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...several bass, piano, and drum solos demonstrated. Bassist Eddie Young of Young-Holt Unlimited has a good time on stage, too--so did we. The Bill Evans group by itself is a good jazz combo; it becomes great when Jeremy Steig walks on stage to add his lyrical flute. And the guitar of Kenny Burrell was--as it always has been--very fine...

Author: By Jerald R. Gerst, | Title: Newport Jaz: I | 7/8/1969 | See Source »

...magnet, of course, was Blood, Sweat, and Tears. Everything before them--Steve Marcus, who bombed with "Wild Thing"; Jethro Tull, with Ian Anderson strutting, kicking, and striking a Panlike pose with his flute; and the frenetic sound of Ten Years Yater--was prologue. And from the moment they walked on, you said to yourself that everything that came after would be anticlimax. (In fact, Jeff Beck was worse; a real down...

Author: By Jerald R. Gerst, | Title: Newport Jaz: I | 7/8/1969 | See Source »

...lithe figure moves barefoot through the semidarkness of a candlelit hall, stroking an outlandish array of gongs, cymbals, chimes and timpani. Amid the swelling percussion, a bamboo flute emits a low plaint. Sound ebbs and flows, rising to a crescendo, then dwindling to mystic silence...

Author: /time Magazine | Title: Composers: Symphony of One | 6/27/1969 | See Source »

...shaking a pair of copper baby rattles from Japan. Onstage, he may build a sonorous tremolo of several gongs, mixing in a tinkling of glass chimes or a booming thunderclap of timpani. At times he pauses, changes mood, and elicits long, random notes from a homemade North African-style flute or dramatically raises a six-foot Tibetan temple horn and blows a resounding blast. The concert is over when Tree feels it should end, sometimes after 45 minutes, sometimes after an hour and a half (which most professional critics find a bit too long). Tree simply walks away. His audience...

Author: /time Magazine | Title: Composers: Symphony of One | 6/27/1969 | See Source »

Twelve hours a day for nearly two months, three groups of albino rats at a Texas Tech University laboratory were given some musical entertainment. One group of newborn rat pups was exposed to selections from Mozart-The Magic Flute, Symphonies 40 and 41, the Violin Concerto No. 5. A second group audited an equivalent daily dose of Arnold Schoenberg-Pierrot Lunaire, Verkldrte Nacht and Kol Nidre, among other compositions. The third set of rats, appointed as a control, heard nothing but the whirring of a ventilation...

Author: /time Magazine | Title: Animal Psychology: Music Hath Charms . . . | 5/30/1969 | See Source »

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