Word: tune
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There has been no reported surge in crossings from illegal immigrants trying to tune in to an O.J. broadcast, so the case has no implications for NAFTA...
...time of the murders, have confessed to shooting their parents Jose and Kitty as they watched television in their Beverly Hills living room. Erik, now 24, will again be represented by Leslie Abramson (although this time she will be paid by the county to the tune of about $10,000 a month, the Menendez millions having been wiped out last time around). And Abramson, along with deputy public defender Charles Gessler, who is lead attorney speaking for Lyle, 27, will again pound home the argument that the brothers killed, as Abramson put it last week, out of "mind-numbing, adrenaline...
Although Marsalis's introduction implied an exclusively Ellington set, some of Marsalis's own compositions found their way into the concert as well. The evening started slowly with the medium-tempo Ellington tune "Blues in Blueprint," followed by Marsalis's "Back to Basics," which allowed the band to open up a bit with solos throughout each section. However, it wasn't until after they had played two selections from Ellington's Deep South Suite and "Red Garter" from Ellington's Toot Suite that the band finally began to warm up. The highpoint of the first set came with the second...
...concert's second half continued the Ellington/Marsalis theme. Obscure Ellington tunes such as "The Giddybug Gallop" and "Anitra's Dance" from the Peer Gynt Suite preceeded the most impressive moment of the evening, "Jack the Bear." Ellington's double bass feature for Jimmy Blanton was competently played by bassist Ben Wolfe. However, the cameo appearance of pianist Marcus Roberts proved to be the highlight of the tune. Roberts stretched the harmonies of his blues choruses with Monkish lines, piano runs reminiscent of Ellington's "Ko-Ko" and an unparalled rhythmic concept. Following Roberts, Marsalis introduced LCJO's vocalist Milt Grayson...
...band was brought back for an encore of "Wild Man Moore," an obscure Ellington tune from the Paris Blues Suite which featured tenor Andy Farber in a Paul Gonsalves feature. Marsalis ended the tune by leading the trumpet section offstage followed by trombones and saxes in a second-line march. A five-minute standing ovation brought Marsalis back with pianist Eric Reed for a rendition of Marsalis's best composition of the evening, the ballad "Spanish Yaounde." Another five minutes brought the entire band back for "Across the Track Blues" to close the night...