Word: basse
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Dates: during 1960-1969
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...exactly ten minutes after seven on Thursday evening, June 12, that Mrs. Lela Bass, 73, stood combing her long gray hair in the backyard of her white frame house in Port Neches, Texas. Casually she turned and saw for the first time an eerie outline etched in the plastic of her backdoor screen: a bearded, long-haired man with a halo, looking east toward a fig tree in the yard. It was, she was certain, Jesus Christ. Neighbors spread the word, and since then, more than 50,000 curious visitors have descended on the Bass home to share her vision...
...Tampering. The tide of visitors keeps a constant daily crowd of 300 to 500 people on hand from dawn until late evening, reducing the Bass's backyard to dust and littering it with Polaroid film waste. Mrs. Bass, though, rejoices that the vision has brought her 78-year-old husband back to churchgoing. She is undisturbed by the variety of reported visions ("Everyone's seeing what they need") and by the relic hunters who tore her fig tree apart for souvenirs and crushed what was left of it. ("Maybe the Lord intended for them to take it home...
...that looks like the picture of Christ we all know. There appears to have been no tampering with the screen." The most likely rational explanation is that the screen acquired the image by the effects of normal weathering and its juxtaposition over an inner screen. But for Mrs. Bass the image is a true "sign from God." She believes now that it explains a mysterious "revelation" she had some 35 years ago, when, one day in prayer, she saw "hundreds of saved people coming toward me." Saved or not, at week's end they were still coming...
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...
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...