Word: tenore
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Honey. That word describes the tenor of both her voice and her roles. In 12 years as a star at the lion of studios, Metro-Goldwyn-Mayer, and for decades afterward, June Allyson purred sweet reason to the prime men of her era: Jimmy Stewart (in three movies), Humphrey Bogart (in Battle Circus), William Holden (Executive Suite) and her husband, Dick Powell. Other women might get the showy parts, and the Oscars. Allyson, in her movies, got the wedding ring. And from her fans, she received the Photoplay Magazine citation as 1954's Most Popular Female Star...
...might be sung. He began by aping Guthrie's tinny tenor, but pushing it farther, into a siren wail, into banshee territory. Mitch Jayne of the Dillards famously compared the early Dylan sound to "a dog with his leg caught in barbed wire." It certainly was a prickly handful to kids raised on either the smooth Sinatra sound or the orgasmic church screaming of Little Richard. But to Dylan, barbed-wire vocals were an aesthetic and, as the French would say, a politique. Mellow was a lie; raspy was authentic. As he wrote in an early poem: "The only beauty...
...these two discs, her reedy, frayed-at-the-edges voice, teasingly lagging the beat, instinctively breathes the bittersweet essence of the jazz life. What's more, she is surrounded by the finest sidemen of the era (1935-42), including pianist Teddy Wilson and her musical and emotional soul mate, tenor saxophonist Lester Young...
...once said Vladimir Nabokov wrote prose the only way it should be written: ecstatically. That's the way the Coltrane quartet plays here. The four-part suite, composed to celebrate Coltrane's spiritual triumph over drug addiction, ranges hypnotically from a meditative murmur to fierce shrieks, with Coltrane's tenor sax surging to astonishing inventiveness and intensity. The 1964 album staked out frontiers of harmony, rhythm and structure that musicians are still exploring today...
...was already a superb band, featuring such Ellington stalwarts as Johnny Hodges, Cootie Williams and Juan Tizol. But after bassist Jimmie Blanton and tenor-sax man Ben Webster signed on in 1939 and '40, it became the leader's best ever. The compelling evidence is on these three discs, on tracks like Cotton Tail, Ko-Ko, Jack the Bear and Harlem Air-Shaft. Individual glories abound, but the band's chief glory remains the nonpareil jazz composer whose instrument it was: the Duke himself...