Word: flute
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...first half was honkingly bad. Richie Havens' "Freedom (Motherless Child)," a song he improvised onstage because other artists were stuck in traffic, is representative of the problem. Absent the day's biggest commercial acts - the Beatles, the Rolling Stones and Bob Dylan declined to participate - the bill tilted toward flute bands and folkies, and they played to a crowd the size of Reno, Nev., as if they were in a coffeehouse. A lot of the rock bands, meanwhile, were stoned out of their minds. (The Grateful Dead sound foggy, even for them.) At least the Who - so enchanted with...
...concert that would end with an epic performance of Brahms’ first symphony. The piece was marked by a controlled excitement, as the orchestra was focused and almost on edge, clearly aware of the night’s significance. Balance was a particular strength, as the playful, lilting flute and oboe floated easily on the propulsive strings.Next was Dr. Yannatos’ own cello concerto, composed in 2004. The performance—the piece’s first since a catastrophic premiere two years ago—featured internationally renowned soloist Bong...
...zombies didn't seem to be all that insensate to the whims of human emotion and the joys offered by heartfelt art. At the end of their march, the zombies began to dance to the flute-tooting of some musicians in the Square—"in a kinda zombie-esque way," as Bennett described it. Around 1:30, the zombies began to disperse, leaving behind streaks of blood on road signs and the glass panes of a bus stop...
...Stay This Way” drags the whole mess down into plaintive misdirection as Morén sings “I don’t want to grow up / I don’t want to stay young” over a maddeningly meandering synth flute. “Blue Period Picasso” is narrated from, unsurprisingly, the point-of-view of a Blue period Picasso painting. It is as bad as it sounds. Case in point: “But I’m not just being blue… It’s just a part...
...gradually moved away from the spare stylings of albums like “I See A Darkness” (which Johnny Cash liked so much he later recorded his own version with Oldham on backup) toward more polished studio trimmings. But in pulling in all the extra instruments (marimba, flute, tenor saxophone, and accordian, to name a few) it loses something of the stark devastation that gave voice to America’s stranger corners of existence. The album’s title should in the end serve as a warning to Oldham himself—amidst all the banjos...