Word: tempo
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...expansive style, in which they seemed to move as much above the music as with it. Although they lost some of their ease and sparkle in later years, they never sank below a remarkably high level of interpretive excellence. Even on an off night, they played with exactitude of tempo and emotional involvement that few other ensembles could match-the reflection of so many years of living together and apart...
...voice choirs and thick, brass-bottomed orchestras. His original scores were collected over a period of 50 years for the definitive 60-volume Bach-Gesellschaft edition of his works, completed in 1900 (a new, even more complete edition is now under way). But they contained few indications of tempo, dynamics or phrasing, so many publishers continued to issue altered, expanded and "improved" editions. Gounod thought nothing of using the C Major Prelude from The Well-Tempered Clavier as a mere accompaniment to his saccharine melody for Ave Maria...
...group was best on "Tobacco Leaves," a song that Miss Bavan did well. Perfectly-paced musically by Ivers, the song had a near blues-tempo, created by a softly rushing rhythm section and featuring some quivering solos on harp and sax. On "Gentle Jesus," another complex piece that switches from abstract dissonances to a version of swing, Ivers achieved a synthesis of blues and jazz on Paul Butterfield's In My Own Dream model...
...signs of this new rock is its emphasis on intricate rhythmic patterns of voices. The Family Stone manage to carry these off on both fast and slow songs but Chaka was successful mainly on the up-tempo numbers. Gilbert Moses on lead guitar contributes deft Cropper-like touches, and the band generally held together well--particularly on a superb sliding easy version of "My Girl." This new city-soul sound is, of course, heavily influenced by Booker T., and Chaka showed this in its obvious delight and skill at playing "funky instrumentals...
Another problem was his inability to perceive the organic emotional continuity of this great work. He missed the miracle of the Scherzo, in which Beethoven keeps an ostinato theme from becoming mechanical, by adopting a slow tempo. There was hardly a touch of gentleness and sway in the priceless slow movement in which every phrase should be continent and compassionate, where lyricism and drama should perfectly intermingle. Yannatos tolerated reticent playing, displayed an at times staggering lapse of taste in phrasing, and generally enervated the performance by failing to grasp the dramatic ethos of Beethoven's universal consciousness...