Word: piston
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Dates: during 1960-1969
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Henry Ford brought Negroes from the South to work in his auto factories. City blues begin in Detroit. The heavy beat of electric blues is the beat of the machines that ground the Negro down. It is the sound of the piston, the rhythm of the steel press. And the life of blues is the arpeggio of release, the moment when a few high beautiful notes free themselves from the beat and dance and dream of freedom...
...DOCK OF THE BAY (Volt). The title song, Otis Redding's first million-selling single, was recorded a few weeks before his death in a plane crash last December. One of his catchiest and most reflective songs, it has none of the torrential outbursts and piston rhythms with which he electrified his audiences from Paris to Monterey during his brief reign as the crown prince of soul. But the album has other cuts of more typical pounding blues (I'm Coming Home and Don't Mess with Cupid), as well as some lighthearted badinage with Carla Thomas...
That shot more or less typifies Bing's style. He is not a long-range shooter, lobbing them in from 20 to 25 ft. away. Piston Coach Donnie Butcher says that two or three other Piston players are more accurate shots. What Bing developed at Washington, D.C.'s Spin-garn High School and later at Syracuse, is the whippet-like speed and agility with which he slides past, spins around, or ducks under bigger, clumsier defenders, as he drives in for close-range lay-ups and hooks. He also has fantastic spring. When he uncoils and jumps...
...hundred-seventy-six years separate the Mozart from Piston's Concerto for Clarinet and Orchestra, completed last July. In import, however, the two are not so very far apart. Written in a thoroughly modern idiom, Piston's piece nevertheless has all the brevity, forward drive and essential lyricism of a Mozart horn concerto. Soloist John C. Adams combined a capacity for pyrotechnics with a sensuous pianissimo that must be the envy of all clarinetists...
...insecurity occasionally reared its head during the Piston, it was certainly in full view throughout the Mahler. The orchestra's performance was rife with premature entrances, bad ensemble, sloppy (though assidious) passagework and poor intonation. On the whole, the woodwinds came off better than the strings, though everyone seemed to be working hard. Marilyn Malpass was a model concert-mistress, at all times attentive to the conductor and heroically attempting to bring the rest of the section along with her. Oboist Carl Schlaikjer was shaky in the second movement, but recovered by the sixth and spun out some...