Sentence examples for driving piano from inspiring English sources
Robert Gordon, who edited "Lost Delta Found" with Bruce Nemerov, cites the hot, driving piano on Mr. Work's recording of a group of Primitive Baptist women singing a song called "I Am His, He Is Mine" as an example.
The finest element of this – one of the finest tracks in the entire Genesis discography – Duchess told the story of a diva's rise and fall, with Collins' soulful vocal powered by Banks's driving piano chords and some truly colossal drums.
Even if you haven't actively listened to the album, you'll know the songs: Honey, with its driving piano riff and Bessie Jones sample "get my honey come back, sometimes"; Natural Blues, featuring another blues sample ("oh lordy, trouble so hard"), this time from Vera Hall.
He became known for his percussive, driving piano style that concentrated on the lower octaves of the keyboard.
Led by Jones' driving piano, the brassy track includes the line "I finally know who I'm supposed to be," a detail that easily stands out among those looking for artistic admissions in lyric sheets.
The source of concern wasn't so much the quality of the act – moments before, we had been treated to the sight of a middle-aged man dressed as a nun, driving a piano around in circles and pulling a funny face – or the validity of Princess's hypnotism credentials.
In the opening selection, "Wild Pitch," the gnarled textures of Felix Fan's cello solos go up against hard-driving piano and percussion, while the album's title track is a kind of chamber concerto in which Fan makes his plangent case amid a more expansive instrumental context that includes his string-playing colleagues in the Flux Quartet and Blair McMillen's microtonal piano.
In the segment "The Road To Memphis," B. B. King, now one of the world's most famous blues musicians, painfully recalled being booed by a young black audience in Baltimore in what appears to be the late 1950's, when Little Richard was packing them in with his patented scream and hard-driving piano rock 'n' roll.
One has been driving, hectic, no-piano, small-group jazz: a post-Wayne Shorter saxophonist's boxing ring.
"That piano is driving me nuts," she growls and sinks deeper into her sofa where she begins a series of distracting neck rolls.
Mr. O'Farrill's "Corner of Malecón and Bourbon" was an episodic, nonchronological jazz history, pausing for impressions of Charlie Parker, Louis Armstrong and Charles Mingus, and eventually transforming an arpeggiated Scott Joplin ragtime phrase into the faster, more percussive arpeggiation of a Cuban montuno, a piano pattern driving a dance tune — a surprising musical link.
