Word: lalo
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...piece for today is Lalo's Symphonie Espagnole. Galamian nods and sings along, sometimes snapping his fingers to indicate rhythm. His few comments are deceptively simple. "Intonation," he murmurs, or, "That's it, that's it." When something goes wrong, he raises an eyebrow; the music stops cold. Then he picks up his 1680 Nicola Amati violin and, filling the room with a full, rich tone, shows how the passage should sound. "Mark that," he says...
...DISSECTION AND RECONSTRUCTION OF MUSIC FROM THE PAST AS PERFORMED BY THE INMATES OF LALO SCHIFRIN'S DEMENTED ENSEMBLE AS A TRIBUTE TO THE MEMORY OF THE MARQUIS DE SADE (Verve). The title is a tortured joke, but the music is airy and inventive, if a bit dry. It consists of jazz improvisations on classical, Renaissance and medieval styles of music. Several ensembles, one predominantly strings (Beneath a Weeping Willow Shade), one heavy on the horns (Blues for Johann Sebastian), are led by Schifrin, who also plays an ornamental harpsichord...
...rather than playing them--that is enviable. When Davidson was pushed from the opening contemplative mood in "Little Sun" to a driving one by his ever-energetic drummer, he began playing octaves in a hard and fast manner, getting that same orchestral sound out of the piano that made Lalo Schifrin famous when he played piano with Dizzy Gillespie...
...coming to power, he "organized his tonton macoute, meaning bogeymen in Creole, a vicious, plainclothes gestapo that collects taxes and blood money from merchants, tortures and murders suspected anti-Duvalierists. To help the tonton in their grisly business, there is now even a ladies' auxiliary−the fillette lalo, a group of pistol-packing molls who are just as predatory as their male counterparts...
...Just released by RCA Victor is a recording of the Jazz Suite on the Mass Texts by Argentinian Pianist Lalo Schifrin, who has worked with Dizzy Gillespie. Blending cool and bossa nova-like rhythms, Schifrin composed his setting of prayers from the Roman Catholic Mass out of conviction that the vitality of jazz is the best way to modernize the spirit of church worship. High point of the record is Schifrin's eerie, agonized Creed: behind the free-form obbligato of Paul Horn's alto sax, the eight members of a chorus autonomously sing, at their own pace...