other pieces focus on love lost or never found), but it never robs the compositions of their sincerity and vibrancy. The slinky double bass and drum brush-work of “Veronique†is cut straight from a smoky Harlem jazz club. “The Gardens of Sampson & Beasley†has a crisp energy in its samba beat that betrays its nostalgic lyrics. “Clementine,†which carries Burt Bacharach’s spirit if not his name, counters the “packing up of summer clothes?...
...class fella!") and Marshall ("Best director I've ever worked with!"). Initially, though, he had no interest in making the album that is at the center of his booming birthday industry, Tony Bennett: Duets/An American Classic, due out Sept. 26. "I was apprehensive," says Bennett. "I lean toward jazz, but jazz doesn't sell records. Dan's idea was collaborations on my greatest hits with contemporary artists who are institutions--Streisand, Elvis Costello, Bono. I told him I'd do it, but on certain terms...
However, a language is only useful around those who speak it, and it’s hard to find an audience that’s fluent in the diminished scale. Even fairly serious jazz musicians will find these pieces exhausting; untrained listeners will find them completely impenetrable...