Word: musician
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Dates: during 1970-1979
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...thick, solitary splendor of the movie studio, Monroe Stahr weaves dreams. He watches images flicker by in the screening room, demands improvement. Amendments, modifications, excisions-all flow in the sharp, regular rhythm of a master musician keeping time by snapping his fingers. "The last scene was too gory-cut out one roll of the table," or, "Reshoot the whole scene." His taste is peerless, but it would have to be. The production chief of a major studio like MGM in the early '30s, Stahr holds absolute authority...
...movie is a pop fresco of L.A. set over the course of a recent Christmas time, sweeping across the people who come and go, get stuck, stay. The plot-a nicely engineered collision of characters, all of whom are somehow related-is framed around a wound-up musician named Eric Wood (Richard Baskin) and his flailing efforts to finish a record album. Wood's music bears all the other characters along. Carroll Barber (Keith Carradine), who wrote some of the tunes that Wood records, is an itinerant composer called back to L.A. by his agent (Viveca Lindfors...
...several local FM stations. Gato is up from South America, but he has been away for so long that one wonders whether his style hasn't taken on a totally American approach. But there is a gutsy resonance in his tenor that can't be found in American musicians. One of the first to embrace electricity in jazz, Gato has refined the sound so much that the gizmos don't interfere in his playing. He is a tremendous musician when he finds it in him, but he hasn't shown Bostonians much more than short sets and long breaks...
...undergraduate at Harvard, he won a Boylston Prize for his rendering of a speech by Toussaint L'Ouverture, the Haitian leader of a slave rebellion, and later won the Walt Whitman International Media Competition for selections from The Autobiography of Malcolm X. He often compares himself to a jazz musician, stripping down everything to the soul. "I used to blow a blues harp and beat a tambourine, but now my body is my only instrument," he says. Blue often works barefoot, so that, as he puts it, "my toes can sing...
...Blue Riding Hood," and the autobiographical material, which Copel calls "totally oral." Copel doesn't believe Blue has ever memorized any of his autobiographical work, and Blue himself denies even writing it down. "I never do a work the same way twice. I try to work like a jazz musician, blowing an old song from my soul, but blowing it ever new," he says. Blue sees the vacuum that his demise will create in his field, and has taped many of his presentations. And it is for this reason that he has begun storytelling workshops like the one taught last...