Word: greatly
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Dates: during 1960-1969
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...will play with George Lewis, and Kid Thomas, and Percy Humphrey." Young foreigners flocked to this Mecca all through the sixties. Some gave up their careers, or postponed them, to spend years at a time soaking up the music and the culture which created it. I had a great advantage in living there. But in the whole city, I was the only young musician--white or black--who was interested in these men and their music, although a thousand Englishmen would have broken their necks to have that chance...
WHAT IS New Orleans jazz, anyway? What made it different? What made it great? Who were these old men? What priestcraft and sorcery had it worked on me and my counterparts overseas...
Ford's label in the great film cosmos is wonderfully ambiguous. The term "classical" is tossed around a lot ("classical" is what you say when you know someone is a great film-maker but can't explain why except in literary terms--Hawks being the prime example of a victim of creeping "classicism"). Strictly speaking there are two classical directors, Griffith and Eisenstein, both of whom continue to exert a major influence over all narrative film-making. In one sense all narrative is "classical" in that cutting dependent on continuity of movement is basic montage (two shots put together...
...filed out of the cemetery I sensed that it was not only George Lewis that we were playing for, but also a tradition, a culture, and a great people. And so, when the drums picked up the tempo out in the street, and the second line shouted and began to dance, and the flame-painted umbrellas appeared, I played my loudest and gayest music
...traps of time and been idealized in the nostalgic mind. On a large scale, however, Ford does not recreate the past through memory, but creates the memories themselves. The Sun Shines Bright and My Darling Clementine (1946) reveal the basic truth of all the films--that of a great artist giving us a tradition and a past that we can assimilate and make...