Word: rhythmically
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...folk music. His father was an opera singer who performed in Kiev and St. Petersburg, but his greatest musical influence was his teacher, Nikolay Rimsky-Korsakov. The colorful, fantastic orchestration that Stravinsky brought to his folk song-inspired melodies was clearly derived from Rimsky-Korsakov. But the primitive, offbeat rhythmic drive he added was entirely his own. The result was a music never before heard in a theater or concert hall...
...melodic and rhythmic vistas Armstrong opened up solved the mind-body problem as the world witnessed how the brain and the muscles could work in perfect coordination on the aesthetic spot. Apollo and Dionysus met in the sweating container of a genius from New Orleans whose sensitivity and passion were epic in completely new terms. In his radical reinterpretations, Armstrong bent and twisted popular songs with his horn and his voice until they were shorn of sentimentality and elevated to serious art. He brought the change agent of swing to the world, the most revolutionary rhythm of his century...
...Sinatra people like me used to make fun of. But listen with more knowing ears: when Sinatra sings "You stick around, Jack, it might show" on Something, you get the feeling not that he's hoking it up Vegas-style so much as he's rooting around for rhythmic complexity in a beautiful if simple song; he's a muscle car idling on a leafy suburban...
...Sanchez album, Obsesion, is more of an ensemble piece. As a player, he seems most excited by rhythmic ideas; the tunes are Latin standards from Puerto Rico, Cuba and Brazil, and Sanchez delights in reversing field on them, turning a gentle Antonio Carlos Jobim song, for instance, into a rowdy Caribbean parade. The album really soars when the accompanying 10-piece orchestra forgoes modest backing and muscles its way into the dance along with the congas. It's the kind of witty arranging that could give strings a good name...
...with colored leaves and fins and fans on the end, orbiting eccentrically and never coming back to exactly the same position. They respond to your presence. They are supremely friendly sculpture, even in the distance of abstraction. Their severity of line and form is always tempered by a certain rhythmic sweetness, as in one of the masterpieces of Calder's middle years, The Spider, 1940. Later, as he got famous and "monumental" commissions were pressed on him, he would defeat this quality of his own work by building huge sluggish mobiles--one of which, 76 ft. wide, hangs permanently over...