It had a jazzier vibe, with a live saxophonist and drummer.
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We've grown used to jazzier adjectives — hilarious, awesome, amazing, absolute genius.
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This Patrice Scott joint is different from his other work—it's a jazzier record.
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In fact, his prose is nothing like Hemingway's: It is jazzier, more lyrical and more darkly comic.
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I'm totally attracted to jazzier elements and emotive elements, and the spirit and energy of it all.
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So, if you're bored by regular berries and looking for a jazzier alternative, you might be into golden berries.
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But in contrast to Stella's industrial palette, Overstreet's colors are juicy and alive, and the whole thing is looser and jazzier and funnier.
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His palette expanded after his older sister got him interested in deep house, a mellower, jazzier subgenre that gestures back to the disco d.j.
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These passages, staged with Mr. Chong's typically wry wit, are jazzier and more satirical than a Wikipedia entry, but not a lot more profound.
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Do you feel that a generation growing up on video game music and R&B is more open to explore with jazzier, more sophisticated chord progressions and harmonies?
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For others, however, the print - with versions in bolder, orange tones or greens and browns - was younger-looking and jazzier than the traditional camel, black and red check.
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I actually called up Caroline [Polachek] from Chairlift and had her come by the studio, because she's really good with jazzy progressions, and this was kind of jazzier song.
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At the time I wanted to be the next Sade, and I had the ponytail and everything, so I was working on jazzier material, but the Basement Boys were making house.
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It sort of sounds like a jazzier version of the kind of downbeat deep house that labels like Dial and Smallville specialize in and, honestly, we can't stop listening to it.
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To name just two, acts like Paul Cherry have a jazzier take on eccentric '70s-era McCartney hits while bands like Post Animal mine psychedelic pop gems from heavy Black Sabbath-inspired riffs.
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Always on the jazzier, and more emotional side of pop-rock, Mayer is tapping into some serious Continuum energy with "Love On The Weekend," which was released on November 17 on Apple Music and Spotify.
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Each had signature moves, too, a color-coded style: the blues did something closest to ballet; the greens scooted and slapped their pelvises, propelled by undulating torsos; the reds, jazzier, draped themselves over gold railings.
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Off Minor saw Behar and and two former Saetia bassists, Matt Smith and Steve Roche, delving deeper into their jazzier fascinations, drafting up a sound that played like The Dillinger Escape Plan if they were less deliberately manic.
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Their full-volumed vocals over breakneck pacings that shift haphazardly into jazzier, bass-heavy interludes are reminiscent of Hot Cross, Kodan Armada, and, if we're just namedroping bands left and right here, maybe a little I, Robot, too.
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As astronomers from John Hopkins University determined in 2002, beige is actually the average color of our universe — although, they, too, thought that beige fails to excite people, and eventually came up with a jazzier sounding name: cosmic latte.
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Letter From Europe BATUMI, Georgia — Once a staid seaside resort in the Soviet Union, this frontier city has undergone an extreme face-lift, the legacy of former President Mikheil Saakashvili's determination to give Georgia a more contemporary, jazzier look.
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Inspired by a slower, jazzier recording several years earlier by the country star Chet Atkins (the original recording was by the song's composer, the guitarist Johnny Smith), the Ventures' version had a propulsive power, driven by heavily amplified guitars and the drumming of Skip Moore.
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He'd spent years exploring the outer reaches of minimal, ambient electronic soundscapes with his Moving Dawn Orchestra project and the mellower, jazzier edges of post-rock under the name iambic, but his biggest successes came under his own name, producing dancefloor-ready techno with releases on Scuba's Hotflush and newfangled avant-tech label Pennyroyal.
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Booba is still a huge star but he has always said that he will no longer rap past a certain age; Rohff confirmed that his next album would be without a doubt his last; and Oxmo Puccino, took a different path a long time ago, to a smoother, jazzier style, with live musicians on stage.
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The second is that the glasses push 1080p projection through both lenses with a 52-degree field of view, letting them achieve something much closer to the Magic Leap One headset or Microsoft's HoloLens than what we've seen most AR glasses shoot for in the past, which tend to be nothing more than a jazzier heads-up display.
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A jazzier "swing version" appears on Mousse T.'s 2001 debut solo album Gourmet De Funk.
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Allman re-recorded the song for his 1997 album Searching for Simplicity, giving the song a jazzier groove, but rendering it in straight 4/4 time instead of the complex triple time of the original composition.
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The last known Crown master was recorded on August 8, 1933, after reaching 533 records (3533). In 1939–40, many of the jazzier Crown sides were issued on Eli Oberstein's short-lived Varsity Records, all from dubbed masters.
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According to Dan McGuire, the previous album The Ways Things Work was recorded in one day and came off jazzier because of it. With the rhythm section more familiar now, McGuire wanted a harder edged album this time.
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Later, the band would start incorporating it into their jams of "My Generation", albeit in a shorter and jazzier form, where it lasted until 2009. The song was briefly revived for The Who Hits 50! tour in late 2014.
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Cline's vocals from this recording were overdubbed with a jazzier arrangement for the soundtrack of Cline's biopic Sweet Dreams. Covers: Terri Clark; Imelda May; Kelly Clarkson; The Kentucky Headhunters; The Oak Ridge Boys; Tierney Sutton; Garth Brooks; Fairground Attraction; Bryan Adams.
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Harbor Lights was well received by critics and fans, who praised it for its "cooler, jazzier sound" and its "affinity for sincere portraits of American life, love, and heartache." The album cover uses Edward Hopper's 1951 painting Rooms By the Sea.
