Word: rhythm
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Dates: during 1970-1979
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...piano man Chuck Leavell. Taken from the bank of Allman running buddy Alex Taylor, Leavell gives the band depth, and an added soloist. His playing, whether it's out front, or with the ensemble, is fluent and varied throughout. His chording underneath Gregg's vocal on "Southbound" focuses the rhythm section, and keeps time on the twelve bar bridge. His solo shows off his Otis Spann influences, rolling chords and full notes, all done in the middle ranges to avoid the piano's occasionally fragile sound...
...Which is nothing against the old Sonny Freeman and the Unusuals, because in the old days (like at the Regal), they just cooked. It's just that now B B has a band that's not only good, but it's big five horns, and piano augmenting the standard rhythm section with a rhythm guitarist as icing. Upshot? I've never heard him any better, and I've heard that repertoire numberless times. But if you listen closely, you can hear B B playing the same hybrid licks that Clapton and Bloomfield developed, and used to make themselves famous, with...
...attempts an historical statement, but it's a vague vision. "Snow in San Anselmo" is cemented in a real experience, but almost unreal in its rarity. It is a picture, a series of strung together images, missions, and massage parlors, pancake houses, and waitresses, barren and dull. The rhythm section plods its way through a descending progression, only to break into an uptempo jazz styled passage: walking bass, spiralling saxophone solo blended into the overall mix, piano chords cementing the whole, the Oakland Symphony Orchestra Chorus offering incongruous styles throughout. The vocal is subdued, though not without subtleties of phrasing...
...affection for razzle-dazzle action and a talent for staging the kind of outsize violence that is comic and compelling at the same time. His movies are burdened with lapses of taste and a lot of jokes that are vintage Elks-lodge stuff. But they have a flat-out rhythm, a certain sleazy charm, and an emphatically visceral impact...
...opening moments of Memories are its finest. The credits flash over a kinetic, desperate dance sequence. The screen is crowded with faces; bodies whirl about to an African rhythm. There is, through all the noise and the music, the suggestion of a gunshot, and suddenly a lifeless body appears in the middle of the dance. The music gathers force, people crowd in, the corpse is lifted away, the dance goes on-and the image freezes on the anxious, frightened face of a black woman staring out into the audience. The scene has extraordinary energy, with its suggestions of abrupt...