Word: solos
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Dates: during 1960-1969
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...anticipation of Michael Flaksman's cello solo and Bartok's Bluebeard's Castle, one might have been able to ignore the unrelenting repetition of a simple motif in the opening Hebrides Overture (Fingal's Cave), by Mendelssohn. By attempting deafness, one might not have noticed that for a long time the brass were a measure out of step with the rest of the orchestra, and were playing so loudly that they could not hear their own error. Masochistic charity might have led one to expect the cold woodwind instruments to be out of tune at the beginning of a concert...
...absence, Jerrie Mock, 38, flew into her home town of Columbus, Ohio-from the direction opposite the one she left in. In between, she had lost three pounds, flown the Atlantic and Pacific, covered 22,858.8 miles with 21 stops and become the first woman in history to fly solo around the world. Mrs. Mock had moxie. A pilot for only seven years, the petite blonde had logged just 750 solo hours before setting out. Her single-engine Cessna 180, Spirit of Columbus, was eleven years old, and even Lloyd's of London refused to underwrite the trip...
Veteran Edward Schmookler is a properly pompous Sir Joseph Porter. Strong in both voice and acting talent, he gets out the patter-song words clearly enunciated. Renshaw's solo to the moon in the second act is weak, but he amends it with a splendidly mincing portrayal of the "lower-middle class" Captain. Renshaw, Schmookler, and Miss Schechtman share the evening show-stopper, "Never mind the why and wherefore," which could have at least three encores...
...Mike Tschudin sextet followed with three tunes, all originals. Tschudin's group played a lonely, jagged kind of jazz: in ensemble, it sometimes bordered on the disorderly. Its hear number, Half Dozen, featured a wispy, peaceful solo by flutist Ray Taylor. Tschudin, on piano, played a startling mixture of styles: Cecil Taylor, Horace Silver, David Tudor, and his own. His combo is rough around the edges, but his attempt to find his own way makes his music exciting...
...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 of Brian Cooke, Saltonstall's bass, and Billy Elgart's drums. Trumpeter Ken Houk still has problems making himself understood; but he is moving away from a slavish Miles Davis style and starting...