Word: soundingly
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Dates: during 1950-1959
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...economists would agree with him that the economy's health in 1958 depends on consumer spending. But a recent University of Michigan poll of consumer attitudes across the U.S. indicated that Reuther's proposal for pepping up consumer spending is about as sound as prescribing ice packs for a man with a chill. The poll snowed that 1) well-heeled U.S. consumers are more reluctant to make big purchases than they were a year ago, and 2) the reluctance stems largely from discontent with high prices. Reuther's wage boosts would tend to push prices upward, making...
...mainstay of jazz. But the saxophone has always had its strict classical disciples. Last week one of the best and most influential of them, France's Marcel Mule, made his U.S. debut with the Boston Symphony Orchestra and convincingly demonstrated just how good the serious alto sax can sound...
Saxophonist Mule chose for his debut program the works of two contemporary French composers-Jacques Ibert's Concertino da Camera and Henri Tomasi's Ballade. What the audience heard was an open, evenly controlled sound that could sing with a clean vibrato or a finely trimmed staccato, swell robustly and solidly with no trace of the breathy "air sound." Under Mule's scurrying fingers, the saxophone sometimes took on the quick sheen of strings, or the water-clear inflections of the flute, or the warm quality of the bassoon. Gone were the wah-wahs and wobbles...
Jazzmen scorn most classically trained sax players, but frequently dig Mule. Says the Dave Brubeck Quartet's Paul Desmond, a brilliant alto-sax artist: ''He has the quality of purity. He's made the sax sound good, which no other legit sax player has done." In the 19203, onetime Schoolteacher Mule served in the Garde Républicaine. which has France's finest military band. He studied the few orchestral works for saxophone then at hand, including Richard Strauss's Domestic Symphony, Bizet's L'Arlésienne. After a brief flirtation...
...play in history, it has its piquant side-plenty of local color, a working-class lingo, accents faithfully rendered by an all-Australian cast. As altogether honest work, it treats understandingly of believable people and of an odd patterning of human lives. But neither a fresh background nor a sound theme can give the play sufficient dramatic pressure or verbal leverage; if there are no false notes to the writing, there are no resonances or overtones either...