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...lots of drinking. He taught me how to drink fantastic amounts. After one night with him, the next day is gone." His constant companion is a pocket-size, wire-haired dachshund named Puks. Rostropovich has taught Puks to leap on the piano bench and bang away at the keyboard with his front paws. Friends observe that what is remarkable is not that Puks can play so well, but that he can play...

Author: /time Magazine | Title: The Magnificent Maestro | 10/24/1977 | See Source »

...block party. The guests included Woody Allen, Al Pacino, Andy Warhol and Designer Calvin Klein. At One Fifth, a Greenwich Village restaurant decorated with fittings from the cruise ship R.M.S. Caronia, a patron quipped: "We've hit an iceberg." Pianist Nat Jones scrounged a candle to light his keyboard and played It Ain't Necessarily So. Unfortunately...

Author: /time Magazine | Title: THE BLACKOUT: NIGHT OF TERROR | 7/25/1977 | See Source »

Died. Hampton Hawes, 48, jazz pianist and composer (All Night Session); of a brain hemorrhage; in Los Angeles. An effervescent, percussive keyboard stylist inspired by the bop artist Bud Powell, Hawes performed with many of the jazz greats, including Charlie Parker, Dexter Gordon and Jimmy Garrison. Although Hawes became addicted to heroin during the 1950s, he kicked the habit and wrote about both his addiction and his music in his autobiography, Raise...

Author: /time Magazine | Title: Milestones, Jun. 6, 1977 | 6/6/1977 | See Source »

...roller of his early Belfast days, nor the melismatic improviser he has been through much of the 1970s. A Period of Transition leans toward streetgritty rhythm and blues, and Morrison is backed up by New Orleans Gumbo Rocker Mac ("Dr. John") Rebennack, who is the album's keyboard player and coproducer. Somewhat weakened by repetitiveness (one bit of business is repeated 38 times), the record has little meat but plenty of motion...

Author: /time Magazine | Title: Music: Tops in Pops | 5/23/1977 | See Source »

...edition of Santana bears no resemblance to the original six-man ensemble that brought us early standards like "Evil Ways" and "Black Magic Woman." The changes have not made a big difference in the group's sound from a strictly technical standpoint, with one notable exception. Some of the keyboard and synthesizer work performed by Tom Coster on Festival completely eclipses any of the solos rapped out by his predecessor on the ivories, Gregg Rolie. The ornate pattern of notes that flow from Coster's moog on "Reach Up" enable him to separate his personal style from Carlos' domineering presence...

Author: By Jose LUIS Contreras, | Title: Oye Como Va Carlos... | 5/20/1977 | See Source »

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