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The albums with Troiano, Flavours (October 1974) and Power in the Music (July 1975), were jazzier and more progressive than the band's earlier recordings; Cummings, unhappy with the change, decided to pursue a solo career and the Guess Who broke up in October 1975.
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The title track, "Kobaïa", has been played as a regular part of Magma concerts since its original recording, although in a jazzier version akin to that of the version on the live album Live/Hhaï (1975), which also featured new lyrics, in Kobaïan, instead of English.
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This episode features an alternate, jazzier arrangement of the opening theme music. Trapper makes a pun during the poker game comparing a "pair of twos" with paregoric. B movies referred to are Love Life of a Gorilla (1940), Bride of the Gorilla (1951) and Bonzo Goes to College (1952).
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Prehistoricisms is the second full-length studio album by the American progressive metal band Intronaut. It was released on September 16, 2008 by Century Media Records, to positive reviews. It is the first album to feature guitarist Dave Timnick, as the band moves towards a jazzier, more progressive sound.
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Street Dreams is the fifty-third studio album by American guitarist Chet Atkins, released in 1986 on the Columbia label. Having previously recorded some of Darryl Dybka's compositions, Atkins asked Dybka to help create a jazzier musical direction. Dybka arranged, produced, and composed many of the songs on this release.
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Lemmy said However, Dave Brock decided to play lead and continue without a second guitarist. Hawkwind’s bass guitarist failed to turn up and Lemmy was available. He said: This led to Lemmy’s very unorthodox technique. Lemmy stated:King’s drumming was more square-beat and "rock" than the jazzier free- flowing Ollis.
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When she performed the song at her most recent concerts, she would arrange it to the point of being almost unrecognizable, adding jazzier instrumentation to the verses and heavier guitars to the bridge.. The song appears in the 2004 PlayStation 2 karaoke game Karaoke Revolution Volume 3 and Singstar Pop Hits.
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The cartoon's theme song, composed by Ted Nichols, is a variation on the children's song "Sailing, Sailing (Over the Bounding Main)" that was written in 1880 by Godfrey Marks, a pseudonym of British organist and composer James Frederick Swift (1847–1931). A later version of the theme song has a jazzier beat.
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The Blue Jukebox is the twentieth studio album by British singer-songwriter Chris Rea, released in 2004 by his independent record label Jazzee Blue. The cover artwork is inspired by Edward Hopper's Nighthawks painting. Compared to the Dancing Down the Stony Road (2002) has a smoother and jazzier take on the blues.
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Opera, Vol 67 No 3, March 2016, p380. Alongside the "febrile and glittery soundscape" Langer created for the Almavivas' flight from revolution, there was also her "jazzier style that added the lighter mood and the element of hope".Evans, Rian. Review of The Barber of Seville, The marriage of Figaro and Figaro Gets a Divorce.
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After the Allmans dissolved in 1976, Williams founded Sea Level with Johanson and pianist Chuck Leavell of the Allmans.The Artificial Southerner: Equivocations and Love Songs, By Philip Martin - Page 77 In Sea Level he played in a looser, jazzier fashion. Sea Level became moderately successful. Williams left Sea Level in 1980, shortly before that band broke up.
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The group returned to the soul and funk that had been a big part of their sound, since the mellower, jazzier sounds of Mr. Mean (a soundtrack for a film directed by and starring Fred Williamson) failed to move fans and critics. Low sales of that album would also lead to lower-than-expected sales for Jass-Ay-Lay-Dee.
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Lewis, p. 70 One critic thought that the 2001 version's orchestrations "boast more Asian accents and a jazzier edge than the original", but another felt that they "pale in comparison" to Bennett's typically lilting sound. As with many of Rodgers and Hammerstein's musicals, the work features a ballet at the start of the second act, choreographed in the original production by Carol Haney.
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Robert Christgau gave the album a favorable review, calling it "fuller and jazzier than Blank Generation without any loss of concision". Mark Deming of AllMusic called it "looser and more spontaneous than Hell's debut, but it's just as smart and every bit as powerful, and it's a more-than-worthy follow-up" that "[showed Hell had] actually grown since his debut".
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She eventually decided to record the songs in a warmer, live-in-studio approach without any electronic overdubs and with her voice and the piano as the focal points. The result is Tikaram's jazzier album of her career. Tikaram described the album's sound as "groovy" without being exaggerated. For the first time on her albums, Tikaram duetted with male singers.
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Snow ended up signed to Columbia Records. Her second album, Second Childhood, appeared in 1976, produced by Phil Ramone. It was jazzier and more introspective, and was an RIAA Certified Gold Album for Snow, with the Gold Album awarded on July 9, 1976. She moved to a more rock-oriented sound for It Looks Like Snow, released later in 1976 with David Rubinson producing.
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Green won that year; Salinger never received an Oscar. Despite this lack of popular recognition during his lifetime, Salinger was highly regarded within the film music industry; working steadily and occasionally uncredited (e.g. The Big Country for Jerome Moross). He was content to collaborate with some of the jazzier arrangers on the lot, most frequently Skip Martin and once memorably with Nelson Riddle for High Society (1956).
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Never a powerful singer, she was admired at this stage of her career for her "feeling for style, especially in jazzier numbers" and her "appealingly sultry insouciance".Stephen Holden, "Music Noted in Brief", New York Times, 17 January 1983, p. C.20. In the second half of the 1980s, Titus began producing "rock-and-roll musicales featuring well-known musicians ... in New York restaurants and clubs".
