Word: basse
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Though these musicians are heralded as some of the foremost exponents of neotraditionalist jazz, drawing from the influential hard bop artists of the fifties and sixties, they defy such categorization. The tune "Twenty-Seven Summers," in which McBride played a five-string, electric fretted bass, marked a dramatic shift in style. This was the least well-received tune of the set: the audience seemed taken aback by the ethereal, echoing sound of the electric bass and the fusion elements of the medium-tempo arrangement...
...relief of some listeners, McBride picked up his upright bass immediately after finishing "Twenty-Seven Summers," and the trio launched into a swinging, up-tempo 12-bar blues. With McBride walking up and down his bass and Redman offering some bluesy riffs, the audience got right back into it and afterwards applauded enthusiastically as the trio took a collective bow, arms over each others' shoulders...
They came back out for an encore, and played what was undeniably the most fun piece of the set: "Brown Funk," which McBride wrote for a collaboration with legendary bassist Ray Brown. McBride took up his electric bass once again, and this time the choice worked perfectly. The group traded fills and tossed riffs back and forth for this bluesy, funky tune, clearly having a good time. After an intense climax that ended with a flourish, the audience got to its feet and cheered wildly as the trio retreated back-stage. Clearly, everyone in the audience was asking themselves...
...center, doesn't hand over Year of the Horse to Young alone. What makes the biographical parts of the film most interesting is that the real focus is Neil Young and Crazy Horse--how they became not just bandmates but brothers: Young (guitar/vocals), Ralph Molina (drums/vocals), Billy Talbot (bass) and Frank "Poncho Sampedro." It's this aspect--their powerful sense of family--that saves their story from being just another tale of a '70s band...
With a funky mix of dance hall reggae and sugar pop, Mr. Boombastic (a.k.a. Shaggy) is back with a new CD, Midnite Lover. Shaggy has taken the concept of Jamaican reggae to another level by mixing heavily constructed R&B, rap and heavy bass beats. Radio D.J.'s love to play it, the kids on the street try to imitate it and the club floors pound with Shaggy's honey-coated voice. Midnite Lover does not stray from the typical Shaggy tradition; it works because it is Shaggy, rather than just another Jamaican reggae artist who is attempting to capitalize...