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...spare my brother") to the wryly exaggerated Silver Dagger Song, she displayed occasional flashes of bitter humor ("This is a sort of 'Happy Birthday, Mississippi' song," she said, introducing Hey, Nelly Nelly). More important, she exhibited a fine facility for dramatic phrasing and a rich, bell-clear alto voice stronger than Joan Baez' and in some ways more interesting. Her ecstatic audience was not surprised, for Judy Collins only proved in Newport last week what her legions of album-buying fans have known for some time -that she is a mere maid of constant sorrow no longer...

Author: /time Magazine | Title: Singers: The Maid of Constant Sorrow | 8/7/1964 | See Source »

...resources, that although the country is officially bilingual the federal government operates in Eng lish only, that French Canadians are discriminated against in the civil service, and in a thousand other ways. The disaffection has been growing, until today a considerable number of French Canadians want out of Canada alto gether. Separatist groups are clamoring for secession, to the point where a legislative committee is now studying what this would mean to Quebec. Then there are the extremists, who call themselves the Quebec Liberation Army, and have been planting bombs in mailboxes, dynamiting army installations and looting armories...

Author: /time Magazine | Title: Canada: Rallying Round a Flag | 5/29/1964 | See Source »

...pieces Thelonious played at his Philharmonic Hall debut last winter (TIME cover, Feb. 28). The band arrangements by Composer Hall Overton add more than variety; they provide a new and striking dimension for Monk's high-styled melodies. Monk and his men-particularly Phil Woods on alto sax and Charlie Rouse on tenor-rose to the challenge of the big audience and played to make memories. The recording catches the excitement...

Author: /time Magazine | Title: Television: May 22, 1964 | 5/22/1964 | See Source »

...Palo Alto, Calif...

Author: /time Magazine | Title: Letters: May 1, 1964 | 5/1/1964 | See Source »

...eyes, his hands, his whole body. And in the role of Jim Dunn, the filmmaker who follows the others into the john for a fix, Roscoe Browne conveys insecurity and fear with stilted mannerisms and gauche use of hip slang. The four musicians (Freddie Redd, Piano; Jackie McLean, alto sax; Michael Mattos, bass; Larry Ritchie, drums) play hard-driving, original jazz of the Charlie Parker variety and are believable addicts as well...

Author: By Hendrik Hertzberg, | Title: The Connection | 4/23/1964 | See Source »

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