Word: jarret
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Dates: during 1970-1979
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...traits of the late 19th century romantics from her years of classical training. Her piano style is heavy-handed, unsubtle and flashy. She alternates booming chords organized in the most predictable of charts, with grandiose runs up and down the keyboard which sound like pallid attempts to imitate Keith Jarret's flourishes. The arrangements do nothing to cover for Hubgaucheries. To evoke Arabia, Hubbard gives us Bedouin ritual music, calling up wailing strings. For a picture of Siberian wilderness, we hear martial strains reminiscent of the Dr. Zhivago score, followed by a short bouzouki solo...
...speak for themselves. Jean and Pierre Troisgros most elegantly practice the new cookery at their three-star restaurant in the Rhone Valley. In The Nouvelle Cuisine (Morrow; 254 pages; $12.95), the chers frères range easily from red mullet with beef marrow to that little-known marvel, coupe-jarret, which consists of five different meats (pork, veal, beef, lamb and chicken) cooked in one kettle...
Keith Jarret/Gary Burton Quintet. Keith Jarret and Gary Burton are separate trips in themselves. If the old adage "Two heads are better than one" holds water nowadays, the Keith Jarret/Gary Burton quintet could take you on the trip of your life this Thursday night. Burton, in addition to being one of Jazz's most accomplished vibraphonists, moonlights as an instructor at Berklee. Keith Jarret on the other hand, is a pianist who has rejected electronics completely and plays nothing but normal piano. But this has not cramped his style at all. In fact, his extension of new music past...
James Cagney was spellbinding in White Heat (1949) as Cody Jarret, a maniacal hoodlum slowly losing his mind. When Cagney goes totally mad, blowing himself up with his famous line "Here I am, Ma, top of the world!", we have seen what pushed Cagney to his end. We are totally immersed in the tension Cagney builds up. All of the action has brought us closer to an understanding of his life, inspiring a fascination with the terror of his homicidal insanity...
...doesn't seem to fit in with Dillinger's character, and because Billie takes it so obligingly we are not moved. Billie is a vacuous sex-object. Without literal or figurative dimensions, she is unlike the tough-bitch gun molls of the '30s and '40s. In White Heat, Cody Jarret's wife cheats on him, lies to him, and fears him. She is real. In one scene of Dillinger, Billie goes so far as to slap her man for calling her a whore, but her heart isn't in it. She is completely unbelievable and uninteresting...