Word: everett
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Dates: during 1970-1979
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...every bit as successful a vote getter in Illinois. In his first campaign in 1964, he outdrew all 235 other candidates for the state legislature, two years later led the Democratic ticket again when he ran for state treasurer. Since his election to the Senate in 1970 to complete Everett Dirksen's term, Stevenson has been one of the Nixon Administration's sharpest critics. Scholarly and hardworking, he called for funds to develop alternative energy sources as far back as 1972, recently directed the unsuccessful Senate effort to retain stand-by controls over wages and prices...
...Harvard contingent, however, didn't go it alone. In keeping with the seven day celebration, handyman Everett recruited two of the finest trombone artists playing today: Phil Wilson, trombone teacher at Boston's Berklee College of Music and Woody Herman band soloist in the sixties, and Carl Fontana, one of the best trombonists in the West, a veteran of the Woody Herman and Stan Kenton bands of the fifties...
...Everett saved his two trump cards for the second act, but he revealed to his attuned audience a series of high card student performers who injected new life into some of the old jazz standards. The two numbers which lingered longest in Sander's hot summer air were, no doubt, Ray Brown's "Is There Anything Still There," and Duke Ellington's stock favorite "Satin Doll." Brown's eloquent tune featured a deep sax solo in the Coleman Hawkins vein by Jim Scales, who unfortunately had to battle a couple of over-zealous trumpeters to be heard. "Satin Doll...
...Chuck Mangione's "Klee Impressions," Everett brought on three additional flutes plus an in-vogue soprano saxophone performance by the versatile Sacks. The mellifluous soloist offset some sluggish French horn work, and left a sweet taste in the listeners' mouths during intermission...
...Everett unveiled his headliners in the second half, an aura of professionalism blanketed the local performers. Fontana, a sprawling red-shirted mass, bellowed out a beautiful, conventional rendition of "Polka Dots and Moonbeams," and then offered a fine interpretation of Bill Howard's "Carl," with an ingenious improvisational tag. The classicist gave way to the more experimental Wilson, who flirted with his own creation "Mother England." Wilson "kibbitzed" with his instrument, contorting the sound until an exasperated Fontana blurted out from the wings, "You can't do that with the trombone...