Word: musician
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Dates: during 1950-1959
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...funny the way one musician can change the entire sound of a jazz band. Last week, before the official opening of Steve Connelly's Rathskeller, a trumpeter named Shad Collins was playing with the Vic Dickenson-Buster Bailey outfit in the little cellar in back of the Bradford. Little Shad is a former Basie star, but his playing, strangely enough, was straight from the Delta, and the group had the most authentic New Orleans sound heard in Boston for some time...
...McPartland Bix Beiderbecke once said, "He's the greatest white trumpet man in the world." Most of the Bixian refrain has gone from McPartland's horn now, and he has become more of a New York-dixicland musician. But, like Bix and unlike almost all others, he doesn't startle you with his music; he just plays it "awfully pretty" in a quiet...
...piano, with clarinet, drums, bass fiddle and a "pleasant" string quartet behind him ("You can die in a cocktail lounge with a trio"), he showed he could just about play the pants off any pianist in town. He was a hit, all right. Like many another jazz musician, Joe, whose face has gotten harder at 33, finds that good playing is no longer enough for tapping the big money. But he says, "Playing the piano is very important to me. While I'm playing I have less trouble making up my mind whether I'm happy...
When young Andrés Segovia told his instructors at Spain's Granada Musical Institute that he wanted to study the guitar rather than the piano or violin, they sniffed. The guitar was an instrument for gypsies, not for a young man who had ambitions to be a musician. Besides, no one at the conservatory knew enough about the guitar to teach it. Teenager Segovia stubbornly set out to teach himself...
Bela Bartok published only six string quartets, but as far as many a musician is concerned, they gave the intimate and delicate world of chamber music its rudest shock since Beethoven. With his First Quartet, composed in 1908 when he was 27, Bartok stalked into a field of harsh, hybrid harmonies and fierce rhythms that jolted Budapest listeners upright in their seats. In the Second (1917), Third (1927) and Fourth (1928), he cultivated the field; his harmonies became more astringent, the rhythms more incisive, the textures ever tighter. Listeners found much that was either impenetrable or unpalatable, but they also...