Word: basses
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Corea continually rearranged the group's charts during the tour, and in spots they bear the stamp of an impressive musical imagination. In the middle of Clarke's "Hello Again," Chick has the bass leap into a swinging stride figure, then covers a couple of choruses in classic cabaret-style piano. The moment is totally unexpected, and it inspires an otherwise weak composition. The big-band funk of "Musicmagic" becomes a vehicle for extended solo exchanges--Corea duels with Clarke's hard rocking bass, Joe Farrell's jazzy reed lines, and workhorse Gerry Brown's polyrhythmic drums...
...performances. Gayle Moran's rendition of "Come Rain or Come Shine" falls flat--she should know enough to stay away from such a gutsy jazz singer's standard. Serenade features Joe Farrell's tenor sax, an undersung quantity if there ever was one. Stanley Clarke performs a lengthy acoustic bass solo that is more a technical coup than a creative improvisation. His sheer enthusiasm makes the cut listenable despite serious intonation problems. Corea begins the show's finale with a 17 minute piano solo. His playing is so damned interesting that he very nearly carries off this whole venture...
...from Belushi ("Baby, you know when you bend over I see every bit of Christmas, and when you bend back I'm looking right into the new year."). On "Soul Man" Cropper delivers the same great riff he's been playing for years, and fellow MG Duck Dunn's bass line is downright thunderous. " 'B' Movie Box Car Blues" and "Flip, Flop & Fly" are fine, though not up to the standards set by the album's other tracks...
...year's conventions . . . In the midst of these more diffident invitations, the golden doors of the ballroom opened with a blatting of trumpets, and a circus parade rolled in. It was composed of the Zenith brokers, dressed as cowpunchers, bareback riders, Japanese jugglers . . . As a clown, beating a bass drum, extraordinarily happy and noisy, was Babbitt...
Beethoven: Missa Solemnis (Soprano Anna Tomova-Sintow, Alto Patricia Payne, Tenor Robert Tear, Bass Robert Lloyd, London Symphony Orchestra and Chorus, Colin Davis conductor, Philips; 2 LPs). Under Davis, Beethoven's great Mass moves majestically from the solemn opening Kyrie to a troubled Agnus Dei, in which timpani and trumpets dramatically evoke man's troubled state, before the Mass ends on a serene note. The performance is both spiritually and musically intense, and the chorus sings like the heavenly hosts...