Word: basse
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...were even farther apart. Father was an optimist, a dandy "walking in and out of jobs with the bumptiousness of a god." By the time Victor was twelve, the cab at the door had moved the Pritchetts 18 times. While Mother wept, Father filled those cabs with his bland bass voice...
...earlier philosophy. It's only the sound that's changed from big-city to country. About this being an Okie record: there are three ways Dylan has made the sound different. 1) The music; he's cut out Mike Bloomfield and the electric guitars, and put a drum and bass beat through the whole record that makes all the sound vaguely similar. 2) The language: he puts his songs in the country idiom (instead of the hip) by using a lot of twisted cliches, saying "whom" a lot instead of "who," and throwing awe-struck interjections to "the Lord" into...
...composition by Ornette Coleman, who simply plays trumpet on this album. In Altoist McLean's four-part piece Lifeline, though, these vibrations become only the merest echo, as the group slides into the "new gospel" of freedom. Here McLean's quintet (Lamont Johnson on piano; Scott Holt, bass; Billy Higgins, drums) wheels uninhibitedly through the cycle of human experiences, expressing exultation with rollicking riffs, wonder with gentle breathings, anxiety with abrasive scurryings, and finally the pain of death with wrenching, atonal probings...
...intimate, two-century-old court tradition. They chuckled when Italian Clown Sesto Bruscantini scored a solid single in Cimarosa's 18-minute solo opera Il Maestro di Cappella, and then roared out loud as Bruscantini and Carlo Badioli, an even funnier man, rapped out a two-bass hit with the huffa-buffa La Cambiale di Matrimonio, Rossini's first stage work. This week the troupe will pack the show on their backs for a brief tour of the U.S. and Canada, where audiences will no doubt agree that while in North America, it is perfectly acceptable...
...Glee Club's sound, when broken down by sections, is a bit uneven. In particular it lacks a bass section with the rich, grounded sound found, for instance, in Orthodox liturgical choirs. The shallowness of sound and the noticable failure at the "Many Brave Hearts are Asleep in the Deep" bottom of the range are most likely the direct consequences of youth and the luck of the draw, since the club depends on an uncertain pool of transient talent. As for baritones, director Elliot Forbes seems to have struck a rich vein since the section contains at least three...