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...Chinese gong. Saxophone players switched to flutes, clarinets and even recorders; Sauter himself picked up a kazoo and produced sounds very much like bagpipes. Again the slate and another tune: The Doodletown Fifers. Two men played the piccolo, two the baritone saxophone, one the tenor saxophone. Then the three sax players put down their instruments and whistled. By the time they picked them up again, the second piccolo had switched to tenor sax, quickly moved on to flute, then back to piccolo...

Author: /time Magazine | Title: Music: New Sound | 8/17/1953 | See Source »

...Angeles, in a "deliberately arranged mismatch," John Barber, 6 ft. 6 in. center for Los Angeles State College, playing nothing but offense, scored 188 points in a basketball game against Los Angeles' Chapman College. Final score: 208-82. The game, explained State College Coach Sax Elliott, was his answer to Rio Grande's Bevo (116 points) Francis...

Author: /time Magazine | Title: Sport: Scoreboard, Mar. 2, 1953 | 3/2/1953 | See Source »

Villanova's Fred Dwyer, unbeaten against all comers, set a meet record in the mile with a time of 4:08.1. In the 6000, Penn State's Ollie Sax also set a new time...

Author: NO WRITER ATTRIBUTED | Title: Curran Scores Only Crimson Point At IC4A Track Meet on Saturday | 2/24/1953 | See Source »

Mulligan's kind of sound is just about unique in the jazz field: his quartet uses neither piano nor guitar, does its work with trumpet, bass, drums and, of course, Mulligan's hoarse-voiced baritone sax. In comparison with the frantic extremes of bop, his jazz is rich and even orderly, is marked by an almost Bach-like counterpoint. As in Bach, each Mulligan man is busily looking for a pause, a hole in the music which he can fill with an answering phrase. Sometimes the polyphony is reminiscent of tailgate blues, sometimes it comes tumbling with bell...

Author: /time Magazine | Title: Music: Counterpoint Jazz | 2/2/1953 | See Source »

...consists of trying things out with the band by ear-a kind of group composition-his music strongly reflects the styles and strong points of his players at any given time. The Duke has had a phenomenal record for keeping his ' men with him (Harry Carney, the baritone sax, since the Cotton Club opening), but changes were bound to occur. New men have brought new musical styles, and the band has developed accordingly. "We haven't eliminated anything," the Duke says. "We just kept piling more sounds...

Author: /time Magazine | Title: Music: The Duke's Anniversary | 11/3/1952 | See Source »

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