Word: sax
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...fact that they weren't onstage trying to blow Coltrane licks ultimately worked to their advantage. They were never prominent in the live mix, but they added occasional embellishments to a decidedly unembellished music. And when they did, their contributions were both fresh and tasteful, like the guitar-sax phrase traders in "Lovin' Me," and the chorus on "Peace of Mind," with its slightly mournful, gospel tinge. Clarke played a pretty flute transition between "To Make a Woman Feel Wanted," and "Peace of Mind...
...send any sensible person into retirement. Fortunately for the world, however, Colwell is so demented that he continues performing phenomenal music for obscure personal reasons. The core of his band consists of Colwell on lead guitar, a second guitarist with a flair for wah-wah, bass player, drummer, and sax and horn players. On Saturday night, these six were joined by the eccentric "Chicago Bob" on harp-vocals and three other men who alternated at guitar and piano. Where Montgomery's act is informal and charismatic, Colwell's music is a tight, highly professional brand of blues virtuosity. Colwell repeatedly...
King Curtis perished at the peak of his career. He was the king of the rock and roll sax, his studio contributions stretching back to the Coasters' hit "Yakety Yak." His last album, Live at Fillmore West (Atco), was his best by far, despite the questionable inclusion of such songs as "Whole Lotta Love" and "Whiter Shade of Pale." With a phenomenal rhythm section driving him along, Curtis displays his prodigious control of the instrument in the essential Stax-Volt rhythm and blues vein...
...Tommy Johnson's "Big Road" and gives them new energy through the tension between her voice and her searing guitar accompaniment. Her version of the Steve Stills song "Bluebird" (which has been turning up on WRKO lately) rocks and stomps without a let-up through a great Fifties rock sax break and a doo-wop vocal arrangement that elicits a whole new mood from the song...
Admired Bad. The teacher soon moved him to drums, then to alto sax, bugle and cornet. After a year, Armstrong, 14, got out and organized his own little band, playing lead cornet. Mainly he worked the district. "One thing I always admired about those bad men in New Orleans," he recalled with a smile, "is that they all liked good music...