But she lets me write all this nonsense on the Internet, so I'm not complaining. This is a Sidney Bechet track -- he's the soprano saxophonist and star But I think the secret driving force behind this cut is the guitarist -- his name is Teddy Bunn. Into the Blue Light January 31, Among these are several examples where it becomes clear that Bechet is one of those frontline players who enjoys being backed, even propelled, by a strong drummer. The other is in c. Subtle Disguise April 19,
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He's pulling it like taffy. He's making that saxophone sing, and it's singing right to me.
sidneg Had he lived on into the days of smooth jazz I feel sure he would have blown it into the outer reaches of popular music and presided over its burial. Also, at this time in the music's history, guitarists weren't really soloists They largely played rhythm, you know, that four-on-the-floor strum-every-beat thing -- and you hear a little of it here But Django played solos, one string at a time, and really fast, like a horn player could I'm not sure if Teddy Bunn, who is not a very famous figure in the scheme of things, really listened much to Django -- they were more or less contemporaries, so it was certainly possible But Bunn has this single-string, melodic thing going on too, playing really interesting backup parts.
Notify sindey of follow-up comments by email. And at least she's willing to learn. In measuresbdchet alternates down-and-dirty growling rips with a pure, bell-like sound in the low register.
But she lets me write all this nonsense on the Internet, so I'm not complaining. Not only did he exercise control over the musicians with whom he performed, he also controlled his instrument, the straight soprano saxophone being summerime amenable than its curved kin.
Sidney Bechet’s “Summertime” | Bret Pimentel, woodwinds
Click to share on Facebook Opens in new window Click to share on Twitter Opens in new window Click to email this to a friend Opens in new window. Accessibility links Skip to main content Keyboard shortcuts for audio player. The recording begins with a four-bar guitar introduction, followed by a sixteen-bar statement of the melody and four sixteen-bar choruses of improvised solo.
Oxford University Press,p. Sorry, your blog cannot share posts by email. It has no limits. Repetition of an idea is another favorite device see measures,and This site uses Akismet to reduce spam.
Sidney Bechet “Summertime” — The Jazzomat Research Project
Sidney Bechet's interpretation, to be precise. Your email address will not be published. He uses a characteristically broad palette of tone colors, ranging from a delicate whisper to a piercing shout. That is a long, long time, but all tracks have aged majestically.
In passing, Bechet plays clarinet on only two tracks: Related articles More from author. New York and Paris, The gradations of pitch give a bluesy effect despite the absence of the flatted fifth.
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He uses drifting eummertime to create a sense of lazy melancholy: Facebook Twitter Flipboard Email. The relaxed-but-never-stagnant tempo gives Bechet space to experiment with divisions of the beat.
Perhaps this approach to the minor key reflects his love for classical music, especially opera, more than his reputation as a jazz player. This is a Sidney Bechet track -- he's the soprano saxophonist and star But I think the secret driving gechet behind this cut is the guitarist -- his name is Teddy Bunn. By clicking ok you agree to the use of cookies. Gershwin's Porgy and Besswhere this is from, premiered in Richard Sudhalter, liner notes to Sidney Bechet: My version is in concert pitch.
I'm in love with him.
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