Word: longhair
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FOCUS (Stan Getz; Verve). For reasons obscure, jazz musicians these days have a yen to go classical. This latest attempted fusion of longhair and brushcut involves seven pieces for string ensemble by Composer-Arranger Eddie Sauter against which Saxophonist Getz pins his softly twining improvisations. The string pieces are in fact little more than an assortment of film-style clichés, but Getz's solos-soaring, tumbling and melting-are worth the price of the album...
...Harvard graduate, Composer Anderson started out with more classical ambitions, built his reputation as a "Tin Pan longhair" only after a nine-year stretch writing arrangements for the Boston Pops Orchestra. He turns out about three of his capsule compositions each year, numbers such as Blue Tango, Trumpeter's Lullaby, Sand Paper Ballet. (He also wrote the music for one Broadway musical-Goldilocks.) His method of composition is as surprising as his success: "There's nothing like getting a good title," says he, "and working backwards...
...fourth element maker, Albert Ghiorso, 45, has a Berkeley B.S. in electrical engineering, but he got into longhair physics by a back door. Son of a Vallejo, Calif, riveter, he went to work for a local electronics manufacturer and designed a successful commercial Geiger counter. While selling and servicing his product, he came in contact with the Radiation Lab, was fascinated, and got a job there. Working with top scientists, Ghiorso listened hard, and in the informal classroom he absorbed a higher education in higher physics. "I grew up with atomic energy," he says lightly...
...university is the brain center of the state. It houses the Minneapolis Symphony, the Twin Cities' main longhair radio station, a theater, a natural history museum. From the university's labs have come hardier hogs, wheat and strawberries. By developing a way to extract iron ore from low-grade taconite. the university helped save northern Minnesota's depleted Mesabi Range...
...suddenly found myself playing the piano and conducting the orchestra, and I loved it." For the next year she studied under Vladimir Brailowsky, then made the rounds of the summer tent musicals, absorbing both the inevitable gags ("Gee," cracked one cigar-puffing cellist, "you're the first longhair I ever enjoyed working for") and the experience. In three years she handled 20 scores, from Me and Juliet to The King...