Word: jazzed
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Dates: during 1950-1959
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...They're union made."). He likes classical music the hi-fi way, seeks out exotic jazz dives when he gets a chance, lunches periodically at Pittsburgh's tony Duquesne Club. Three years ago he was honored by the biggest names of Pittsburgh on Dave McDonald Day. At home he works for the local Community Chest, the Rosalia Foundling & Maternity Hospital, Pittsburgh Symphony Orchestra and the Parents' Athletic Council of Mount Lebanon. He is a member of the Government's Export-Import Bank advisory committee, and was a member of the Randall Commission, which surveyed foreign economic...
When the younger jazzmen did away with Dixieland and big-band swing and dove into the cool depths of bop and progressive jazz, they also left behind the sweet, lucid sound of the clarinet. Once known as an ill woodwind that nobody blows good, this relatively new instrument suddenly struck the U.S. mass ear in the 1920s in the hands of Ted Lewis, who made it wail, and reached peak popularity in the pre-World War II days of Benny Goodman and Artie Shaw, who made it swing. It is still a must in every Dixieland and New Orleans jazz...
Artie Shaw agrees. "The clarinet is a clear, positive instrument. Cool music has a tendency toward fuzziness. It depends on hints or suggestions rather than definite, clear-cut statements. Most so-called cool jazz seems to have evolved from music played in low ranges−trombones, tenor and baritone saxophones." Clarinetist Shaw is currently living in Spain, building himself a huge stone mansion on the Costa Brava, and talking about retiring to live...
Today, he practices his usual three hours daily on his concert music, then turns to jazz at night. Thus concert halls have not lost a son, but jazz halls have gained one. "At first I was afraid for my career," he says. "But this became inevitable, so I let it happen...
...From Beacon Hill to Nob Hill, modern architecture has squalled and tottered through its awkward, unruly, early years, but it has begun-if only begun-to mature. In Paris, architectural students eagerly follow the new work of younger U.S. architects with all the fervor that Left Bank jazz addicts reserve for Dizzy Gillespie and Satchmo Armstrong. Said a young French architect: "When we have a chance to see what your architects are doing, we have a picture of what the future can become. We have something to believe...