Word: hornings
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When it comes to his fellow players, Goodman tends to respect those with the most difficult jobs, starting with his own. "A timpanist is the only one who is always alone." He concedes that the horn is even more difficult than the timpani. "I have never known a French-horn player who was a bad person. He may drink, yes, but he is never bad." Violinists, on the other hand, are "pinheaded, often buffoons and clowns"; cellists are "fanatic about their instruments"; oboists are "arrogant...
...included some ambiguous string playing and a weak transition back to the fast material. The Ravel Pavane, however, was well played in a manner that was impressionistically hazy without degenerating into slush, despite some over-subdivided retenus on the part of Moshell. Cyrus Stewart's delicate phrasing of the horn solo was especially praiseworthy...
...tough, because you're responsible for pushing the lead guitarist to whatever heights he's trying to achieve, as well as keeping the music on an even keel by keeping the time and most of the beat, and most importantly, filling out the sound as though there was a horn section. Ask Keith Richards, he's the best around. But his energy and his unbounded onstage joy carry Poco, and seep into Timothy's bass playing. George's drumming, and Paul's guitar work, resulting in five people chanelling their creative energies into the joy of making music for people...
...clear that what he was actually fronting was a very good soul band, nearly of the caliber of the Motown house band. But in the last six or eight months, he has disbanded it, in favor of the six man band he originally started in 1965. (I found his horn section, nearly intact, backing Stevie Wonder at the Rolling Stones Concerts.) In 1965, Paul Butterfield formed the first, and maybe the best, integrated Chicago-style blues band. He had Mike Bloomfield and Elvin Bishop on guitars, Sam Lay on drums, Jerome Arnold on bass, and Mark Naftalin on keyboards. Magnificent...
Mozart: Eine Kleine Nachtmusik, Sinfonia Concertante for Violin and Viola, K. 364, Symphony No. 32 (Academy of St. Martin-in-the-Fields, Neville Marriner conductor; Argo, $5.95). Whether accompanying French-horn players (see above) or reinterpreting the Baroque repertory (the Bach orchestral Suites, the Handel Concerti Grossi, Op. 6), Neville Marriner is one of the best and busiest maestros on the London recording scene. His Mozart, an artful shading of sinew, sensuousness and sonority, is as good as anything he does. Indeed, Nachtmusik is the freshest, rosiest reading of that serenade to come along in years...