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Although the same production staff--Jerry Goldstein and Chris Huston--did both albums, they seem to have gained some measure of experience and have decided to cut the inane gimmicks this time around. The band--Howard Scott, guitar; B.B. Dickerson, bass; Lonnie Jordan, keyboards; Harold Brown, drums; Papa Dee Allen...

Author: By Henry W. Mcgee iii, | Title: The Ravages of War | 2/12/1972 | See Source »

It would be hard to think of a less "American" painter than Bailey, 41, who teaches at Yale, where he had earlier studied under Josef Albers. Modest in scale and completely unrhetorical, his pictures seem European-the work, perhaps, of a less mature Balthus, minus the overtones of perverse eroticism...

Author: /time Magazine | Title: Art: The Realist as Corn God | 1/31/1972 | See Source »

Typical of the tricks played is a passage near the beginning where oboe and double bass are in the usual baroque soprano-to-bass opposition. Suddenly the bass drops away but a listener cannot but help hear the implied harmonies in the highly regular resolution. More lighthearted is the duet...

Author: By Kenneth Hoffman, | Title: Weekend Music | 1/17/1972 | See Source »

Calm Strength. Which still leaves the perhaps irrelevant question: Can he act? Now Eastwood has neatly sidestepped the question by becoming a director. His first effort is the recent Play Misty for Me, in which he also stars as a disk jockey who gets involved with a psychopathic listener (played...

Author: /time Magazine | Title: Show Business: That Self-Sufficient Thing | 12/6/1971 | See Source »

Nicolo Paganini could. According to 19th century writers, Paganini was the greatest violinist who ever lived. His fingers were like steel snakes, his bow arm a saber that sawed through unheard-of technical difficulties. During one performance, swore a Viennese listener, old Lucifer himself appeared beside Paganini, guiding his fingers...

Author: /time Magazine | Title: Music: Lucifericm Legacy | 11/29/1971 | See Source »

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