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In Farber's opinion the "jazzier songs [like "Dry Spell"] have more individuality than the pop ones". Lipp found Abrams' cover of "Hit the Road Jack" to be "more relaxed" and "slowed-down" than the original "with a more prominent bass line." She praised Reinhart's performance, writing that the guest artist proves her "jazz-blues chops". Mark Franklin of The York Dispatch called the duet "great".
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Players Never Die is a 1997 album by singer Bobby Miller. The album was recorded in Chicago, Illinois and Dayton, Ohio. Mastering done at the famous Sigma studios in Pittsburgh, PA. Bobby Miller produced and recorded Players Never Die, engineered by Ron Gresham, Brian Jensen, Jim Godsey and Hank Neuberger. This was the singer's second major release and arrangements on this set were geared more towards smoother, jazzier compositions.
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Surviving punk rock, they moved into a jazzier, more commercial direction, but then were put on a seven-year hiatus in the mid-1980s. Since 1991 the band have been independent, releasing albums including Dust and Dreams, Harbour of Tears and Rajaz on their own label. Despite no new studio release since 2002, the band continue to tour. Their music has influenced several subsequent artists, including Marillion and Opeth.
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In August 2011, Beyoncé performed "Crazy in Love" during her revue show 4 Intimate Nights with Beyoncé. She performed a slowed-down, jazzier version of the song and danced with a similar routine to the one in the music video. During the ITV special A Night With Beyoncé which aired on December 4 in the United Kingdom, Beyoncé performed "Crazy in Love" to a selected crowd of fans.
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The original title music was used until 1991. A stereo version was introduced in 1988 for Omnibus editions, although it was mainly used for 4 months in 1991 before a new version came into use, sounding much more similar to the original, this version having a slightly different ending. On 11 May 1993, a completely new recording was instated which was jazzier than the previous version. The famous "doof doofs" were significantly tweaked.
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In Heylin's opinion, Gregg's jazzier drumming and Griffin's more fluid piano playing better communicated the feeling of dislocation that Dylan desired for the song. Take 5 of the song, which, according to Heylin, featured both Lay and Owens, was included on the 2005 album The Bootleg Series Vol. 7: No Direction Home: The Soundtrack. In 2015, the entire recording session was released on the 18-disc edition of The Bootleg Series Vol.
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While preparing to tour in support of Stampede, Doobie Brothers founder Tom Johnston was hospitalized with a stomach ailment. To fill in for Johnston on vocals, Baxter suggested bringing in singer-keyboardist Michael McDonald, with whom Baxter had worked in Steely Dan. With Johnston still convalescing, McDonald soon was invited to join the band full-time. McDonald's vocal and songwriting contributions, as well as Baxter's jazzier guitar style, marked a new direction for the band.
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Mower is a punk band from California, with two vocalists, Brian Sheerin and Dominic Moscatello. The band is signed to Suburban Noize Records and released three albums on the record label: Mower (2003), Not for You (2006), and Make It a Double (2009). Slower is a softer "alter ego" of Mower and releases songs on Mower's albums. Slower has all of the same band members but perform a softer, jazzier version of Mower.
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Jet Lag is the fifth album of the Italian progressive rock band Premiata Forneria Marconi, released in 1977 by Asylum Records in the US and Manticore Records in Europe. This album incorporates the use of fretless bass in the sound and has a jazzier feel in comparison to the band's previous efforts. Four of the five tracks with vocals are sung in English. "Cerco la Lingua" ("I Look for the Language") is the only one sung in Italian.
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Retrieved 11 December 2012. He has professed his desire to see more guitarists follow his example in playing traditional flamenco to keep the music alive and to encourage classical players to play flamenco compositions in their repertoire and accept it. However, the Boston Globe says that his "repertoire ranges from traditional flamenco to jazzier works by contemporary composers". In May 2012 he performed Joaquín Rodrigo's popular Concierto de Aranjuez at the Melrose Memorial Hall in Boston.
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He appeared on the album Fiafiaga (1988), which continued with the Global Beat direction with computer- based and funkier sounds. A jazzier version of the band consisting of Smith, Coster, Larry Schneider (saxophone), Frank Gambale (guitar), and Larry Grenadier (double bass) recorded Vitalive! (1990). Jeff Andrews (bass) joined the band in the early 1990s, recording Easier Done Than Said (1992) and Ray of Hope (1996). Vital Information became more groove-oriented on Where We Come From (1998).
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Damn The Machine was a progressive metal band based in Los Angeles. Composed of guitarist Chris Poland (ex-Megadeth, OHM:), his brother Mark Poland on drums, David Clemmons on guitars and vocals, and bassist Dave Randi. The quartet released only one, self-titled, album. It was a jazzier metal project than other progressive metal bands of the time, such as Queensrÿche or Fates Warning, and the lyrical content dealt largely with subjects of politics and morality.
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In its prime, the Mukai garden attracted visitors from on and off the island and was photographed for postcards. The garden also served for notable social functions when tea parties were held to view the cherry blossoms in the early spring." The lettering on the plant--"Mukai Cold Process Fruit Barrelling Plant--is a modern (1993) reproduction "in jazzier blue-gray". The designation of the plant as a King County landmark coincided with the 1993 Asia-Pacific Economic Cooperation forum, held in Seattle.
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Of this album Martin Jones of Rhythms magazine wrote thsat "Monique diMattina has reached that hallowed ground where influences and inspirations coalesce to produce a unique voice. On this new album, jazz sensibilities and classic songwriting skills blend to produce something reminiscent of the jazzier shadows of Rickie Lee Jones or Joni Mitchell. That is to say, some of the approaches, and aesthetics draw from jazz, but first and foremost it's about the singer and her songs."Rhythms, January/February 2016.
