Word: basse
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Dates: during 1960-1969
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...studio was next door to a garage in a New Mexico town called Clovis. For instruments, there was a $50 mail-order guitar and a battered bass with one string missing. The performers were two students from nearby West Texas State College, backed by the sister of one and her girl friend. Yet Party Doll and I'm Stickin' with You, the songs recorded that day by Buddy Knox, Jimmy Bowen and the "Rhythm Orchids," both caught on across the nation and became two of the top rockabilly hits...
...keyboard section: a cutbook of figure bass on the piano rack. Miss Vosgerchian points to a twomeasure sequence. "Identify the situation," she tells a student. Her eyes narrow. A tentative smile. She stares into his face to coax the answer out. "Identify," she repeats. "In two words tell what is happening. Isn't it a five-one situation?" The student nods. "Oh it's painful, isn't it," she croons...
...WALTER AND THE NEW YORK PHILHARMONIC (Odyssey); RAFAEL KUBELIK AND THE BAVARIAN RADIO SYMPHONY (Deutsche Grammophon); DAVID OISTRAKH AND THE MOSCOW PHILHARMONIC (Angel/Melodiya). This seraphic, fairy-tale score is the best introduction to Mahler. Bruno Walter's 23-year-old classic recording is rechanneled for stereo, with less bass than the original mono, but more polish in the middles and highs. Those who want a modern recording will like Kubelik's lithe and luminous version. The interpretation by Violinist-turned-Conductor Oistrakh is, unfortunately, unsympathetic and at times eccentric...
...music and jazz." The Swingle Singers, an eight-member Paris-based group led by American Ward Swingle, popularized Bach scores by performing them to the accompaniment of a jazz rhythm section, singing the themes in wordless scat syllables (ba ba da ba dee). As for jazz itself, its linear bass line, contrapuntal melodies and free improvisation all suggest parallels to Bach-parallels that have been explored notably by such performers as the Modern Jazz Quartet, Dave Brubeck and Lalo Schifrin...
...surpassing beauty and power of the Finale swept all these profanations before them. The orchestra coalesced with fine string playing for the most part, especially in the opening violincello recitative which comes just before the main theme dispels Beethoven's irresolution. The solo quartet, however, was unconscionably bad. The bass, Mr. Mac Morgan, was totally inadequate to his tasks, displaying no vestige of tone and only a certain diaphrammatic eloquence. Paul Huddleston, the tenor, was the best of the four soloists, but was unremittingly routine. The two women, soprano Chloe Owen and contralto Mary Davenport, sang like superannuated Valkyries, spoiling...