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...successful of the photo works. All the pieces in the series shared the base image of a woman reproduced by a computer, but the details Butterick used to vary the image, rather than the image of the woman itself, became the subject of the works. Details such as the rhythmic boxes which produced the shading around the mouth and cheek of the second and fourth pieces of the series were noteworthy highlights of the wealth of innovations offered by the computer medium. The resulting series was compelling both in the artist's chosen techniques and in the unity...

Author: By Suzanne PETREN Moritz, | Title: Recycled Student Art | 11/30/1990 | See Source »

DVORAK: SYMPHONY NO. 9 (Telarc). Could Andre Previn conduct electricity with both feet in a bucket of water? Probably not. Still a fine jazz pianist, Previn remains a resolutely unimaginative conductor whose performances are habitually marked by a dull rhythmic sense and colorless orchestral playing. Here, the Los Angeles Philharmonic sleepwalks through Dvorak's symphonic masterpiece...

Author: /time Magazine | Title: Critics' Voices: Nov. 26, 1990 | 11/26/1990 | See Source »

...stomping energy and thoroughly hummable music by Stephen Flaherty. As usually happens in myths and allegories, however, the characters do not emerge with great clarity or particularity in Lynn Ahrens' book and lyrics. Some audiences may find political problems with the show's vision of black natives as happy, rhythmic, superstitious and simple. But at its best, this fable is truly fabulous...

Author: /time Magazine | Title: Theater: Back To Giddy Simplicity | 11/12/1990 | See Source »

...with a song that makes her right for the kind of reappraisal this set encourages and amply justifies. Jazz fans should also take note. Rhino has just released a 16-track compilation called Jumpin' at Capitol: The Best of the Nat King Cole Trio, a heavenly slice of rhythmic virtuosity covering the years...

Author: /time Magazine | Title: Critics' Voices: Oct. 22, 1990 | 10/22/1990 | See Source »

Schuller calls Epitaph "a musical summary of one of the great jazz composers of the century, from the sweet and gentle Mingus to the angry Mingus." In style, Epitaph is characteristic of his orchestral compositions: echoes of gospel songs and his acknowledged master, Duke Ellington; abrupt rhythmic shifts; fleeting lyrical passages (often scored for piano or vibes) that unexpectedly explode into dissonant choruses of yawps and growls; high- register solos underscored by ostinato refrains on basses and trombones. Some of the sections allow for considerable improvisation: a full-throttle version of Better Get It in Your Soul -- one of Mingus...

Author: /time Magazine | Title: Music: An Epitaph Comes Back to Life | 9/10/1990 | See Source »

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