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The original 1969 B-side version features jazzier guitar parts that were removed or replaced for the version that appeared on Play It Loud.B-Sides - 2006 Salvo remaster booklet liner notes "Wild Winds Are Blowing" later received greater recognition when it was included on the band's 1973 compilation album Sladest. The album topped the UK charts. In 2006, Salvo included the song on The Slade Box and as a bonus track on the double-CD album Beginnings/Play It Loud.
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During its first nine months on the air, Another Life had a simple opening shot of a beach at sunrise. Brent Havens, who was the music director of CBN's signature show, The 700 Club, composed the theme music. The original opening and closing arrangement consisted of a trumpet solo, backed by quietly played strings and a Fender Rhodes electric piano, which was a frequently used instrument in the show's music cues. In March 1982, a new, jazzier opening was introduced.
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Waterloo Lily is a 1972 released album by Caravan on the Deram label. The track "The Love in Your Eye" has been featured as a Caravan live track for many years. Waterloo Lily is the only album by Caravan with Steve Miller as the keyboard player. Miller brought a jazzier feel to the sound of Caravan than had been heard on the previous album through his stylings on the Wurlitzer piano rather than the Hammond organ favored by previous keyboardist Dave Sinclair.
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The first appearance of the "James Bond Theme" was in Dr. No. There it was used as part of the actual gun barrel and main title sequence. In From Russia with Love, the "James Bond Theme" appears not only in the gun barrel pre-title sequence, but as part of the main title theme and in the track "James Bond with Bongos". It is a slower, jazzier, somewhat punchier rendition than the original orchestration. The original Barry arrangement from Dr. No is heard during a check of Bond's room for listening devices.
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There are other aspects outside the Clave that help define salsa rhythm: the cowbell, the Montuno rhythm and the Tumbao rhythm. The cowbell rhythm emphasizes the "on- beats" of salsa: 1, 3, 5 and 7 while the conga rhythm emphasizes the "off- beats" of the music: 2, 4, 6, and 8. Some dancers like to use the strong sound of the cowbell to stay on the Salsa rhythm. Alternatively, others use the conga rhythm to create a jazzier feel to their dance since strong "off-beats" are a jazz element.
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The new band had a jazzier and more progressive approach. They went into Philadelphia's Virtue Recording Studios to record six demos, which came to the attention of Kama Sutra Records, but did not result in a contract. On July 24, 1968, the Friends of the Family shared the bill with The Who, The Troggs, and Pink Floyd at JFK Stadium, but due to inclement weather the show had to be halted. The line up changed and John Rhoads was replaced by Ray Andrews and Keyboards by Lindsay Lee.
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In May 1980 they issued their debut self-titled six-track EP on Missing Link Records, which was produced by Kuepper. AllMusic's John Bush described their sound as "jazzier and quite a bit more experimental than" The Saints. Meanwhile, Kuepper and the group's manager, Ken West, started up their own label, Prince Melon Records, to release early work by Laughing Clowns. Laughing Clowns subsequently issued three studio albums, Mr Uddich Schmuddich Goes to Town (May 1982), Law of Nature (April 1984 on Hot Records), and Ghosts of an Ideal Wife (June 1985).
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When jazz trumpeter Chet Baker was in town, they played a doubles match with Baker. He became a member of the band Skywalk after it was started by Graeme Coleman and Rene Worst in 1979. The band wanted to blend pop music with more complex harmonies, modeling themselves on the jazz fusion band Weather Report. After appearing at the Detroit-Montreux Jazz Festival, they recorded the album Silent Witness and toured the U.S. After Coleman left the band, Miles Black and Don Powrie became members and the band moved in a jazzier direction.
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Entertainment Weekly's review of Mo-Di was decidedly cooler than the one for its predecessor, with reviewer Ty Burr stating "the only thing Mo-Di has in common with 1991's magical Mouth Music is instrumentalist Martin Swan, who now plies his pleasantly rude world music/New Age/Celtic confabulations as part of a quintet. The jazzier arrangements feel a little forced, and the vocals are less powerful. But these guys still leave Enya face down in the dirt."Entertainment Weekly review of ‘’Mo-Di’’ by Ty Burr.
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Indigo Jam Unit is often grouped together with other bands from the Japanese jazz and nu jazz scene, such as Quasimode, Soil & "Pimp" Sessions, and Sleepwalker among others. Indigo Jam Unit have distinguished themselves with a twin drum line up where Shimizu contributes the jazzier rhythms and drum solos while Wasano adds a heavier straight beat and percussion. Indigo Jam Unit always record their material live in the studio with little post processing and as few effects as possible. No edits or overdubs are made to their recordings.
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William Ruhlmann of AllMusic wrote "The arrangements are full of electronic keyboard washes, popping basslines, and soulful female backup vocals with the occasional piercing saxophone part, all in support of (and at times overwhelming) Wilson's smoky alto vocals... But the quality of the songwriting lets Wilson down, and, anyway, the approach is not natural to her. She is jazzier and classier than this kind of thing, and while she made a valiant attempt to meet the R&B; charts more than halfway, she is not heard at her best here".
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Things I Know to Be True features a soundtrack composed by Nils Frahm. Frahm's pieces, selected from his catalogue by directors Scott Graham and Geordie Brookman in conjunction with sound designer Andrew Howard, have one prominent instrument; the piano. Frahm ensures that the piano's chords reflect the mood of the current scene, using minor keys for sadder scenes and slightly jazzier tones for happier ones. Aside from Frahm's soundtrack, the work of Leonard Cohen is mentioned a number of times; coincidentally he died just a few days before the first performance at the Chichester Minerva Theatre.
