Word: duetting
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Dates: during 1950-1959
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...enough to justify the term experimental. But the group at Adams was definitely experimenting. For one thing M.C. Tom Wilson constantly changed the makeup of the group. He shuttled in three different pianists and two drummers-on the conventional drum set-and used his three saxophones solo, duet, and trio. It was a changing group, and since many of the men had never played together before, they had no choice but to experiment. Sonny Watson occasionally laid aside his alto saxophone and took up the flute. It was barely audible at times, but his few solos proved that the instrument...
...tradition of the acknowledged masterpieces to be familiar and enjoyable ground for the G. & S. lover. In most of their operettas, for instance, there is one piece which hearkens back effectively to the music of England's "Golden Age" of Purcell and Byrd. In Ida, the lovely duet-minuet sung by Melissa and Lady Blanche becomes, not so much from the quality of the singing as from the grace and obvious enjoyment of the singers, one of the high spots of the performance. It should be noted, however, that G. & S. did not achieve here that perfect union of talents...
...melodies may sing a little too much like Verdi's without Verdi's dramatic thrust; its flow may be as slippery as Wagner's without Wagner's soaring sense of continuity. But it has a ravishing choral addio (Act I), a roof-raising farewell duet, and cannily applause-getting arias for all of its principal singers...
...Radio that was noteworthy for the fact that he was without a sponsor for his first time on the air. In Philadelphia, Manager Murray Arnold of radio station WPEN was traitorously watching TV when he heard Singer Gordon MacRae suggest to Soprano Dorothy Kirsten that they do a duet as they used to in the old days of radio. "You remember radio," MacRae gratuitously reminded Kirsten. Outraged, Manager Arnold banned the playing of any MacRae records on his radio station...
...hooch. The scene of The Boy Friend is a British-flavored bit of the Riviera, the romance is between two frightfully rich young things (Julie Andrews and John Hewer) who represent themselves to each other as awfully poor. "I could be happy with you," they duet, "if you could be happy with me." Between whiles, girls wearing frocks with waistlines near their shins mince about squealing genteel idiocies ; everybody makes remarks of a piercing obviousness; couples tango and Charleston and go in for every form of jazz-age contortions...