Search results
Results From The WOW.Com Content Network
The LP also showcases the softer side of Dazzle Vision much like their previous album Crystal Children, clashing pop and rock into tunes such as "Continue" and "Divided". Music videos. Dazzle Vision made two music videos for this album. The two songs were "Like I'm Not Real" and "Kirari", both different in setup and style. The music videos were ...
His mother Claire was a typist, and his father Carl was a part-time jazz musician and worked as a deckhand on tugboats in New York Harbor. Gabrels started playing guitar at age 13, and the following year his father arranged for lessons with his friend Turk Van Lake. Van Lake was a professional musician who had played with Benny Goodman and others.
The we’re-never-going-to-play-together-again-to-lucrative-reunion trail is well-worn at this point — just ask such famously feuding acts as the Eagles, Guns ‘N Roses, Pixies and, most ...
On All About Jazz, Mark F. Turner said "there are more subdued voices who let their music do the talking, as is the case for Ron Miles' Quiver, a project led by the Denver-based trumpeter and his talented cohorts, guitarist Bill Frisell and drummer Brian Blade. These gentle masters are highly respected leaders with expansive discographies and ...
Website. jazztimes.com. ISSN. 0272-572X. JazzTimes was an American print magazine devoted to jazz. Published 10 times a year, it was founded in Washington, D.C., in 1970 by Ira Sabin [1][2][3] as the newsletter Radio Free Jazz to complement his record store. [4]
Dazzle Multimedia also sold an internal, PCI-card version of the Dazzle, under the name Snazzi. [6]: 73 Dazzle Multimedia was acquired in majority by SCM Microsystems, a German-American technology company, in 1999. [7] The first Dazzle recorder to support USB was the Digital Video Creator (DVC) 50 and 80 models, first released in March 2001.
The Penguin Guide to Jazz states: " 'Work Song' is the real classic, of course, laced with a funky blues feel but marked by some unexpectedly lyrical playing." [8] In a musical analysis of Adderley's improvisational bebop style, Kyle M. Granville writes that the song is "connected to the soul-jazz style that Nat Adderley and his brother Cannonball Adderley immersed themselves into during the ...
Her big break came in October 1955, when she was featured in a Jazz Benefit concert for Israel at Carnegie Hall, sharing the bill with Miles Davis, Art Blakey, Tito Puente, and Marian McPartland. [6] An October 25, 1956 newspaper ad lists Kenney as appearing at the Playgoer Room at the Westnor restaurant in Westport, Connecticut . [ 7 ]