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Bruford were a band assembled and led by former Yes and King Crimson drummer Bill Bruford in the late 1970s. After leaving the progressive rock group U.K., Bill Bruford formed a jazzier band for his debut solo album Feels Good to Me, with former Hatfield and the North keyboardist Dave Stewart, young American virtuoso bass guitarist Jeff Berlin and guitarist Allan Holdsworth (who had worked with Bruford in U.K.). This first album also featured Annette Peacock on occasional vocals and British jazz stalwart Kenny Wheeler on flugelhorn. A second album ( One of a Kind ) was all instrumental.
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After Cold Chisel disbanded in 1983, Walker had a five-year hiatus before resuming recording and performing. Initially, he had considered hiring an actor to front the band and mime the songs before deciding to front 'Catfish Ostensibly a band, Catfish was in effect a solo project, featuring Walker on vocals, keyboards and penning all the songs. Catfish featured various backing musicians, such as Charlie Owen, Ian Moss, Ricky Fataar and harmonica player David Blight. The first album, Unlimited Address, released in 1989, showed a jazzier, Eastern European side to Walker's songwriting, reflecting his travels during the previous years.
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The addition of a brass section provided a new jazzier sound, and the title track of 1988's This Note's For You became Young's first hit single of the decade. Accompanied by a video that parodied corporate rock, the pretensions of advertising, and Michael Jackson, the song was initially unofficially banned by MTV for mentioning the brand names of some of their sponsors. Young wrote an open letter, "What does the M in MTV stand for: music or money?" Despite this, the video was eventually named best video of the year by the network in 1989.
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Alasdair Mackie Ward first rose to fame by joining the Australian punk rock band The Saints, replacing their former bassist Kym Bradshaw. Ward's first appearance with the band was in 1977 on their third single, "This Perfect Day." He also played on their second album Eternally Yours and third album Prehistoric Sounds, both released the same year, just as the band began to experiment with a jazzier R&B; sound. A little after the release of Prehistoric Sounds, The Saints temporarily disbanded, and when the band got back together with their more post-punk driven sound, Ward was replaced by Janine Hall.
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Daniel Robson of The Japan Times described Supercell's music as "sentimental J-pop...[that] also explores the genre's jazzier, spunkier and dancier elements." Their sound has been compared to pop singers Aiko and Yui, and Ryo has stated himself that he likes expressing human emotions in his music. When creating a song, Ryo has often hummed a tune into a digital recorder, or starts by playing the piano. While it depends on the song, Ryo has stated he generally "play[s] the piano and take[s] notes of the chord progression" and then writes the lyrics.
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But Jack Kapp, manager of Brunswick and later Decca, talked him into dropping many of his jazzier mannerisms in favor of a clear vocal style. Crosby credited Kapp for choosing hit songs, working with many other musicians, and most important, diversifying his repertoire into several styles and genres. Kapp helped Crosby have number one hits in Christmas music, Hawaiian music, and country music, and top-thirty hits in Irish music, French music, rhythm and blues, and ballads. Crosby elaborated on an idea of Al Jolson's: phrasing, or the art of making a song's lyric ring true.
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Parsons describes it as being both joyful and pensive - almost anthemic in places. It is a bit more straightforward in its piano presentation, and will probably appeal the most to hardcore fans of solo instrumental music, says Instrumental Weekly. Joseph reveals his jazzier side with "Water Voyage", giving way to some "slick synth work" along with "fantastic and moving vocalizations". "Inside the Sky" opens with floating synth chords fused with ethnic percussion samples and twinkling bell trees, but soon develops into a reflective piano tone poem enhanced with discrete use of synth strings and keyboard textures here and there.
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Schloss Nörvenich, where Tago Mago was recorded Julian Cope wrote in Krautrocksampler that Tago Mago "sounds only like itself, like no-one before or after", and described the lyrics as delving "below into the Unconscious". Dummy called it "a genre-defining work of psychedelic, experimental rock music." Critic Simon Reynolds described the record's sound as "shamanic avant-funk." Tago Mago finds Can changing to a jazzier and more experimental sound than previous recordings, with longer instrumental interludes and fewer vocals; this shift was caused by the dramatic difference between Suzuki and the band's more dominant ex-singer Mooney.
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Rehearsal and performance took place in a “performing garage” which was rather a small metal stamping factory, but Schechner found “garage a much jazzier title”. According to Schechner the group rehearsed for 5 months at least 6 days a week on average 6 hours a day including vocal training and psychophysical interactions (e.g. attack therapy, a controversial method at that time in use to treat drug addicts). Dionysus in 69 is an example of Richard Schechner's theories of Environmental Theater in terms of the uses of the performing space, deconstruction of classic texts, and audience participation.
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The term "música instrumental Brasileira", which literally means "Brazilian instrumental music", is used in Brazil as a generalized term to refer to jazz as well as several instrumental forms of art music drawing on national styles such as choro, samba and bossa nova. The term's ambiguity allows for the fact that Brazilian musicians themselves do not always have much in common with each other and might be willing to play in several genres. Terms for subgenres such as brazuca, ecm, and fusion are more specific to jazz. Brazilian musicians distinguish their jazzier or jazz instrumentals from those of Latin jazz.
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The Staehelys, Cassidy and Locke recorded the 1972 album Feedback in Columbia/Epic's Hollywood studios. It was a different turn for the group, showing more of a country rock influence pervading their jazzier tendencies, but it only met with a mild commercial response, also reaching No. 63 in the charts. While the tour for Feedback proceeded very well for much of that year, Cassidy and Locke lacked an affinity for roots-based music and soon left the lineup. The Staehely brothers completed the critically successful tour with drummer Stu Perry before dissolving the group in mid-1973 and releasing their own album, Sta-Hay-Lee.
