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One More for the Road is a studio album by the American blues musician Charles Brown. [1] [2] It was released in 1986 through Blue Side Records, and rereleased in 1989 through Alligator Records. [3] [4] It was regarded as a comeback album for Brown, who had been out of the spotlight for decades. [5] [6]
Joe Pass (born Joseph Anthony Jacobi Passalacqua; January 13, 1929 – May 23, 1994) was an American jazz guitarist. [1] [2] Although Pass collaborated with pianist Oscar Peterson and vocalist Ella Fitzgerald, his status as one of the most notable jazz guitarists of the 20th century is generally attributed to his work on his solo albums, such as Virtuoso.
Some genres use bass guitar solos in most songs, such as jazz bands or jazz fusion groups. Bass solos are also common in certain styles of punk music. In a rock context, bass guitar solos are structured and performed in a similar fashion as rock guitar solos, often with the musical accompaniment from the verse or chorus sections.
"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.
He was again called on in 1977 to provide guitar tablature for three arrangements of Bix Beiderbecke's piano music for the Ry Cooder album Jazz, which Byrd arranged and produced. Although Greene is often regarded as a jazz musician, he played many musical styles.
Buddy Bolden, one of the earliest jazz musicians, played in a band in 1889 that was led by guitarist Charlie Galloway. King Oliver, another important early figure, belonged to a band in 1910 that was led by guitarist Louis Keppard, brother of Freddie Keppard. [3] Although jazz guitar existed during these years, banjo was a more popular instrument.
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Regarding Meditation, Jim Ferguson wrote (in JazzTimes): "In Pass' hands, no tune seemed to elude performance, and he tackled everything--from bebop numbers to waltzes to standards to Latin pieces--with astonishing ease and effectiveness, something that is amply evident throughout this set...highlights include a pensive rubato treatment of "Shadow Waltz," a slowly grooving "Mood Indigo" and a ...