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...preshrunk, forlorn, anonymous, an obsequious undertaker in a tight black suit-except that dark eyes of mourning seem to have been burned into his head with a blowtorch. He is pale, wary, jumpy, an urban night monkey traveling in the jungle of cities from Paris to New York. The combo behind him breaks into a jazz beat, and he punctuates the air around him with staccato jabs of his hand mike. Nervously he whips the mike cord, and it coils and undulates like a black snake. At the end of it, his slight body stiffens in a convulsive spasm...

Author: /time Magazine | Title: Theater: Of Love & Deeper Sorrows | 10/22/1965 | See Source »

...combo (Robert Cavicchio '66, R. Terry Ney '66, Clair Burrill '66, Frank Werner '66, and Dave Conners, a B.U. student) has also cut some records for Decca . . . . which wants the group to change its name for their record album...

Author: NO WRITER ATTRIBUTED | Title: Eyes Pop as Oedipus Rocks | 10/16/1965 | See Source »

SOUL SAUCE (Verve) features the brittle tracery of Cal Tjader's vibes and some Cuban percussion. Tjader plays in Latin dance halls, and his combo maintains a steady, inesthetic drive in pieces like Afro-Blue, Tanya and Joao...

Author: /time Magazine | Title: Television, Records, Cinema, Books: Oct. 15, 1965 | 10/15/1965 | See Source »

With "nothing much to do," the four Manhattan girls (average age: 24) organized a rock 'n' roll combo called the What Four, designed wide-wale corduroy jump suits for themselves to wail in, tailored a couple of rock tunes to order, and then, reading success in a lot of tea leaves, invited a movie photographer to film a documentary of their "inevitable" jumping to fame. The What Four: Lillian Pogan on lead guitar, Elizabeth Burke on drums, China Girard on rhythm guitar, and on bass guitar, Diane Hartford, wife of A. & P. Heir Huntington Hartford, who invited...

Author: /time Magazine | Title: People: Oct. 1, 1965 | 10/1/1965 | See Source »

ANDREW HILL: POINT OF DEPARTURE (Blue Note). This is a highly individualistic combo with a strong visceral sound. The standout is the late saxophonist Eric Dolphy, who easily steals the record from Hill with searingly emotional solos, and stimulates Joe Henderson (tenor sax), Kenny Dorham (trumpet) and Richard Davis (bass). Hill believes in arrangements that give free rein to his musicians' personalities and their ways of extemporizing; on this disk he has achieved a memorable ensemble...

Author: /time Magazine | Title: Television: Sep. 3, 1965 | 9/3/1965 | See Source »

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