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"Charleston" rhythm, simple rhythm commonly used in comping. [1] Play example ⓘ. In jazz, comping (an abbreviation of accompaniment; [2] or possibly from the verb, to "complement") is the chords, rhythms, and countermelodies that keyboard players (piano or organ), guitar players, or drummers use to support a musician's improvised solo or melody lines.
The composition has become a jazz standard, covered by many artists. [3] [4] Due to its speed and rapid transition through the three keys of B major, G major and E♭ major, [5] Vox described the piece as "the most feared song in jazz" and "one of the most challenging chord progressions to improvise over" in the jazz repertoire. [6]
The song was a favorite of Harry James, who chose it as his theme song when he formed his band in 1939 [6] and wrote English lyrics for it with Jack Lawrence. The James version reached the No. 10 spot in the charts in 1940. [5] Frank Sinatra worked with James's band for a while before going to work for Tommy Dorsey. On the James/Sinatra ...
World War II flying ace Major (later Brigadier General) Thomas L. Hayes named his P-51 Frenesi after the song. [8] He said it was a tribute to his wife Louise, for the song they listened to; he believed the song's name translated as "Love Me Tenderly". The Artie Shaw recording was used in the soundtrack of the 1980 film Raging Bull. [9]
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]
"Maiden Voyage" is a jazz composition by Herbie Hancock from his 1965 album Maiden Voyage. It features Hancock's quartet – trumpeter Freddie Hubbard, bassist Ron Carter and drummer Tony Williams – together with saxophonist George Coleman. It is one of Hancock's best-known compositions and has become a jazz standard. [3]
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It appeared on the group's 1955 10-inch album The Modern Jazz Quartet, Vol. 2 (PRLP 170) and their 1956 12-inch LP Django (PRLP 7057), as well as being released as a 45 RPM single with part 1 on side A and part 2 on side B. [2] [3] [4] It was one of the Modern Jazz Quartet's signature compositions, with the group's bassist Percy Heath recalling ...