Word: saxes
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Dates: during 1970-1979
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...saxophone players disgruntled? The Music section tells of a recent assembly of sax men in Toronto, how they feel unheard these days, and what they plan to do about it. In Behavior, Sociologist Vance Packard's newest book provides the basis for an unsettling look at the nomadic living habits of many Americans...
...East. Chris and New Heavenly Blue display a crackling rock style deftly blending country, pop and jazz. Dave, now 51, plays with all the style and elegance of Van Cliburn summoning up memories of Meade Lux Lewis. But Jazz Great Gerry Mulligan's attacks on baritone sax are crisp and clean, and Brubeck and Mulligan bob and glide together like Astaire and Rogers doing the Big Apple. For a finale, Mulligan, the three Brubecks and nine assorted sidemen are likely to jam for wondrous minutes on something like Mulligan's Tune for an Unfinished Woman...
...fifties saloon music, with an added thank you to the big band era. Every aspect of the music combines for this effect, the guitar chording under the first chorus for added mellowness, the horns playing in their lower registers for a bigger sound, the classic fifties eight bar tenor sax solo, and the piano and sax phrases mixed in between the choruses. Van sings this in concert and follows it with a version of "Misty," sung in the same style, that is positively earth shaking...
...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...
There were two distinct highlights. The first was a basic 50's 12 bar treatment of a song called. "Your Mama Don't Dance (and Your Daddy Don't Rock and Roll)" that featured one perfect mid-chorus sax lick, a perfect maybe four note frill. This one also had a baritone sax solo, and a final chorus that couldn't be denied. "Vahevela," introduced as "the three day version," followed, song draws on the increasingly popular music of the West Indies. The considerably extended stage version exploits the rhythms of the West Indies in a long purely percussive break...