Word: tunes
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...bring back some of the sights and sounds of places I go to. Half the Sky [the 2009 bestseller Kristof co-wrote with his wife, Sheryl Wudunn] also experimented with some techniques, like emphasizing individual stories and positive stories to deal with the problem that people tune out things that sound too depressing...
...most interesting sound of the night as they practically interchanged positions, Carter channeling Billie Holiday’s mournfulness with her violin, Elling mimicking the sound of a trumpet. This was obvious on “When I Grow Too Old To Dream,” a 1935 tune which Elling quickly belted out, as if to get the words over with, then carefully leaned into notes, producing a searing, rich sound like an alto saxophone. Carter, on the other hand, rollicked over her melody with a slight glissando. At the same time, her raw, grainy sound evoked the subtle...
...Georgia on My Mind” was one of the high points of the evening. They began with tense, elastic pauses, counterpointed by Barron’s minimalist stride piano underpinning. Carter emerged pure and sonorous, producing a cascading arpeggio of longing notes that caressed the classic tune. Barron interspersed her melody with clear notes, striking the keys to produce an insistent urgency. Barron and Carter weren’t so much in synthesis as symbiosis, each thoughtfully responding to the other in a manner that gripped the entire audience...
...York Attitude,” with Kitagawa and Blake. It was pure, muscular, sparkling, straight-ahead jazz—Blake shone throughout the night, but here he produced an especially lively, just ahead-of-the-beat, sound interspersed with snapping rolls and cymbal brushes that propelled the frenetic tune along. Kitagawa, with his calm demeanor and walrus mustache, evoked a Mingus-like sprightliness in his bass playing, switching between slow and fast in a messed-up blues solo. Barron himself remained a steadfast leader throughout, grounding the trio with bluesy riffs and rippling over the higher range of notes...
...This brilliance is not quite captured in their debut album, The King Lost His Pink, which was evidently recorded in haste (for some excruciating moments the live favorite "Head to Toe" is actually out of tune) and without the benefit of a seasoned producer. Chochukmo's fan base will cut them slack - such is the band's fey, disheveled charm - but a less breathless follow-up is plainly needed. So while The King Lost His Pink incurs no loss of potential, the hard part has yet to come...