Word: saxophonist
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Dates: during 1980-1989
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...section of jazz reviews that ends the book enables Larkin to thresh out his quarrel fully with modernism. He writes warmly about his youthful passion for the likes of Armstrong, Beiderbecke and Ellington, but charges that Bebop Saxophonist Charlie Parker destroyed it all with music that gave "the effect of drinking a quinine martini and having an enema simultaneously." Parker thus joins Pound and Picasso in Larkin's unholy trinity of decadent experimenters, and jazz's evolution becomes a capsule version of the "degeneration into private and subsidized absurdity" that he believes is overtaking all the arts. What...
...York City is not quite as dangerous as Johnny Carson makes it out to be in his monologues. On the other hand, things are not as beamish in the Big Apple as Director Paul Mazursky would have them seem in this all too agreeable fable about a Soviet circus saxophonist who suddenly decides to defect from his touring troupe when his previously apolitical mind is blown by the capitalist splendors of Bloomingdale...
...more than 300 concerts in 1983 alone. Aside from the AEC, he travelled with Roots to the Source, a band made up of his ex-wife Fontella Bass, her gospel singing mother Martha, and brother David Peaston, along with drummer Philip Wilson (an old pal), and Chicago based saxophonist Ari Brown. Bowie also formed the new Brass Fantasy group from the core of the New York Hot Trumpet Repertory Company, and he plans to record with them at the end of this summer...
...four films over the next five years, with total control unless he goes over budget. He will also star in three more pictures for an additional paycheck in the uptown neighborhood of $ 15 million. His first project, The Charlie Parker Story, based on the life of the great jazz saxophonist, is due to start shooting in October. It will be followed by Double Whoopee, reuniting Pryor with Funnyman Gene Wilder. The poolroom "stroker from Peoria," as he used to call himself, is finally in a perfect position to run the table...
Rockwell seems truly to empathize with the underdog and the outsider, especially in his discussions of Palmeri and the seminal Black jazz-funk alto saxophonist Ornette Coleman. Throughout the book, he stresses the importance of alienation in the creation and development of art and the plight of those who go unappreciated by their public. But he is severe on composers and artists who bend to the will of their audience and waters down his praise for popular musicians such as Keith Jarrett or Philip Glass...