Word: organizers
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...sits down behind the organ and launches into a jazz-styled number called Do Your Own Thing. In the course of two hours he sings only six or seven pieces: long, intricate blends of soul, blues, rock, white pop and gospel, with titles like One Big Unhappy Family, I Stand Accused or Our Day Will Come! Then, tossing a handful of Isaac Hayes medallions to the crowd, he is gone, with no encores. The rite is over...
Hayes' most notable contribution to pop so far has been to introduce the "rap" into the top 40. While the organ holds a chord, Hayes talks for as much as ten minutes-or sermonizes, as in his preamble to Never Can Say Goodbye: "We as humans have a tendency to let two things run away from us: our pride and ego." At first the raps were a way to get nightclub audiences quiet. Then they became a bridge between white men's songs (Hayes' favorites: Glen Campbell and Burt Bacharach) and black audiences. Of his 18-minute...
...stand up and take notice. And then of course there was always the classic "You Keep Me Hanging On", a hit so big that they were never able to duplicate it. The new arrangements were made long and drawn out by the liberal use of a screaming, powerful Hammond organ and a perhaps too heavy use of fuzz box and wah-wah pedal. The songs were full of three part vocal harmonies and surprising changes in rhythm. But most of all they were psychedelic...
With any concert involving organ in Mem Church there are serious problems for the audience. The Fisk instrument has two entirely separate characters. In Appleton Chapel, it is a magnificently powerful baroque organ. But for the majority of listeners in the nave of the Churc, the top-heavy registrations are not backed with sufficient fundamental tones to carry through sucha a large structure. The result is exactly what happened last Wednesday: the small group in Appleton is far more satisfied with the playing than the bulk of the audience who are listening, essentially, to a scaled-down version. The performers...
...Trumpet Voluntaries belies an unflattering reputation as a feeble Purcell. Only in this set of pieces did Tarr display the kind of virtuoso talent for which he is generally known. The sense of ensemble--excellent throughout the evening--was pertect here in the brilliant parallel thirds where the organ registration sounded like a second trumpet. Equally successful was the encore, a Telemann Air de Trompette, performed with a tremendous sense of style galant grace. An entire Telemann suite would have been vastly preferable to fragments of early baroque sonatas...