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Ozawa showed considerable craft in selecting his programs. The Chinese love the violin, so there were two concertos, the Mozart Fifth in A Major and the Mendelssohn. Concertmaster Joseph Silverstein was the delicate, meticulous soloist in both. The Boston also used two Chinese virtuosos. Liu Dehai played a concerto for...

Author: /time Magazine | Title: Music: On a Wing and a Scissors | 4/2/1979 | See Source »

Ellington at Eight was performed by a company--in the words of one of the group (sadly prophetic!) "We have no stars." This was one of the reasons why the ensemble numbers proved so much more successful, in general, than solos or duets or trios--precisely because of the lack...

Author: By Simon Goldhill, | Title: An Instructive Evening Of Harvard Theater | 3/23/1979 | See Source »

The individual performances on the album are all sound, but Mingus has in his day inspired better solos. The rock-associated Brecker brothers sound good here, but are probably over-represented. As on Three or Four Shades of Blues, maverick Coryell shows considerable understanding of Mingus's music in a...

Author: By Paul Davison, | Title: Welcome Back, Charles | 3/7/1979 | See Source »

Music takes a back seat not only in the packaging of this release but also on the discs themselves. The album cover promises "The Complete Concert," and that is precisely what it delivers. That means minutes--yes, minutes--of applause on these records. Return to Forever was a tenpiece outfit...

Author: By Paul Davison, | Title: Lost In Eternity | 1/15/1979 | See Source »

The songs themselves are fantastic. The first high spot is an absolutely perfect version of Floyd Dixon's "Hey Bartender." Belushi snarls, "Hey bartender, hey man, lookie here/Draw one, draw two, draw three, four glasses of beer," as the horn section, arranged by James Brown alum Tom Malone, blasts away...

Author: By Marc E. Raven, | Title: The Blues for Sure | 1/4/1979 | See Source »

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