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Moore also plays in Jewels and Binoculars, a collective trio with bassist Lindsey Horner and drummer Michael Vatcher which is devoted to interpretations of Bob Dylan songs. [1] [2] In 1986, Moore won the VPRO/Boy Edgar Award, the most prestigious jazz award in the Netherlands. In 1991, he founded Ramboy Records to document his music.
Straight-ahead jazz is a genre of jazz that developed in the 1960s, with roots in the prior two decades. It omits the rock music and free jazz influences that began to appear in jazz during this period, instead preferring acoustic instruments, conventional piano comping, walking bass patterns, and swing- and bop-based drum rhythms.
In its review of the four-disc compilation, The New York Times indicated that the set was "the gold standard for straight-ahead, postwar jazz rhythm". [11] AllMusic, praising the "pristine" sound and "lovely" packaging, suggested that "no Davis fan should be without these recordings purchased separately or as a set."
Jazz fusion bassist Jaco Pastorius was known for his expressive fretless electric bass playing. In the experimental post 1960s eras, which saw the development of free jazz and jazz-rock fusion, some of the influential bassists included Charles Mingus (1922–1979) and free jazz and post-bop bassist Charlie Haden (1937–2014).
Composer (s) Clare Fischer. Producer (s) Albert Marx. " Pensativa " is a bossa nova jazz standard by American pianist/composer/arranger Clare Fischer, first recorded in 1962 by a quintet under the joint leadership of Fischer and saxophonist Bud Shank, and released that year as part of an album entitled Bossa Nova Jazz Samba, comprising music in ...
Michael Moore (bassist) Michael Moore (born May 16, 1945 in Glen Este, Ohio) is an American jazz bassist. Moore started on bass at age fifteen, at Withrow High School in Cincinnati, where he performed in ensembles and the Presentation Orchestra in George G. "Smittie" Smith's Withrow Minstrels. He played with his father in nightclubs in ...
Bertoncini was notable in the world of jazz guitar for using a nylon-string guitar in performances and recordings, as Charlie Byrd had done in the 1950s and 1960s. After hearing a Julian Bream album at the advice of his teacher Chuck Wayne, [4] Bertoncini began studying classical guitar and using the instrument for jazz and Latin music styles.
A New York Times reviewer commented in 2011 that Mitchell "feels close to the consensus language of straight-ahead jazz but wants to get beyond it. He does it with hands moving in independent parts, with polyrhythms, with music that approaches the technical level of études but that churns and whirls and leaves spaces for broad interpretation."