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...have. In my childhood, there were the Big Three, Charlie's, Harry's and Murray's, and only Murray's survives. It is the sort of grand old joint you find in any big city, restaurants with pink drapes and a 70-year-old coat-check girl and a pianist who plays Deep Purple and the waitresses have names like Agnes and Gladys and the menu harks back to the Age of Steak; a place where a fiftyish couple can enjoy a Manhattan and tuck into a chunk of cow and au gratin potato. Murray's serves the Silver Butter...

Author: /time Magazine | Title: THE AGE OF ELEGANCE | 10/13/1997 | See Source »

...nestled between the two Ballades and the muscular Op. 39 Scherzo, was a pearl--though he glided so rapidly through the right-hand runs that it didn't end up sounding all that much like a cradle song. Like the rest of the program, this piece benefited from the pianist's indescribably intense dynamic control...

Author: By Matthew A. Carter, CRIMSON STAFF WRITER | Title: Pollini Delivers Populist Agenda | 10/10/1997 | See Source »

...attitude proved infectious. Several times he paused between songs to banter and joke with the audience, at one point asking the thronging masses to give all their names at once. As soon as the din died down, he responded: "Well, I think I got most of them." Stalwart, silent pianist Mike Garson was introduced as being "134 years...

Author: By Josiah J. Madigan, CONTRIBUTING WRITER | Title: The Man Who Sold (Out) the World | 10/3/1997 | See Source »

...Village Vanguard" falls roughly at the midpoint of Coltrane's career, both chronologically and stylistically. He had just changed recording labels and had only recently settled on a brilliant rhythm section featuring pianist McCoy Tyner and drummer Elvin Jones. Coltrane's style and musical conception never stopped changing throughout his career, and these recordings reflect a serious departure from the structures and techniques of mainstream jazz of the time. Complex, static song structures were inhibiting what Coltrane wanted to do musically and he began looking towards Eastern ethnic music for influence. Coltrane began to experiment with instrumentation to dramatic effect...

Author: By Abraham J. Wu, CONTRIBUTING WRITER | Title: The Jazz Fortune Coltrane Left Behind | 10/3/1997 | See Source »

...next tune, "Chasin' the Trane," is a contrast in several ways: first, it is played in a trio format with just horn, bass and drums. The song's standard 12-bar blues form also contrasts with the exotic eastern style of "India." Without a written melody or a pianist to play chords, "Chasin'" has a uniquely spare sound, and the second version is perhaps the most prominent and audacious of the tracks on the collection. Whether this performance comes off as one of the finest examples of spontaneous musical invention ever or as 15 minutes of earsplitting squeaks, is heavily...

Author: By Abraham J. Wu, CONTRIBUTING WRITER | Title: The Jazz Fortune Coltrane Left Behind | 10/3/1997 | See Source »

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