Kollokation
Jerry's voice sounds fresh and youthful, his playing inspired and energetic, while Merl really delivers the soul with his organ and singing, and Kahn's bass and Humphrey's drums are steady.
Backed by a snappy trio of double bass, drums and electric guitar, Mr. D'Arrietta is a middling pianist, banging away on a gutted, tuneless upright whose sustain pedal seems stuck.
Ms. Napolitano's bass and Harry Rushakoff's drums drive the songs, while Jim Mankey's guitar provides more atmosphere than muscle: bluesy curlicues, scrims of distortion, suspended sustained notes.
From one balcony bass drums jar the bones, from another a jazz drum set bristles with energy.
Bob Mould's guitar supplies a furious drone and buzz; below it, Greg Norton's bass and Grant Hart's drums are likely to double the tempo.
And its jams were high-speed chases with Bruce's bass and Ginger Baker's drums pursuing Clapton's guitar.
The pulsating, heart-shaking rhythms, a mishmash of bass, steel drums, congas and snares, boomed from rows and rows of speakers anchored to flatbed trucks.
Gail Ann Dorsey's bass and Sterling Campbell's drums could mesh for earthy funk or stately marches.
Spaun and Drum Workshop also offer their own versions of gong bass drums.
The record has the sort of restraint that intimates folk naturalism - the bass, keyboards, drums and guitar purr in the background, almost unnoticeably.
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