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...impossible. The artistic integrity of the performance (if any) is saved by Leny Eversong, a Brazilian woman of indeterminate age but unavoidable size (5 ft. 5 in., 284 Ibs.). From somewhere between her strawberry blonde hair and her flashing silver gown, she produces a rich, round voice with a rhythmic finesse reminiscent of Mildred Bailey. All by herself she is worth the price of admission...

Author: /time Magazine | Title: NIGHTCLUBS: Big Week in Vegas | 8/17/1959 | See Source »

...without touching a key ("A pattern," he points out, "can be completed in space"). He rarely repeats himself in a chorus, may go in one brief number-Autumn in New York or The Girl Next Door-through a kaleidoscopic range of moods, most of them merely suggested. by a rhythmic break, a lightly lyric flight in the right hand, a sudden shifting of dynamic gears. Ahmad can build his musical ideas with such subtlety that the listener often has the sensation of not knowing where he is being led until the final note is played...

Author: /time Magazine | Title: Music: Syncopated Silence | 8/10/1959 | See Source »

...sick" elements that have become so exhaustively familiar in his more recent work--the mendacity, the liquor, the sex-starved woman, the stud male, and so on. But the most distinctive characteristics of Williams' writing are his vivid and powerful command of language and his fascinating use of rhythmic speech patterns--sometimes lyric, sometimes syncopated like a primitive drum...

Author: By Harold Scott, | Title: A Streetcar Named Desire | 7/9/1959 | See Source »

...tender approach seemed in order for the slower Hindemith pieces while more majesty could have been suggested in the second movement of the Baroque "Sonata." The disappointment in these passages seemed to be due to an incomplete understanding of the music on Harbison's part. He continued to emphasize rhythmic vigor when the works really required more attention to the fastidious arching of each phrase...

Author: NO WRITER ATTRIBUTED | Title: Bach Society Concert | 5/5/1959 | See Source »

...music. As a concert pianist, he admires the moderns-Copland, Barber. Prokofiev, Hindemith, Bartok-but he has also recorded all the four-hand piano music of Mozart, with his good friend Composer Lukas Foss. His jazz manner is all his own: a fanciful, highly individualistic style, characterized by kaleidoscopic rhythmic shifts, trip-hammered treble runs and a discreetly swinging left hand punctuated by sudden stops and breaks. He heads a combo that performs occasionally in dedicated jazz rooms, and with famed West Coast Drummer Shelly Manne, he has recorded a number of highly imaginative jazz albums for Contemporary records...

Author: /time Magazine | Title: Music: Juggler of the Keyboard | 4/20/1959 | See Source »

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