Word: pianists
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Dates: during 1960-1969
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...denudation of America's Sunday-go-to-meeting image was carried out with wit and a once admired prose style. Harold Ross of The New Yorker said that he was "the most enlightened man writing today." That praise now seems a shade inconsequential-as if a potentially great pianist had squandered his digital gifts as a pinball virtuoso. In truth, Mencken worked hard at his prose but had the autodidact's fatal fondness for the fancy word. As for the flowers of wit culled by Carl Bode, a professor of English at the University of Maryland, they have...
...dropouts, and Saroyan qualifies as the first articulate hippie. They are deliberate outcasts in search of saintly goodness, and their symbol, Kitty Duval (Susan Tyrrell), the stock prostitute with the heart of gold, has a luminous inner purity. When cops enter the bar and beat the black jazz pianist bloody, the scene has a truncheon-like impact that was totally lacking in 1939, when such events seemed isolated from any social context with which the audience was familiar. In those days, Saroyan was known as the "crazy man" of the theater. Now it seems more...
...concert stage conducted an orchestra," Artur Rubinstein had confided to the concertmaster. "I have dreamed of it since I was a little boy. You will think me a fool, but would the orchestra permit me to conduct a rehearsal?" The orchestra was only too happy, and the great pianist, 80, was delighted. "I learned a tremendous lesson today," he said when he had finished. "I now realize how much is involved...
...found at home in the Village Vanguard on Monday nights. All the joy, humor and vigor of these home-stand evenings are preserved on this second live recording. Fluegelist Jones does most of the arrangements and conducts the crew, which includes Baritonist Pepper Adams, Soprano Saxophonist Jerome Richardson, Pianist Roland Hanna and Bassist Richard Davis. They give Mornin' Reverend a tongue-in-cheek but toe-to-floor gospel treatment and swagger to glory on St. Louis Blues...
McCOY TYNER, TIME FOR TYNER (Blue Note). The former Coltrane pianist here plays in a quartet that includes Vibist Bobby Hutcherson. Tyner's composition African Village is a free fall into the heart of rhythms that pound and shift as McCoy and Bobby superimpose eddying patterns. May Street moves along with jaunty strut, shadowed, however, by a tension of eerie chords. As for standard tunes, Tyner does a pensive I Didn't Know What Time It Was and then zooms off in The Surrey with the Fringe...