Word: rhythmically
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...Though jazz composers and arrangers have shown that improvisation is not always essential to good jazz, the scores they write are tailored to fit the styles and sounds of individual musicians. There are no standard jazz compositions that every musician is expected to play in the same way; the rhythmic subtleties that jazz requires defy notation by the composer...
...Buenos Aires, made his debut with the Argentine National Symphony in 1957. His technique is brisk and athletic, and he embellishes a graceful, conservative beat with little dance steps. While conducting the first movement of Bartok's Concerto jor Orchestra, he became so involved in the rhythmic current that his left hand began to drift meaninglessly-but the good-natured Symphony of the Air helped him sound ingenious...
...have a vaguely Japanese air about them, but essentially they are down-to-earth American. Silver's percussive, exciting piano is accented by the tight playing of the group and written bridges between solos, a favorite Silver device, give the music unity and discipline. The title tune and the rhythmic Too Much Sake are the best numbers on the record, but all of them are good...
...sound, the Sonatina was closest to the previous musical experience of listeners. The use of recognizable melodic motifs, and occasional rhythmic stability, gave it the clearest coherence of the three works. Even after hearing the Sonatina repeatedly on records, it is impossible to say whether the performance was good or bad; one lacks a stylistic frame of reference. Only Charles Wuorinen, piano, Harvey Sollberger, flute, and Pierre Boulez can tell...
...alto flute (Harvey Sollberger), viola (Jacob Glick), guitar (Stanley Silverman), vibraphone (Paul Price), xylophone (Raymond Desroches), and percussion (Max Neuhaus). The texture of the sound is always clear, sometimes shimmering, sometimes punctiform, and always changing. With the flexibility of tempi and timbre goes an obvious fixity of notes and rhythmic patterns; certain intervals and rhythmic groupings recur constantly. And with all this planning, with all this studied freedom, the work still justifies a non-rational evaluation: it is dramatic, and worth hearing...