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Aesthetically and politically, Lovework descends from a mid-'90s school of conscious Northwest hip hop, characterized by groups such as Black Anger and Silent Lambs Project. It was a time where the Seattle sound became jazzier—more melodic, intricate, and atmospheric. It turned away from the gangsta themes and beats that dominated the period and instead focused on progressive politics, utopian aspirations, and an organic connection with black Africa. Lovework was produced by Amos Miller with additional beat contributions from Sabzi (of Blue Scholars), Moka Only, Kitone, and Specs One – its sound was primarily influenced by Seattle veteran Vitamin D (who also mixed the record) and the late J Dilla.
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Spirits is the 1994 album by Gil Scott-Heron. The title track is an interpretation of the John Coltrane piece, and "The Other Side" is a live version of Scott-Heron's 1971 track "Home is Where the Hatred Is" with a new arrangement and many new verses that expand the original to nearly twenty minutes. It was later sampled for "Home" on the 2011 Jamie XX collaboration album, We're New Here. In the liner notes, Scott-Heron discusses the new, jazzier tone of the record, and the attempts to define his sound: > What do you call reggae, blues, African vibration, jazz, salsa, chants and > poetry?...
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After leaving Megadeth in 1987, guitarist Chris Poland recorded a solo album, Return to Metalopolis, in 1990. Three years later, he resurfaced with the group Damn the Machine (DTM), which included his brother Mark on drums, Dave Clemmons on vocals/guitar, and David Randi on bass. While the group were indeed heavy, their sound was slightly more progressive than Poland's previous band and solo work, perhaps more comparable to the likes of Queensrÿche or Fates Warning, though with a jazzier twist and more politically charged lyrics. The band signed a deal with A&M; Records in 1993, and their self-titled debut album was released the same year.
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James Christopher Monger of AllMusic commented that Starlight "offers up a luxurious set of new originals [and] skilfully bridges the gap between the smooth folk-pop of Show Some Emotion, the amorous candor of Lovers Speak, and the evocative cool of Into the Blues". Bass Guitar magazine said that Starlight is: "a sterling effort from the veteran songwriter ... and features high quality bass playing as well as top- notch songs". The Scottish Daily Express commented in May 2012 that "Starlight has a jazzier feel than previous offerings ... and [Armatrading's] ability to adapt is what sets her up as one of the finest female singer-songwriters this country's produced".
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Eastwood chose John Williams to compose the original music soundtrack for The Eiger Sanction—his only score in the spy thriller genre. A main theme is presented initially on piano evoking a sense of sophistication and mystery, then given a much jazzier or pop rendition reminiscent of Lalo Schifrin's material. The most impressive sections of the score are the grand orchestral cues composed for the mountain scenes—pieces such as "The Icy Ascent" and "The Top of the World" capture both the beauty of the alpine surroundings and the inherent dangers. The latter title presents the kind of rapturous orchestral celebration now commonly associated with Williams' music.
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The record has been described as a jazzier version of Skip Spence's Oar or Syd Barrett's two solo records—an aural, drug-induced nervous breakdown. The album was a commercial disaster, and Palmer seemingly retired from music. In 1977, Palmer joined former Kensington Market singer/guitarist Keith McKie and lead guitarist Stan Endersby (formerly of local bands, The Just Us, and Mapleoak) in the Toronto group, Village, for some local gigs. In 1982–1983, Palmer was the bassist in Neil Young's Trans Band, and playing a mixture of Young classics and electronica-infused material to audiences throughout America and Europe, as seen on Neil Young in Berlin, filmed in 1982.
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" NME gave the album seven stars out of ten, saying "although there's nothing to rock the Wu's place at the top of the NY tree, Onyx sound convincingly with it. They still paint pictures of NY that turn it into a warscape, but they've deliberated their moves so as not to re-emerge as the latest rap washouts...". Rate Your Music gave the album three and a half stars out of five, saying "...This record is one of the darkest, bleakest, grimiest, nastiest records ever made. The production on here is more like a gothic landscape than the jazzier Boom Bap shit of the early '90s.
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" Q magazine remarked that A Nu Day was dominated by "sass over schmaltz [...] the Missy Elliot-enhanced take on Hall & Oates' "I Can't Go for That" [...] is a high spot [with] echoes of Jill Scott in some of other jazzier tracks." Vincent Jackson, writing for NME, called the album a "dreary set" that "rarely lends itself to excitement and originality". He felt that A Nu Day is the kind of MOR musical traffic that only real hardcore R&B; heads would want to get stuck in". Less impressed, Entertainment Weeklys Craig Seymour wrote that A Nu Day sees Tamia joining "the Toni Braxton school of hammy, self-conscious soul-singing that's more about affectation than honest emotion".
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Most of their subsequent albums contain both original songs and re-interpreted classical pieces. Ekseption 5 (1972) It quickly became evident that van der Linden had assumed leadership of the group, and in a 1972 press release interview accompanying advance copies of the album Ekseption 5 he openly said so. After 1973's Trinity album he was asked to leave the group by his bandmates, and in the fall of that year he formed a new group Trace, during which time he was replaced by Dutch keyboardist Hans Jansen. Jansen took Ekseption in a jazzier direction, with two LPs of original compositions, but lackluster sales caused the band to break up in 1976.
