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...Janis. "In Flagstaff, Arizona, I was in the middle of Rachmaninoff's G-Minor Piano Concerto when all of a sudden a tiny jagged piece of wood jabbed my finger where the B-flat had been a second before. A week later at the University of Maryland, a bass A-flat flew off as I was finishing a Chopin sonata - they glued it back with hot epoxy during the break." Both instruments were brand new, one a Steinway, the other a Baldwin - the two makes whose pianos are used at 99% of all U.S. concerts...

Author: /time Magazine | Title: Music: Concert Not-So-Grands | 9/3/1973 | See Source »

...stage in Edinburgh's 1906 King's Theater. ("Kings came in smaller versions in those days," he quipped.) Stripping away the interpretive layers of two centuries, Ustinov kept his unit set spare, his cast mobile, and his dramatic touches brief but to the point. When Swiss Bass Peter Lagger came to life spookily as the Commendatore in the second-act cemetery scene after using a yoga technique to remain motionless, there were shivers in the audience...

Author: /time Magazine | Title: Music: Stripped-Down Mozart | 9/3/1973 | See Source »

...example, and the Broadway musical Grease. But none have had the vigor and precision of American Graffiti. This superb and singular film catches not only the charm and tribal energy of the teen-age 1950s but also the listlessness and the resignation that underscored it all like an incessant bass line in one of the rock-'n'-roll songs of the period...

Author: /time Magazine | Title: Cinema: Fabulous '50s | 8/20/1973 | See Source »

...just wanted a fighter to cover up his dope racket." The officials called Dixon's last fight a draw, but, he says, "the way I felt afterwards, I didn't really feel like going into the ring again." His boxing career ended, and with a one-string tin-can bass, he began his career as a performer. Later, a big-time gambler bought him his first upright bass, and he started performing at Martin...

Author: By Cynthia Bellamy, | Title: Willie Dixon's Blues Alive in White World | 8/10/1973 | See Source »

...Lion." Morrison communicated in low guttural sounds here he communicates imagery as though by ellipsis repeating "Way out in the distance/Cable cars/And I hear the church bells chime." I suspect this passage is ad libbed, yet it is the vision's essence. The band stretches out over a basic bass riff, everybody taking off at once, three instruments for every phrase, bare unity. Platania and Labes weave phrases, while the vibes hold a mood. The album's finest moment is Morrison's coaxing of the bassman into a riff he verbalizes, once, twice, three times before the bass picks...

Author: By Freddy Boyd, | Title: You May Just Have to Break Out... | 8/7/1973 | See Source »

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