Word: sax
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...audience at San Francisco's Jazz Workshop listened raptly as slim, meek Astrud Gilberto, 24, stood before a microphone and sang The Girl from Ipanema, in a voice so soft and introverted that it barely cut the smoke. Behind her, Stan Getz wove wispy filigrees on his tenor sax to produce the most infectious "new sound" around-the bossa nova nova...
...RUSSELL SEXTET: THE OUTER VIEW (Riverside). These six do surgery on only five songs and have You Are My Sunshine stretched out on the operating table for twelve minutes. The theme, of course, is only a starter for Don Ellis' questing trumpet, Paul Plummer's poetic tenor sax and Composer-Arranger Russell's contemplative piano. They cut the melody into ribbons that swirl together in unlikely harmonies, but there is a cool logic and distant beauty all the same...
...pieces Thelonious played at his Philharmonic Hall debut last winter (TIME cover, Feb. 28). The band arrangements by Composer Hall Overton add more than variety; they provide a new and striking dimension for Monk's high-styled melodies. Monk and his men-particularly Phil Woods on alto sax and Charlie Rouse on tenor-rose to the challenge of the big audience and played to make memories. The recording catches the excitement...
...eyes, his hands, his whole body. And in the role of Jim Dunn, the filmmaker who follows the others into the john for a fix, Roscoe Browne conveys insecurity and fear with stilted mannerisms and gauche use of hip slang. The four musicians (Freddie Redd, Piano; Jackie McLean, alto sax; Michael Mattos, bass; Larry Ritchie, drums) play hard-driving, original jazz of the Charlie Parker variety and are believable addicts as well...
...Saltonstall quintet, playing an agreeable, recognizable brand of jazz, contributed the slickest set of the evening. It's easy to see why Sadao Watanbe, the quintet's altoist, wins all the jazz polls in Japan; few foreigners can handle an alto sax with as much feeling and expertise as he can. He has great emotional range. On Davs of Wine and Roses, his tone was liquid, and smooth as marble; on Miles Davis' So What, he spat and screamed in a breathtaking solo. Watanbe (who is really good enough to play with anyone) had excellent support: the melodic, unpretentious piano...