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In 2002, writing in the Rolling Stone Press book Harrison shortly after his death, Greg Kot approved of Dark Horses "jazzier backdrops" compared with Material World, but opined that Harrison's voice turned much of the album into an "unintentionally comic exercise".The Editors of Rolling Stone, p. 188. In the same publication, Mikal Gilmore identified Dark Horse as "one of Harrison's most fascinating works – a record about change and loss". Alan Clayson similarly writes of the interest factor of "a non-Beatle, as well as an ex-Beatle in uncertain transition", and while classing the album as "an artistic faux pas", describes "It Is 'He' (Jai Sri Krishna)" as "wonderful" and "startling".
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It revealed that Moonshake had completely banned guitars from their new sound, relying entirely on the combination of Dickaty's saxophones with looped and layered samples over the rhythm section (in a similar manner to The Young Gods). Compared to earlier recordings, the new Moonshake material was jazzier (with extensive horn parts) and more direct. Callahan wrote all of the songs for the record, with his bleak, vivid urban vision now uninterrupted and untempered by Fiedler's more psychedelic approaches. However, the use of female singers on the record – in particular, PJ Harvey's striking guest contribution on "Just a Working Girl" – would ensure that for now Moonshake would retain a strong female component despite Fiedler's departure.
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Bringing in British producer Gavin MacKillop (Barenaked Ladies, Toad the Wet Sprocket, Straitjacket Fits) to supervise the sessions, the band began to improvise the framework for the next set of songs. The use of opium and, for Kilbey, heroin, saw the material take on a more expansive and surreal quality, while Daugherty's jazzier approach on drums was a fresh change. Priest=Aura, titled from Kilbey's misreading of a Spanish fan's English vocabulary notes ('priest' = 'cura'), contains fourteen songs, many over six minutes long, and was their longest album yet at 65 minutes. With song concepts derived from cryptic, one- word working titles (an idea originally proposed by Willson-Piper), the lyrics leaned towards the abstract and esoteric.
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Its production was built on a "deep" and "infectious" groove, around a wafting "late night"-style trumpet sample with quietly "jiggling" funk guitar and scratching sounds—all adding depth to the subversively "poppy" vocal chorus and accentuating the song's "slinky" hooks. Michael Arceneaux of Complex called the track a "darker, mellower, and far jazzier" sound than any of its predecessors, which was "perfect" for Watkins' alto voice. Musically, "Creep" is set in the time signature of common time with a moderate tempo of 96 beats per minute. It was composed in the traditional verse–chorus form in C minor with Watkins and Thomas' vocals ranging from the chords of C4 to F5.
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"The Suspension Bridge at Iguazu Falls" is "guitar-driven Latino rock." The track "In Sarah, Mencken, Christ, and Beethoven There Were Women and Men", which has been described as "smooth, Ry Cooder-infused house", takes its title from a similarly titled work by John Barton Wolgamot recorded by Robert Ashley in 1972. The consecutive tracks "Almost Always Is Nearly Enough" and "Jetty" largely forgo the jazz influences and instead present "cut-up voices, brittle drum'n'bass rhythms and ricocheting electronics." "Jetty" is an alternate version of 1997 song "La Jetée" by Tortoise's jazzier sister group, Isotope 217 (Both songs took their name from landmark experimental film La jetée.) They are followed by the "mesmerizing tone" of closing track "Everglade".
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William Ruhlmann reviewed the album for Allmusic and wrote that it seemed "...to have been influenced by Henry Mancini's similar success, leading to a more prominent rhythm section and a jazzier feel than one usually associates with Riddle's charts", and that Riddle's "feel for melody was not extinguished by any means but, probably due to his recent experience, his arrangements and (on three tracks) compositions had a far more cinematic flair, which gave them an early-'60s contemporaneity and brought him out of the '50s just as he was moving on to new challenges". DJ Spooky, in his 2008 book Sound Unbound: Sampling Digital Music and Culture described Riddle's arrangement of "Witchcraft" on this album as a " brain-tickling juxtaposition of reverberating strings, bells, and chimes".
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"Queen of the Highway" was previously recorded in a jazzier arrangement (with Harvey Brooks on bass) during The Soft Parade sessions, while "You Make Me Real" (initially revived for the band's July 1969 Aquarius Theatre engagement) was one of Morrison's earliest compositions, dating from 1966. Although Morrison Hotel contains no major hit singles, it features some of the band's most popular songs, including "Roadhouse Blues" and "Peace Frog", which would go on to become staples of classic rock radio. "Roadhouse Blues" took two days to record (November 4–5, 1969) with Paul Rothchild striving for perfection. Several takes from these sessions were included on the 2006 remastered album, with Morrison repeating the phrase "Money beats soul" over and over again.
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Sufficiently Breathless, the second album by Captain Beyond, was released in 1973 and features a jazzier, smoother sound than its predecessor, reminiscent of mid-1970s Santana. The medley format of the first album is retained only for the last six minutes of Sufficiently Breathless: "Voyages of Past Travellers" flows directly into "Everything's a Circle", which in turn is actually two distinct songs despite being listed under a single title. Original drummer/songwriter Bobby Caldwell had been replaced by Marty Rodriguez and Guille Garcia in the band. According to bassist Lee Dorman, the songs were written by vocalist Rod Evans, guitarist Larry "Rhino" Reinhardt, and Dorman himself, but Rodriguez and Garcia were allotted a percentage point of the songwriting royalties due to their contributions to the arrangements.
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Like the jazzier but equally realistic Black Hawk Down, it shows a situation that has moved beyond policy and strategy and amounts to soldiers in the field, hoping to hell they get home alive." He also said the film gave "full credit" to the Filipino guerrillas who assisted the Rangers. He concluded, "it is good to have a film that is not about entertainment for action fans, but about how wars are won with great difficulty, risk, and cost." Wesley Morris of The Boston Globe criticized a lack of character development and the pace of the film, saying, "On screen, at least, the raid to free the prisoners isn't all that great – just a bunch of explosions and combat maneuvers.
