KATEY SAGAL STYLE 2015

Breathe normally. Come up the same way you went down. Rest for seconds on your back, swing up, and REPEAT. The Bow When you have hold of both ankles or feet, try keeping your knees no more than a foot apart. They like to spread, so keep a rein on them. Now, take a deep breath and on the exhale start lifting your chest and head up, while simultaneously kicking up and back with your legs. Keep kicking up higher, using your buttock muscles.

New KATEY SAGAL STYLE 2015

KATEY SAGAL STYLE 2015 picture

KATEY SAGAL STYLE 2015 Photo Gallery



Dizzy Gillespie s old friend, bassist Milt Hinton, used to say, ‘Chords are our love, but rhythm is our business,’ and that might have been Diz’s lifelong motto as well. Whether the group was large or small, the groove headlong swing or sizzling Afro-Cuban, a Gillespie band lifted you out of your seat with sheer musical energy. And the crest of that wave was the leader’s fiery trumpet, which had revolutionised jazz brass in the Forties. The young Gillespie could play higher and faster for longer than anybody before him, and his passionate, coruscating solos define the brave new world of bebop.

Just as radical were his harmonic and rhythmic innovations fusillades of notes tumbling over bar-lines and defying conventional chord structures, opening up complex expressive possibilities.

And this was not mere ‘subversion’, but a well-conceived creative strategy. Despite his madcap reputation, Dizzy Gillespie was one of the prime theoreticians of bop and a tireless teacher, demonstrating, encouraging, inspiring.

Since his fellow professionals knew he was ‘dizzy like a fox’, it’s somewhat paradoxical that the public perceived him mainly as a joker, a hip master of the revels. His sartorial style – goatee, beret, horn-rimmed glasses – was the popular image of bebop attire, as his arch humour, bandstand antics and scat vocals set

the standard for bop behaviour. Yet Gillespies willingness to play the showman was part of the survivors instinct which gave him a long career, while his contemporaries – most notoriously his fellow pioneer Charlie Parker – destroyed themselves, by drugs, booze and excesses of all kinds.

The Ken Burns CD devoted to him offers a valuable survey of his achievement. His early virtuosity is startling in such bop classics as ‘Groovin’ High’, with Charlie Parker. ‘I Can’t Get Started’ enshrines his intense, soaring ballad style, while his famous ‘A Night in Tunisia’ displays his avid fascination with Afro-Cuban rhythms, which the Gillespie big band exuberantly explores in ‘Manteca’. The astonishing ‘The Eternal Triangle’ exhibits Gillespie’s gladiatorial side, as he goes toe to toe with two giants of the tenor saxophone, Sonny Rollins and Sonny Stitt. And finally, ‘Swing Low, Sweet Cadillac’ shows Diz the charmer, in a wry vocal that’s part spiritual, part samba and wholly delightful. Few players have embodied the essence of jazz as completely as John Birks Gillespie. EQ Geoffrey Smith presents Jazz Record Requests’ on Saturdays on Radio 3; to make your request fax 020 7765 4378 or e-mail jazz, record.

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