Word: rhythmically
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Five Easy Pieces, Bob Rafelson's previous film, was a good, sharply observed melodrama. The King of Marvin Gardens shows the same restrained, rhythmic editing and unemphatic camera movement, the same scrupulous care for dramatic nuance. Marvin Gardens may not be as successful as Five Easy Pieces; yet in many ways it is more interesting and certainly more daring -the work of a talented director trying to extend himself...
...tape recorder and camera, Jackson grasped what life is like for prisoners like Chinaman, Ten-Four. Bacon and Porkchop, Lightnin' and Cowboy. They told him their story and sang him their songs and he was able to gain an unusual insight into the mechanisms of survival contained in the rhythmic melodies...
...fuzz second, and often third guitar betrays the influences of Moby Grape. Chug All Night" exhibits Eagles best use of guitars. The fuzz guitar was a Grape trademark, and the use of three guitars on the break solidifies the connection. (The use of rhythm guitars for percussive or rhythmic uses, rather than to achieve the effect of horns, is a purely West Coast rock phenomenon. Part of the Grape's appeal was their tendency to fill the sound with guitars.) The album's only real rocker, its strength is in the basic progression...
...three short pieces to be played (without break) in the form of a suite." Moshell's intriguing idea of flanking Ravel's Pavane pour une infanta defunte by two works of Stravinsky (Scherzo a la Russe and Feu d'artifice) worked well. But there was a lack of crisp rhythmic and textural precision in the performance of the Stravinsky pieces (problems which were evident in most of the orchestra's playing); the "Fireworks" in particular included some ambiguous string playing and a weak transition back to the fast material. The Ravel Pavane, however, was well played in a manner that...
...satisfying music-making of the evening. Miss Sobol's lyrical, carefully-shaded conception of the concerto was brought forth with remarkable technical assurance and relaxed poise. Generally, the orchestra did not approach the buoyant subtlety and control of her playing in the first and last movements, again because of rhythmic and textural insensitivity. Moshell's monochromatic manner of conducting is at least partially responsible for such problems: a beat which does little to emphasize legato and staccato, piano and forte, and the relative importance of the various voices, is less than appropriate for a work which, like the Bartok...