Word: brights
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Dates: during 1960-1969
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...Delicately blended harmonic shades slide and merge in misty orchestrations of Speak and Goodbye to Childhood (with Thad Jones on flügelhorn, Peter Phillips on bass trombone and Jerry Dodgion on alto flute). In Riot, First Trip and Sorcerer, the piano skips along with mellow modal lines and bright blues splashes. Drummer Mickey Roker and Bassist Ron Carter are Hancock's hearty helpers...
...famous for his fiery musical duels with the master. With Jimmy Garrison on bass and Joe Farrell splitting three ways on tenor, soprano sax and flute, Jones here uses his flashy technique to inspire, shape and embroider a harmonically free, three-way dialogue. Reza and Jay-Ree brim with bright looping arches of sound reminiscent of Ornette Coleman. Soloing on Kei-Ko's Birthday March, Elvin gets under way with a humorous drum-corps pattern that soon turns into an exuberant display of staccato licks that would bring a real marching band to its knees...
...them. Within twelve weeks, Laugh-In leaped from 48th to fourth place in the ratings and tripped off with four Emmys as the most successful program of the season. What brought that success was not only the partnership of Schlatter, Friendly, Rowan and Martin, but the group of bright, young, remarkably versatile comics who people the show. Among the regulars...
...Rights. No one denies that Ray is being guarded with extraordinary zeal. Since his extradition from England last July, he has been kept in a third-floor cell in the Memphis courthouse, watched over by two ever-present deputies. Eight bright mercury-vapor lamps burn at all times. Two closed-circuit TV cameras are always trained on the cell. Except when Ray is conferring with his lawyer, a microphone listens in. Only one other murder suspect in the U.S. is currently being held under such strict security provisions. That man is Sirhan Sirhan, who will stand trial in Los Angeles...
...comparison, for a composer who was to the mainstream of Broadway music what Bacharach is to that mainstream now, I'd settle on Harold Arlen. Arlen too had a popular bent, wrote songs consciously and expressly for Negro singers, was by nature incapable of the straight, bright, terribly Broadway, Broadway tunes of which any second-rank Cole Porter creation is the perfect example, and on all these counts had to be regarded as an organism slightly foreign to the theatre (Mr. Arlen will of course forgive the laws of parallelism for driving him into the past tense). No such comparison...