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With synth pop music in the mainstream by 1981, Numan made a conscious effort to craft a more sombre, personal, and musically experimental album, in a jazzier vein than its predecessors. The album's title is somewhat ironic, as Dance was the least danceable album Numan had made at that point. (Numan wrote and recorded a song titled "Dance", but it was not included on the original album, and was released years later as a CD bonus track.) The album's sound constitutes a significant change in style from the heavy analogue synth arrangements of Numan's earlier hit releases. Side One of the album consists of four long, sparse, slow-tempo minimalist songs, with the rhythm tracks based largely around muted drum machine patterns.
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In general, his sound was more modern and up-tempo than the popular Chicago blues of the day, with a jazzier conception and rhythmically less rigid approach than that of other contemporary blues harmonica players. Jacobs left Waters's band in 1952 and recruited his own backing band, the Aces, a group that was already working steadily in Chicago backing Junior Wells. The Aces—the brothers David and Louis Myers on guitars and Fred Below on drums—were credited as the Jukes on most of the Little Walter records on which they played. By 1955 the members of the Aces had each separately left Little Walter to pursue other opportunities and were initially replaced by the guitarists Robert "Junior" Lockwood and Luther Tucker and drummer Odie Payne.
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Singers and bands of various genres have covered the song in their own style. British band Marmaduke Duke performed a cover version in April 2009 on BBC Radio 1's Live Lounge show. In October 2009, it was released on Radio 1's Live Lounge – Volume 4, a compilation of Live Lounge recordings. Australian singer Stan Walker sang a jazzier version of the song on the seventh series of Australian Idol in October 2009. The same year, elementary school group PS22 chorus covered "Single Ladies" and "Halo" (2009) during Billboards annual Women In Music luncheon held at The Pierre in New York City. In her short-lived Broadway revue "All About Me" in March 2010, Dame Edna Everage performed a version of the song with backup dancers Gregory Butler and Jon-Paul Mateo.
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For the company's 1960s superhero efforts, composer John Gart (under the stage name John Marion) and music supervisor Gordon Zahler created strong themes and backing cues using a large orchestra, until the Batman entry in 1968, which used sparser production and jazzier themes. The company's 1960s adventure series Journey to the Center of the Earth (1967) and Fantastic Voyage (1968) likewise used sparser music production. Journey made heavier emphasis on guitar than the company's previous series, while Voyage made use of deliberately haunting woodwinds to create a science fiction flavor. According to the booklets accompanying some of the DVDs of Filmation's shows, composer Ray Ellis (who was assisted by his son Marc Ellis) had produced the background music for most Filmation series under the pseudonyms "Yvette Blais and Jeff Michael".
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Abrahams left Jethro Tull, due to a falling-out with Tull vocalist Ian Anderson, after their debut album, This Was, was released, and formed Blodwyn Pig with Jack Lancaster (saxophone and flute), Andy Pyle (bass guitar), and Ron Berg (drums). Ex-Yes and future Flash guitarist Peter Banks became one of several guitarists to succeed Abrahams after he left to form his own band for a time. With Abrahams and Lancaster in the lead, Blodwyn Pig recorded two albums, Ahead Rings Out in 1969 and Getting To This in 1970. Both reached the Top Ten of the UK Albums Chart and charted in the United States; Ahead Rings Out displayed a jazzier turn on the heavy blues–rock that formed the band's core rooted in the British 1960s rhythm and blues scene from which sprang groups like The Yardbirds, Free and eventually Led Zeppelin.
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It was composed specifically for the purpose of allowing the bricklayer roadies more time to finish constructing the wall, to seal off the stage almost completely, before Waters appeared in the last one-brick-wide space in the wall to sing "Goodbye Cruel World", and end the first part of the show. The piece doesn't have a strict composition, varying from venue to venue, but it usually contained themes from "The Happiest Days of Our Lives", "Don't Leave Me Now", "Young Lust", "Empty Spaces" / "What Shall We Do Now?", and occasionally, when the bricklayers were running especially late, a jam (in the jazzier style of the earlier, improv- oriented Floyd) similar to "Any Colour You Like" (D minor to G major), was played. The themes from "Don't Leave Me Now" and "Young Lust" were transposed down a whole step, so, like much of the album, "The Last Few Bricks" is in D minor—which leads to a "brightening" effect, when "Goodbye Cruel World" begins in the parallel key of D major.
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Double Nickels on the Dime placed at number 14 in the publication's end of year Pazz & Jop critics' poll. Reviewing the album in February 1985 for Rolling Stone, David Fricke awarded the album three and a half stars, and also praised Boon's technique, stating: "The telegraphic stutter and almost scientific angularity of singer-guitarist D. Boon's chordings and breakneck solos heighten the jazzier tangents he dares to take," but that "Double Nickels on the Dime's best moments go far too quickly." Later reviews have also been positive: AllMusic's Mark Deming described Double Nickels on the Dime as a "quantum leap into greatness" for Minutemen, describing the album as "full of striking moments that cohere into a truly remarkable whole" and awarding a full five stars. Journalist Michael Azerrad, profiling Minutemen in his book Our Band Could Be Your Life (titled after a lyric from "History Lesson – Part II"), named Double Nickels on the Dime as "one of the greatest achievements of the indie era" and described it as a "Whitman's sampler of left-wing politics, moving autobiographical vignettes, and twisted Beefheartian twang".
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