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Word: soloed (lookup in dictionary) (lookup stats)
Dates: during 1990-1999
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Usage:

...quintet--completed by Ted Nash on tenor saxophone, Marv Stamm on trumpet and flugelhorn, Harvie Swartz on string bass and Derek Smith on piano--began its set with a swinging run-through of "Blowin' the Blues Away." In his first solo, Nash seemed to refer to "Satin Doll," a song made famous by Ellington...

Author: By Young-ho Yoon, | Title: Bellson's Jazz Drums Through the Blue Note | 2/9/1995 | See Source »

...varying his articulations and equipment while holding to the same pattern of emphases. Bellson stuck to his inventive style, even though his improvisations were correctly understated. Instead of tapping along with the rhythm, Bellson gave just as much attention to almost inaudible notes as he would to an exposed solo...

Author: By Young-ho Yoon, | Title: Bellson's Jazz Drums Through the Blue Note | 2/9/1995 | See Source »

...middle of the piece, Bellson took his most colossal solo of the evening. Never losing sight of the beat, Bellson played cross-handed, on both sides of the cymbals, all over the set, with four sticks--you name it, he did it. The quintet returned to "Cherokee" for a recap, but Nash couldn't resist quoting "Cottontail" one more time before the tune was done...

Author: By Young-ho Yoon, | Title: Bellson's Jazz Drums Through the Blue Note | 2/9/1995 | See Source »

When it came time to lead his own band, Bellson went on to follow in the Duke's footsteps; he has continued to do so. "I try to do what Ellington did," he confesses, adding "If I get an idea to write a solo vehicle for someone in the band, I write a solo vehicle." The groups with which Bellson has played all over the country feature many up-and-coming musicians; he has often played with youth orchestras and colleges, and he even expressed interest in coming to Harvard sometime the next year. Bellson says his involvement with young...

Author: By Young-ho Yoon, | Title: Bellson's Jazz Drums Through the Blue Note | 2/9/1995 | See Source »

...different sound from most pop-rock bands by blending Matthews's acoustic guitar with two instruments not usually found in today's scene: a violin and a saxo phone. These two are not used sparingly either; most of the band's jamming came from Boyd Tinsley's blistering solos, in songs like "Ants Marching" and "Tripping Billies" and Moore's flute solo in "Typical Situation" got the most applause of the night. Their performances showed that even though the band is named for him, Matthews does not hog the spotlight and lets his talented bandmates shine...

Author: By Michael R. Colton, | Title: OpArT | 2/9/1995 | See Source »

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