Word: basse
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Dates: during 1960-1969
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...composition by Ornette Coleman, who simply plays trumpet on this album. In Altoist McLean's four-part piece Lifeline, though, these vibrations become only the merest echo, as the group slides into the "new gospel" of freedom. Here McLean's quintet (Lamont Johnson on piano; Scott Holt, bass; Billy Higgins, drums) wheels uninhibitedly through the cycle of human experiences, expressing exultation with rollicking riffs, wonder with gentle breathings, anxiety with abrasive scurryings, and finally the pain of death with wrenching, atonal probings...
...intimate, two-century-old court tradition. They chuckled when Italian Clown Sesto Bruscantini scored a solid single in Cimarosa's 18-minute solo opera Il Maestro di Cappella, and then roared out loud as Bruscantini and Carlo Badioli, an even funnier man, rapped out a two-bass hit with the huffa-buffa La Cambiale di Matrimonio, Rossini's first stage work. This week the troupe will pack the show on their backs for a brief tour of the U.S. and Canada, where audiences will no doubt agree that while in North America, it is perfectly acceptable...
...Glee Club's sound, when broken down by sections, is a bit uneven. In particular it lacks a bass section with the rich, grounded sound found, for instance, in Orthodox liturgical choirs. The shallowness of sound and the noticable failure at the "Many Brave Hearts are Asleep in the Deep" bottom of the range are most likely the direct consequences of youth and the luck of the draw, since the club depends on an uncertain pool of transient talent. As for baritones, director Elliot Forbes seems to have struck a rich vein since the section contains at least three...
...Gilbert's rather savage self-portrait, King Gama, are splendidly familiar. The marshal chorus, sometimes seen as a patrol of bobbies, sometimes as a well-buckled line of officers consists of the three sons of King Gama, Neil Fairbairn, William Baker and Ted Rau: wonderful as a trio of bass clarinets. The expected Friends of the Suitor are played with tolerable alacrity by John B. McKean and David Evitts. As for the suitor himself, Hilarion, his name is, nothing more need be said than that Danius Turek is filling an accustomed role with acustomed accomplishment, to render virtue as assonance...
...least of those awed was the young composer's father, Stuart Knussen, 44, the L.S.O.'s principal double-bass player. "I was terrified," said he. "But it was like somebody else was conducting. I couldn't relate the music or the conducting to my little...