Word: trio
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Dates: during 1990-1999
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...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 he released. All had other musicians involved, but Stanley shined the most on his solo tracks, because he could do it all himself--comping melody, and solos. This has everything to do with his technique. Teaching himself guitar, Jordan created his own style of playing that involved tuning the guitar in straight fourths...
...linger on a tune: they move on. It's easy to entirely miss a song or two (and to get surprised by the ones you missed when you listen to the album again). The short songs mesh well with the additional economy of instruments: here's a trio that sounds like a trio, that sounds like there's only one guitar going at once rather than trying as Big Star did to pick a famous example) to fill up the record with layers'n'layers of sound. The economy is refreshing, and makes it even easier to get swept away...
...clear, economical, hummable and covertly sad as Soda Pop Rip, Off, though early Scrawl song were about half as fast. Other aural similarities are to Tallulah Gosh (the fast, sloppy, Oxford pop band that eventually became Heavenly) and to Boston's Salem 66, another riff-oriented all-female trio. Which raises the question of whether there's a separate tradition of all-female bands, stretching from the Raincoats on, whose sounds owe more to one another than they do to any male-fronted predecessors. Scrawl used to object strenuously to any such assertion when interviewers made it; its true that...
...Sisters Rosensweig received a rapturous reception at The Shubert on opening night--hardly surprising given that most of the audience probably knows women exactly like the Rosensweig trio. But this is a play about relationships and family and as such, should play equally well in New York or Honolulu. Or even Moscow...
...twenty years now,The Fringe has played a weekly Boston-area gig. The Jazz trio--sax man George Garzone, bassist John Lockwood, and drummer Bob Gullotti--first got regular at Michael's in 1974, when they were still fresh out of Boston's Berklee School of Music. The stayed there for seven years, before doing a year or so at the old 1369 in Inman Square...