翻訳と辞書
Words near each other
・ Tomotaka Tasaka
・ Tomotherapy
・ Tomotilus saitoi
・ Tomotley
・ Tomorrow I'll Wake Up and Scald Myself with Tea
・ Tomorrow in the Battle Think on Me
・ Tomorrow Is a Long Time
・ Tomorrow is Alright
・ Tomorrow Is Another Day
・ Tomorrow Is Another Day (1951 film)
・ Tomorrow Is Another Day (album)
・ Tomorrow Is Another Day (TV series)
・ Tomorrow Is Forever
・ Tomorrow Is Here
・ Tomorrow Is My Turn
Tomorrow Is the Question!
・ Tomorrow Is Too Late
・ Tomorrow Is Yesterday
・ Tomorrow It Will Be Better
・ Tomorrow La Scala!
・ Tomorrow Lies in Ambush
・ Tomorrow May Not Be Better
・ Tomorrow Men
・ Tomorrow Midnight
・ Tomorrow Morning
・ Tomorrow Morning (album)
・ Tomorrow My Love
・ Tomorrow Never Comes
・ Tomorrow Never Comes (disambiguation)
・ Tomorrow Never Comes (Ernest Tubb song)


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Tomorrow Is the Question! : ウィキペディア英語版
Tomorrow Is the Question!
__notoc__
''Tomorrow Is the Question!'', subtitled ''The New Music of Ornette Coleman!'', is the second album by American jazz musician Ornette Coleman, originally released in 1959 by the Contemporary label. It is Coleman's last album for the label before he began a highly-successful multi-album series for Atlantic Records in 1959.
As well as regular sideman Don Cherry on trumpet, the album features bassists Percy Heath and Red Mitchell, and drummer Shelly Manne. Unlike Coleman's debut ''Something Else!!!!'', on which he was contractually obliged to feature a pianist, there is no piano on the album.
==Reception==

The album generally received better press than did ''Something Else!!!!''. Allmusic's Thom Jurek notes the interplay of Coleman and Cherry on tunes he described as "knottier and tighter in their arrangement style" than those of the previous album. Ekkehard Jost, in his book ''Free Jazz'', noted that "as early as the 1958/59 recordings for Contemporary, the most pronounced features of Coleman's saxophone playing were set. His bent for improvisations that were largely unrestrained harmonically is evident, even in pieces whose outward make-up is anything but revolutionary." Others have hailed the removal of the piano as a positive move: for Mike Andrews, "a marked conceptual improvement can be immediately recognized" as the lack of harmonic instrument allowed greater freedom for the soloists.〔

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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