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...band made an abrupt transition in tempo and mood as Redman began a long cadenza to preface the ballad, "What's New?" Here his very slow, almost imperceptible vibrato and airy, floating tone were vividly apparent. He played several motifs in different 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...

Author: By Abraham J. Wu, CONTRIBUTING WRITER | Title: Joshua Redman Trio Electrifies Crowd | 10/24/1997 | See Source »

...Seven Summers," in which McBride played a five-string, electric fretted bass, marked a dramatic shift in style. This was the least well-received tune of the set: the audience seemed taken aback by the ethereal, echoing sound of the electric bass and the fusion elements of the medium-tempo arrangement...

Author: By Abraham J. Wu, CONTRIBUTING WRITER | Title: Joshua Redman Trio Electrifies Crowd | 10/24/1997 | See Source »

...relief of some listeners, McBride picked up his upright bass immediately after finishing "Twenty-Seven Summers," and the trio launched into a swinging, up-tempo 12-bar blues. With McBride walking up and down his bass and Redman offering some bluesy riffs, the audience got right back into it and afterwards applauded enthusiastically as the trio took a collective bow, arms over each others' shoulders...

Author: By Abraham J. Wu, CONTRIBUTING WRITER | Title: Joshua Redman Trio Electrifies Crowd | 10/24/1997 | See Source »

...suffers from such overwhelming uniformity that any deviation from the mid-tempo indie-pop blueprint established early on in the album is at least a brief treat for the listener. The bizarre lullaby "Gold," for instance, breaks up the monotony, as does the mildly groovy "Engaged." After a few moments of Knox's self-important crooning, the sad truth becomes clear: the slow songs suck...

Author: By Jordan I. Fox, CONTRIBUTING WRITER | Title: Repetitive and Self-Indulgent Ramblings | 10/10/1997 | See Source »

...volatile tune that showcased Deal's ability to convey the aggression that became a Breeder's hallmark. In keeping with the evening's quirkiness, Mund brought out a Fisher-Price xylophone for "Stripper," an irreverent waltz sung in an humorously childish voice. The Kelley Deal 6000 slowed the tempo down a bit for "When He Calls Me Kitten." This song lacked the cogency that distinguished the previous tunes. Maybe it was the crowd, maybe the sound, but this dreamy number came off as stilted and melodramatic...

Author: By John T. Reuland, CONTRIBUTING WRITER | Title: The New Deal: From Riches to Rags | 10/10/1997 | See Source »

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