Word: rhythms
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Dates: during 1990-1999
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...quant days, Wall Street was patriarchal, intuitive, much more related to the world as it was. But hard-core quants, he complains across the generation gap, "are almost idiots savants with numbers . . . There is an almost prayerful communion with the computer. They're intense and operate to a rhythm. If you ask them a question, they turn and their eyes are glazed, coming out of whatever cyberspace they are in." In this trance, he says, "they're not really in a world of other people. They think they're in a world of pure technical manipulation, like a chemist creating...
...this album. From his patient solo during the hyperspeed album opener, "So What," to his uncanny imitation of Miles himself on "All Blues" (harmon mute and all) Roney clearly is in his element. In part, Roney sounds so good because his open sound leaves plenty of room for the rhythm section to strut its stuff; pianist Hancock, bassist Carter and drummer Williams have never sounded better, tight as all hell and at the same time creatively lyrical. Carter's dazzling clarity, Hancock's chord driven, percussive flair, and Williams' inventive and at the same time remarkably structured...
...weakest link throughout is saxophonist Shorter, whose searching, jerky sound is beautiful and haunting when set against a rhythm section that isn't quite so busy itself. In "So What," Shorter quotes liberally from Monk and other Miles tunes, using the fast pace of the composition to build continuity between sparsely connected phrases. At times, the result can be dynamic, as in Shorter's quoting of Monk's "Bemsha Swing" near the beginning of "So What;" in other places, Shorter's decisions seem arbitrary and his thinner, reedier sound falls short next to Roney's full bodied and equally intense...
Perhaps the emotional strain of waiting three games and 27 hours to play its first tournament game took its toll on Harvard early in the first period, but the Crimson then found its rhythm...
...Coyote; she played (and still does) untold free dates in support of liberal causes. But her record company, Warner Bros., eventually dropped her, finding her mix of bar-band rock and oozy blues tough to market. "It's not rock," Raitt says. "It's rock 'n' roll and rhythm 'n' blues. That 'n' in the middle is important: it's a swing back and forth. I'm more interested in the side-to-side than the up-and-down...