Word: glissandi
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Dates: during 1970-1979
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...Jarreau: Glow (Reprise). Jarreau is primarily a jazz singer with a scatman's vast repertory of swoops, glides and vocal glissandi. In concerts he adds his own million-dollar magic trick: he carries a band in his larynx - or so it seems when Jarreau fills in the melody with vocal imitations of instruments. He can even accompany himself, crooning the words of a sleepy ballad while making rhythmic clicks deep in his throat to provide a percussive counterpoint. Jarreau's vocal antics on this LP are confined to a guitar (Fire and Rain), flute (Glow) and bass (Hold...
...sequential but melodic. Composer Dlugozewski, who studied with Varese, employs a variety of mutes and experimental techniques without sacrificing emotional content. Composer Hellerman, a Columbia University faculty member, utilizes tape to heighten musical tension and not merely as a sound effect. In his performance, Schwarz gives us swooping glissandi, a simultaneous playing and singing technique, and he stretches the trumpet range to an incredible 4/2 octaves-a feat that is in itself worth the price of the record...
...fashioned bravura style and a staggering technique to put it across, he is a one-man tidal wave of sound. His hands can hammer out octaves with machine-gun speed and force. He can pounce on flawless trills from a three-foot distance. He can zip off glissandi in octaves and double notes that would tear the fingernails of many pianists. Occasionally, when he decides to program a piece that demands it, he can even play sweetly and with charm...
...double bass are in the usual baroque soprano-to-bass opposition. Suddenly the bass drops away but a listener cannot but help hear the implied harmonies in the highly regular resolution. More lighthearted is the duet between trombone and double bass just before the final trio. The two glissandi in the trombone theme are terribly funny and the audience appreciated it. In general, the orchestral playing was of consistently high calibre, belying the technical difficulties of Pulcinella...
...that might have come from the throat of a 40-ton canary to the rumble of a stupendous Model T with a cracked muffler. As background the tapes carried the sound of ocean waves, which Hovhaness skillfully blended with cymbals and gongs. The whales were accompanied by whooping brass glissandi, glockenspiels, tam-tam and bass drum. When it was all over, the audience applauded enthusiastically, though it remained unclear whether their applause had been for Composer Hovhaness or the whales themselves. Backstage, the whale voices had already been nicknamed "Beverly," "Birgit" and "Cesare...