Word: keyboard
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...musicals for MGM, finally quit over the limitations of the job. Jackson, now 42, was slowed up on the club circuit because, says a friend, using Hollywood's favorite word, he had "too much musical integrity." He was also inclined, when cocktail conversation annoyed him, to slam the keyboard and announce: "I can't insult that lovely tune." For a time he wavered between jazz and a classical career, but eventually made up his mind that he would rather "classicize jazz than jazzicize the classics." With him, it hardly makes any difference...
...being "bilingual," e.g., mixing cool jazz with rigorously difficult modernist works by Roger Sessions, Darius Milhaud, Eaton himself. Whatever it plays, the ensemble likes to force its instruments to their outer limits. When at tacking modernist music, Eaton, for instance, favors dissonant jumps from one end of the keyboard to the other, violently plucks at the piano's innards to get a harp effect. Smith has developed a technique of aiming his clarinet directly at the piano strings to create weird and ghostly harmonics. A virtuoso on his instrument. Smith also likes to push his clarinet above...
...bilhetinhos to government offices around the nation. Once, very early in the game, he Telexed a Cabinet minister's office: "The President has been waiting for you since 7 a.m. I would like to know when you plan to arrive." Answered the minister's man at the keyboard: "Colleague, the minister will arrive when he arrives." Brazil's chief executive tapped back: "This colleague here is the President. Tell the minister I want him immediately. J. Quadros...
...when midnight rings down the curtain. Local libertarians are currently engaged in a full-scale attack on the Blue Laws, but in the meantime, just drink fast. The plush scenes are the Merry-Go Round Room in the Sheraton Plaza Hotel, the Ritz Bar in the Ritz Carlton, the Keyboard Lounge in the Somerset Hotel, and the Eliot Lounge in the Eliot Hotel...
Joining the ensemble, U.S. Pianist David Tudor clomped the keyboard for Transición II while a colleague plucked the strings of the open-topped grand piano, occasionally walloping them with a variety of drumsticks. Offstage, Argentine Composer Mauricio Kagel tape-recorded snatches of the performance, played them back while Tudor and friend banged on. After more such pyrotechnics, Schoenberg's Pierrot Lunaire sounded almost romantic. At concert's end Keleman waited nervously for the commissar's reaction. Schoenberg, said Vucinic, was merely a "hybrid"-a musical petit bourgeois. "I prefer the outright revolutionary techniques," Keleman sighed...