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After Sun Ra, the program returned to more conventional jazz. Phil Woods' European Rhythm Machine seems to be the frame for his alto virtuosity that he has been looking for. Woods by no means carries the group, as several bass, piano, and drum solos demonstrated. Bassist Eddie Young of Young-Holt Unlimited has a good time on stage, too--so did we. The Bill Evans group by itself is a good jazz combo; it becomes great when Jeremy Steig walks on stage to add his lyrical flute. And the guitar of Kenny Burrell was--as it always has been--very...

Author: By Jerald R. Gerst, | Title: Newport Jaz: I | 7/8/1969 | See Source »

Boos and Bravos. Penderecki scored the opera for an 80-voice chorus and a massive orchestra: 32 woodwind and brass instruments, 42 strings, an organ, harmonium, electric bass guitar and a diverse array of percussion instruments, including timpani and musical saw. Though it produces the now familiar range of Penderecki sound-semi-tones and quarter tones, tone clusters, glissandi and primitive knocking noises-the orchestra plays a secondary role to the chorus, which is constantly busy humming, singing neo-Gregorian chant, screaming, laughing, muttering and yelping...

Author: /time Magazine | Title: Opera: The Devil and Penderecki | 7/4/1969 | See Source »

...converted a pair of old pool cues into drumsticks on a school lathe, bought a snare drum and began practicing. That was a decade ago, when they were 13 and schoolboys in suburban El Cerrito, Calif. With Stu Cook on piano and John's brother Tom on bass guitar, they began as the Blue Velvets, complete with greasy hair, ducktails and matching outfits. Their stuff, as John admits now, was "pure drivel." Then they became The Golliwogs because their manager at the time thought they needed a Beatle-ish name...

Author: /time Magazine | Title: Rock: Lean, Clean and Bluesy | 6/27/1969 | See Source »

...pigeon that was perched on the ledge. Then he looked at his right thumb, the callus which had been formed by more than fifty years of clarinet playing. "See that callus?" he said after a moment. "Slow Drag got calluses like that on all his fingers from playin' the bass...

Author: By Thomas A. Sancton, | Title: 'I Had to Make Music Like That, Too' | 5/21/1969 | See Source »

...Well, I didn't play with him until the 40's. But I started listenin' to Drag when I was only a little bitty fella.' He didn't play no bass, then. He played guitar and sang creole songs. He had a little group of 'bout three or four pieces. Had a fella slappin' a washboard" -- George made a washboard-slapping gesture--"and a fella on violin, and Drag. They would go all around to little picnics, and backyard parties, and wakes and weddin's. Wherever they could find food and liquor." He smiled...

Author: By Thomas A. Sancton, | Title: 'I Had to Make Music Like That, Too' | 5/21/1969 | See Source »

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