Word: soloed
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Dates: during 1990-1999
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...Interludio per Corde, for that's all it was--intense chords adding gradually to the strange aura of the music, chords that take their origins from unknown places that only the orchestra seemed to know. However, Joe Levin `98, changed the mood by performing a fast and striking flute solo with the orchestra providing major dynamic contrast. Playing off Levin's solo was a long clarinet scherzo, shrieking through technically challenging runs in some kind of frantic war dance, stopping for moments to provide a melodious peace, only to gradually build up more tension into crazy clarinet runs, successfully demonstrated...
...rather dissimilar playing styles of the two pianists mark the greatest difference in personality between the two concerts. Rubalcaba possesses extraordinary virtuosity, and his technical facility is very evident throughout his performance. With his cascading solo lines and fluid, rapid-fire outbursts of notes, he seems extroverted almost to the point of brashness. His linear, lyrical sensibility and use of stylistic devices like tremolo octaves are very reminiscent of McCoy Tyner. But Rubalcaba's lines are even longer, and his touch more commanding, than that of John Coltrane's former pianist. Rubalcaba's improvisations are heavily patterned and rhythmically defined...
...flavor permeates Rubalcaba's playing, placing his virtuoso stylings in an effective and distinctive context. This world music influence is most evident on the Spanish-style waltz "La Pasionaria," but is apparent throughout the album's six tracks. Often there is a dance-like and regular feel to his solo lines, accompanied by percussive comping; other times he will simply transplant wholly Cuban figures into his improvisations...
This is most evident in Motian's frenetic "Fiasco," in which Allen's improvisation degenerates into seemingly random clusters of notes amidst heightened activity in the rhythm section. But Haden takes his most intriguing solo of the two sets during this tune, coaxing unworldly, industrial and percussive sounds from his instrument...
...most perfect power ballads ever. And in 1995, Van Halen chipped in with the confident "Can't Stop Lovin' You." Still, with Steven Tyler headed for membership in the American Association of Retired Persons and with Jon Bon Jovi headed nowhere, given his quiet 1997 solo single "Midnight in Chelsea," arena rock is rapidly nearing extinction. In its absence--if recent Grammy Awards are any indication--we face pop airwaves dominated by the mushy background music of Jewel, Celine Dion, Hootie and the Blowfish, Shawn Colvin and Paula Cole...