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One of the prime criticisms of Stanley Jordan's music in the past was that his amazing technique was not well-suited to playing with other musicians, in a trio for instance. This is often the case with so-called virtuoso technicians. It is apparent on the first three albums...

Author: NO WRITER ATTRIBUTED | Title: Sucky Jazz Axes | 2/24/1994 | See Source »

Their avoidance of so many ordinary tricks of the trade (there are no guitar solos, no violin solos, no funk-style contrapuntal parts, barely even any cymbal hits) is one of the reasons this product of London can nevertheless give any listener a feeling of tremendous horizontal space, of nearly...

Author: By Steve L. Burt, | Title: ONE CHORD WONDERS | 2/3/1994 | See Source »

"We call that sampling. On this song, US 3 plays bits from old jazz songs. Rapper Rahsaan speaks over the music -- not staccato-style like most rappers, but easy and loose, like another instrument. Then, topping it all off, there's a live trumpeter, Gerard Presencer. His solos slink through...

Author: /time Magazine | Title: Rap's New Jazz Messengers Us | 1/24/1994 | See Source »

Being able to trace Coleman's amazing, groundbreaking rise in the jazz world is the most satisfying aspect of this set. The beatuiful intricacies of "Ramblin" and the startlingly solos on "Free Jazz" are perfectly transferred, guaranteeing a strong result, for this collection can not be critisized on musical grounds...

Author: By Seth Mnookin, | Title: Reissued Rhino Records Shine Once Again | 12/15/1993 | See Source »

Somehow Ms. Adams manages to court pop sound and still keep her songs full of the unexpected and original. Strong elements of jazz and rhythm & blues underlay her instrumentals. For instance, David Sanborn solos on alto saxophone for Adams' smoldering version of James Taylor's "Don't Let Me Be...

Author: By Irit Kleiman, | Title: Survival of The Soulful | 12/2/1993 | See Source »

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