Word: jazzing
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Dates: during 1950-1959
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...Symphony No. 2, as performed by the Cleveland Orchestra under George Szell, was a thickly textured, darkly intense work that moved in a riptide of conflicting rhythms and clashing dissonances. It opened with an impassioned theme in the strings and horns, unfolded into a busy, brusque scherzo touched with jazz. The finale built to a rushing climax, then subsided in a resigned, dramatically simple theme played by strings and woodwinds. The audience could summon up only polite applause. But Cleveland's Composer-Critic Herbert Elwell found Rochberg's mastery of the tone row remarkable and his symphonic ideas...
...that the Masters have experimented with their Ford grants--purchasing everything from sherry and seminar rooms to tape recorders and jazz concerts--it is time to count up the wins and losses. An annual allowance of $2500 to each Master leaves little rom for fumbles. Unfortunately, these scarce funds have paid for such capital improvements as House seminar rooms, and in one House such a project consumed half the grant for two successive years. In general, the Ford money should not be invested in brick and mortar...
Valentino & Brando. Harry Belafonte's background is an arresting mixture of black and white ancestry, of Harlem harshness and the West Indian languor, of Broadway jazz caves, Greenwich Village hash houses, efficient modern recording studios. Throughout he has clung to a certain tough quality that can flash out as easily as his boyish smile. Recently TV Director Don Medford tried to define the key to Belafonte's dramatic magnetism: "Behind him is this hard core of hostility. Like Brando, Jimmy Dean, Rod Steiger, he's loaded with it." The quality lends a demon drive to Belafonte...
Jobs in the theater were hard to come by when Harry Belafonte left dramatic school in 1948. He took a job as a messenger and package wrapper in the garment district; nights he used to drop in at a Broadway jazz cellar known as the Royal Roost. He learned a few songs-Star Dust, Blue Moon, Pennies from Heaven-and landed a job. He made some recordings, even composed a quavering ballad titled Lean on Me ("You in your high ivory tower/ Drunk with the sense of your power/ I adore you/ Do I bore you? Come, come...
Keep Moving. Harry Belafonte has been out from under the hammer for a long time, but he pushes on with some of the same fierce drive of the kid in the subway, the hash slinger in the window, the misplaced pop crooner in the jazz dives. His capacity for working over a performance or a recording is legendary. When things are going right, he has been known to record all night, until, as Songwriter Lord Burgess says, "you expect his liver to come up with the next note...