Word: tenoritis
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...problem was that his vocal solos were overshadowed by his own accompaniments. He won applause for the dextrous way that he applied blues and a beat to the delicate lines of traditional Spanish guitar. But his high, quavery tenor, though obviously brimming with feeling, was merely good; it had too much of other singers in it and too little of Feliciano. So Jose spent some lean years in search not only of exposure but also of an identity...
...began as a radical coalition of student council dissidents, SDS, and the Afro-American Society last week, but it has changed tenor in the past few days. The N.U. Society of American Mechanical Engineers, a group of usually apolitical engineers, joined the SCC today. Student leaders consider the endorsement especially significant at N.U. because it has a large engineering school...
...very definite views of modern jazz piano. His music is filled with gently dissonant surgings, expressive rippling lines that are as romantic as they are atonal, and intuitive, crosshatched rhythms that emerge and then break off. Helping him project this engaging moodiness are John Gilmore's thin-edged tenor sax, Bobby Hutcherson's delicate vibes, the attentive probings of Bassist Richard Davis and the irregular cymbals of Drummer Joe Chambers. The group's finest moments come in The Groits, which, despite its ugly name, consists of lovely integrated weavings of Hill's almost Monkish chords, Hutcherson...
...like tumbling diamonds, to the tones Pianist Corea polishes off here. His touch is firm and percussive, his ear tuned toward a definite, stirring pulse. In Litha he strings together quick, imaginative melodic fragments that are the mark of the alert modernist. When backing the other soloists (Joe Farrell, tenor; Woody Shaw Jr., trumpet), he spreads sprays of dazzling notes that support and enhance the horns' flights. In Tones for Joan's Bones, he displays a more reflective gleam by smoothly rolling the melody over Steve Swallow's loping bass and Joe Chambers' agile brushwork...
...Georgia Brown and the baritone sax's sly paraphrase of Once I Had a Secret Love). While Mississippi Dip is a blues to be taken lithely, A Taste of Honey switches tempos faster than the foot can follow, building to heated ensemble crescendos behind Frank Foster's tenor and Jerry Dodgion's flute solos. New Girl, composed by Pearson, has a graceful flair and a nifty construction...