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Word: sax (lookup in dictionary) (lookup stats)
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...unlikely charisma. Nonetheless, it's gratifying to see Weir, Lesh and Hart together again; they communicate without words--with looks, with licks--and have a connection onstage that can come only from years of playing together. As for the new Other Ones, Hornsby's piano and Ellis' sax add jazzy warmth to the mix, but Karan and Kimock, while competent players, are still learning...

Author: /time Magazine | Title: Music: Day Of The Living Dead | 7/13/1998 | See Source »

CHARLIE PARKER (1920-1955) With startling impact, the musical quantum leap known as Bebop shook the jazz world in the mid-1940s. Its prime energy source was sax man Parker. Unhinging improvisation from song melody, jumping into dissonances and spinning out complex lines, Parker created the sound that dominated postwar jazz. His 1953 recording Jazz at Massey Hall catches this revolutionary in full flight...

Author: /time Magazine | Title: Cool Cats, Hot Music And All That's Jazz | 6/8/1998 | See Source »

...growls, the throaty howls, the girlish vocal tickles, the swoops, the dives, the blue-sky high notes, the blue-sea low notes. Female vocalists don't get the credit as innovators that male instrumentalists do. They should. Franklin has mastered her instrument as surely as John Coltrane mastered his sax; her vocal technique has been studied and copied by those who came after her, including Chaka Khan in the '70s and Whitney Houston...

Author: /time Magazine | Title: The Soul Musician ARETHA FRANKLIN | 6/8/1998 | See Source »

...home, 742 North Evergreen Terrace, is where the show's heart is, where everyone's despair is muted by familial love. Homer (whom the writers hold in a sort of amazed contempt) bumbles into some egregious fix. Marge fusses and copes. Lisa sublimates her rancor by playing her sax. And Bart is...Bart...

Author: /time Magazine | Title: The Cartoon Character BART SIMPSON | 6/8/1998 | See Source »

...comically painted clown faces, theaudience knew this band was going to be like noother at the Battle. At first, Rifle sounded likean impenetrable wall of sound, but soon it wasapparent that complex layers of noisy melodyundergirded the deathcore exhaust with bitterintelligence. Guttural growls and digital snippetswere laid upon distorted sax honks, schizophrenicbass lines and chunky guitar attacks, all makingfor a healthy dose of electric chaos

Author: By Peter A. Hahn, CRIMSON STAFF WRITER | Title: Fun in Pforzheimer | 4/17/1998 | See Source »

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