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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...

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

The only things he hung up to dry in those days were his saxophone mouthpieces, which suddenly have acquired a new dimension. With our 25th reunion coming up, I had hoped for a little battle of the bands. But without Wishnatsky's powerful, pumping solos and his wailing, sensuous rifts...

Author: NO WRITER ATTRIBUTED | Title: Anti-Gay Crusader Was a Sax Fiend | 4/16/1990 | See Source »

Kupferberg deserves credit for his decision to stage The Frog Prince in a narrow outside patio. The sky at dusk provides a fitting backdrop for the action, and the characters incorporate us into the setting by making their enterances from behind the audience. The Herald (Christopher Davidson) also helps in...

Author: By Adam E. Pachter, | Title: Telling Fairy Tales | 4/13/1990 | See Source »

George Gershwin was at the keyboard one more time last week, banging out richly embellished versions of his pop tunes Swanee and Kickin' the Clouds Away. Though Gershwin has been dead for more than a half-century, his distinctive performing style has been preserved on nearly 120 player-piano rolls...

Author: /time Magazine | Title: Music: Play It Again, George | 3/26/1990 | See Source »

Michael's Pub, where the band finally landed a regular gig in 1971, has been the scene of more than a few light moments. When the Mets were in the 1986 World Series, sports-junkie Woody showed up with a tiny transistor television and propped it up on his music...

Author: /time Magazine | Title: Play It Again, Woody Allen | 10/23/1989 | See Source »

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