notes, Dexter morgan: serial killer

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notes, Dexter morgan: serial killer

notes, Dexter morgan: serial killer

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The rhythm section is pianist Cedar Walton, who had gigged with Gordon the previous November; bassist Buster Williams; and Gordon’s favorite drummer, Billy Higgins.

In other words, he had some Bird in him early, which gave him an edge among a lot of tenor players who were playing like Pres, since Pres didn’t stress those notes, though he used them in the context of his normal playing. If “Body And Soul” implies a waltz feel, “Valse Robin”—Gordon’s dedication to his daughter—is explicitly so. Dexter’s nightmare ice fishing sequence in the opening episode (“Cold Snap”) is an apt metaphor for this doublement, offering the same ghostly passenger (Harry) but in a new package (Debra), disturbing us with the hauntingly familiar structure presented in an unfamiliar manner. Dexter loves going in our secure paddock area and playing on the agility equipment – he is actually really good at it! You don’t want to think of his time in Europe as one when he fell into obscurity, and then comes back and is rediscovered.

A staple of Gordon’s late Seventies repertoire, “Polka Dots and Moonbeams” does not appear in his discography until an October 1969 TV broadcast with the Oscar Peterson Trio. Gordon shares the front line with trumpeter Freddie Hubbard, then under contract to CTI, as he had done on his Blue Note debut, Doin’ Allright, and 1965’s Landslide. A devotee of Lester Young’s records with Count Basie, he’d seen Young play the previous October on Basie’s first California visit. Pianist Freddie Redd—who wrote the score—and McLean had performed in the famous 1959-60 New York stage and film production; in L.

To me, they sounded a little more hip, and I guess they were, because he was much younger than them, and he came onto the scene with a new breath of air, so to speak.In honor of Blue Note Records’ 80th Anniversary, the legendary Jazz label is launching the Tone Poet Audiophile Vinyl Reissue Series. Michael Arnzen holds four Bram Stoker Awards and an International Horror Guild Award for his disturbing (and often funny) fiction, poetry and literary experiments. He was very urbane and appreciated the finer things in life, but he had a common touch with people—he got along with a whole spectrum. During the first nine months of 1944, Gordon refined his skills on jobs with drummer Lee Young (Lester’s older brother), Fletcher Henderson, and Louis Armstrong.

The amount of autotune doesn't quite ruin it for me, but I wish they would've laid off it a bit more, because those mildly robotized vocals really clash against the tender, haunting piano and string parts behind them.The free jazz movement influenced all of us to get a little freer in our playing, to try to get away from such a structured style. Note that the notes have been continuously modified since the lectures have taken place, and do not necessarily accurately reflect what the lecturer said or thought.

The tenorist also offers a soulful reading of “Jodi,” an original ballad that he would revisit in 1965 on the Blue Note album Clubhouse. Lavender infuses a touch of elegance, while bergamot and lemon lend a zesty brightness, reminiscent of sun-drenched citrus groves. He decided to contract with Gordon to reprise the Molde meeting and documented a tenor battle between the master and his acolyte on two classic riff tunes from Gordon’s Savoy years. S. government made good on its notes at one percent of face value, while Massachusetts paid its own notes at par. Propelled by a churchy Stax-Volt backbeat, “What It Was,” penned by Gordon, features another Ammons-centric effort by the leader and a fleet turn by Thad Jones, who manages to interpolate a fragment of “Fascinating Rhythm.Soon after, he went to Lincoln Square Center to see his idol at a welcome-home party for the Billy Eckstine band. Getting arrested only works for adults, if a teen kills, then the cop will show up, but no arresting will happen. Propelled by the unrelenting swing of Larance Marable, the “West Coast Philly Joe Jones,” Gordon, Banks, and trombonist Richard Boone—the latter an Arkansan who later gained notoriety with Count Basie for his authoritative “mumbles” vocalese, and moved in 1970 to Copenhagen and an eventual sinecure in the Danish Radio Orchestra—take concise, pithy solos. Until his death in 1990, he gigged around the world on a regular basis with several top-shelf American quartets, made records with good budgets and adequate rehearsal time, and brilliantly portrayed the shambling, dissipated jazzman Dale Turner in Bertrand Tavernier’s film ́ Round Midnight.

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