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With a debut album that resulted in a gold record, a theater tour with 31 shows and 20,000 tickets sold, and an Edison Award, 'crooner' Dennis van Aarssen had the proverbial wind at his back. [ citation needed ] In March 2020, as a result of the COVID-19 pandemic , his trip to New York, the release of the deluxe version of his debut album was ...
The Penguin Guide to Jazz Recordings [ 3 ] The Allmusic review by Stephen Cook awarded the album 4½ stars, stating: " Soul Sauce is one of the highlights from Tjader's catalog with its appealing mixture of mambo, samba, bolero, and boogaloo styles... an album full of smart arrangements, subtly provocative vibe solos, and intricate percussion ...
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]
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.
Sometimes, especially in blues music, musicians will take chords which are normally minor chords and make them major. The most popular example is the I–VI–ii–V–I progression; normally, the vi chord would be a minor chord (or m 7, m 6, m ♭ 6 etc.) but here the major third makes it a secondary dominant leading to ii, i.e. V/ii.
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 ...
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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.