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...Lavinia, Zimmett grows more like them in her thirst for revenge--which she manages to convey without uttering a word. Interestingly, even in the beginning, Zimmett makes it clear that Lavinia isn't quite the paragon of innocence and virtue we might expect: there's an amusing non-verbal interplay between her and Tamora, in which she leaves no doubts as to her opinion of the barbarian prisoner...

Author: By Lynn Y. Lee, CRIMSON STAFF WRITER | Title: Eerie 'Titus' Ushers in Halloween at Adams | 10/31/1997 | See Source »

...performance of performance. The Stones, ever the embodiment of good ol' pure, simple rock and roll, were the perpetrators of one of the most extravagant spectacles imaginable. They surfed through the concert on the crest of this dynamic--the simple versus the extravagant, the simple made extravagant, an interplay which in retrospect was the ideal way to showcase one of music's most long-beloved and constant phenomena...

Author: By Jonathan B. Dinerstein, CONTRIBUTING WRITER | Title: Rolling Stones: Still No Moss | 10/24/1997 | See Source »

There are three extended, bluesy instrumental jams on the album: "Tax Free," "Midnight" and "Pali Gap." All have merit--after all, anytime Hendrix digs into his guitar, sparks are bound to fly. "Pali Gap," with the flowing interplay between its two guitar parts, is the most remarkable and brilliant performance on this album, with inspired soloing and beautiful textures from beginning to end. "Pali Gap" belongs in the company of Hendrix's greatest recordings ever and is probably the most lamented omission from First Rays (the compilers of that album believed Hendrix did not intend to include the song...

Author: By Abraham J. Wu, CONTRIBUTING WRITER | Title: Curious Mix of Mauve Haze | 10/17/1997 | See Source »

...series. With Chick Corea on a very plugged-in piano and Dave Holland on electric bass, the sound of the music is transformed and moves into a startling mixture of jazz and funk. The synergy between the musicians in this small ensemble format is remarkable, and the interplay is at times breathtaking. The sound is a mixture of classic jazz approaches and louder, contemporary rock music techniques. Taking the overall feel, as well as many of the tracks, from Bitches Brew, Fillmore East and Fillmore West are original and thoroughly excellent jazz albums, but only hint at where Miles...

Author: By Josiah J. Madigan, CONTRIBUTING WRITER | Title: Kind of Blue And Very Live | 10/10/1997 | See Source »

Some may observe that these recordings represent a somewhat unrefined phase in Coltrane's career. In some instances the extended instrumentation seems a little distracting and unnecessary, and the interplay between Coltrane and Eric Dolphy is not always smooth. Not everyone may be able to bear with Coltrane on his very lengthy solos, and with the exception of Dolphy, the rest of the group is rarely given a chance to shine...

Author: By Abraham J. Wu, CONTRIBUTING WRITER | Title: The Jazz Fortune Coltrane Left Behind | 10/3/1997 | See Source »

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