Word: soloed
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Dates: during 1990-1999
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...sought-after sidemen on the scene today. The show at the Regattabar--an intimate, classy jazz club--was distinguished not only for the caliber of the individual musicians, but for the ability of all three musicians to assume the role of leader. With the ample time each had to solo, all demonstrated a remarkable combination of technical ability, musical depth and pure energy...
...haphazard all-star assembly. The ease with which McBride navigates his hulking instrument was immediately apparent. He laid a solid foundation for the tune as Blade tastefully used brushes on his kit alongside. Redman then hung on a high note and slid upward to mark the beginning of his solo, in which he demonstrated his full, thick tone in all registers of the instrument. It was an apt starter for the show--giving audience members a hook to appreciate the band's stylings in a midtempo format before blowing them away with virtuosic displays in "Off Center...
...intricate new Redman original, conceding its difficulty. "Off Center" is marked by a relatively simple melody repeated over a complex, busy rhythm figure, which combine to make the time signature of the head of the piece somewhat unclear. While the band had been tastefully restrained up till then, the solo section of "Off Center" gave the band members, particularly Blade, a chance to really come alive. Redman saw fit to change the timbre of his playing and force honks and cries from his horn. Blade got his first solo, and his rhythms seemed to pulsate through his wiry body...
...octaves, never once hinting that he might be performing at the extreme registers of his instrument. After the drums made a discreet entrance, and the delicate melody had been presented, McBride picked up a bow and displayed a facet of his amazing versatility as he coaxed a lush, sustained solo from his instrument...
...Rope, is omnivorous, sexually and musically: folk, hip-hop, man, woman, it's all in play. Her basic sound, however, is the same--her small, soft voice surrounded by imposing, muscular dance beats. The album has more than a few striking moments, from Vanessa-Mae's rubbed-raw violin solo on the title track to the brutal frankness of What About, in which a woman rejects a marriage proposal from an abusive boyfriend. Jackson occasionally relies too heavily on others--Got 'Til It's Gone draws smartly on Joni Mitchell's Big Yellow Taxi (credited) but clumsily...