Search results
Results from the WOW.Com Content Network
The song's bridge begins with a "dreamy" keyboard section, which leads into the first trumpet solo. [4] According to Ramone, the urgency and sexiness of the trumpet part is enhanced by the ascending and descending line played on bass guitar beneath the solo. [4] The second solo comes at the end of the song and goes into the fade out. [5]
In jazz, a turnaround is a passage at the end of a section which leads to the next section. This next section is most often the repetition of the previous section or the entire piece or song. [1] The turnaround may lead back to this section either harmonically, as a chord progression, or melodically.
SOLOS: the jazz sessions is a 39-part television music profile/performance series produced in Canada by Original Spin Media. Each episode features complete musical pieces, interviews and behind-the-scenes footage with some of today's most notable jazz artists.
The opening segment was played on a nylon-string classical guitar. The next segment introduces the main theme of La Villa, the Strangiato theme. The song progresses to include an increasingly complex guitar solo backed by string synthesizer, followed closely by bass and drum fills. The Strangiato theme is then revisited before the song ends ...
The composition, in the words of jazz writer, Donald Clarke, is "an object lesson in how to swing at a slow tempo." [3]Gary Giddins expands on the importance of tempo in the performance of "Li'l Darlin '", saying that "in the enduring 'Li'l Darlin ' ', [Hefti] tested the band's temporal mastery with a slow and simple theme that dies if it isn't played at exactly the right tempo.
The song was released with lyrics by vocalist Aileen Stanley in 1920 on Victor. In 1927, Frank Trumbauer , Bix Beiderbecke , and Eddie Lang recorded and released the song as an Okeh 78. The Trumbauer recording is considered a jazz and pop standard, greatly contributing to Frank Trumbauer and Bix Beiderbecke's reputation and influence (it ...
Get AOL Mail for FREE! Manage your email like never before with travel, photo & document views. Personalize your inbox with themes & tabs. You've Got Mail!
Gary Giddins stated that the song "set the music world on its ear" and that it was "part of the funky, back to roots movement that Horace Silver, Mingus, and Ray Charles helped, in different ways, to fan". [5] Jon Hendricks later added lyrics, [5] and the subsequent recording by Lambert, Hendricks & Ross made the song even more popular. [6]