Word: tenore
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Dates: during 1970-1979
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...Evening of German Song; Works by Brahma, Bach, Mahier, Schubert, and Schumann; Tung Soo Chung, tenor, Jeff Zax, baritone, Peter Ives, bass, John Major, guitar, and the unique Luise Vosgerchian, piano; Mather Dining Hall...
...Tenor saxman Zoot Sims is still cranking out the same old ballads that he recorded about ten years ago. His latest album, Strike Up The Band, with Bobby Hackett, features some pleasant renditions of a couple of Gershwin warhorses, including "Embraceable You." Nothing really innovative there, however. But Sims is paired with Al Cohn over at Sandy's Jazz Revival and there is a good chance that he'll snap out of it, and play some of his own stuff. While you are there try to tell the difference between Sims and the great Lester Young. Through Saturday...
Monkey Business. It's gotten so that I don't like to watch the Marx Brothers M-G-M extravaganzas anymore, with their water-ballets and cupie-doll tenor heroes thrown in among the more or less emasculated brothers. So Monkey Business from the tacky Paramount days comes as blessed relief, reaffirmation and so on. It is wonderful. This is the one where Groucho, Chico and most importantly Harpo all do imitations of Maurice Chevalier singing "Eef a Nightengale Cood Sin Lak You" and where Grouch announces that "love goes out the door when money comes innuendo". The script...
...player was nursing a sprained ankle, but the injury did not stop him from uninhibitedly demonstrating a self-choreographed twist-and-shake step he calls "Soul Train." Nor did the sedate surroundings squelch his urge to sing a few bars from the rock song Philadelphia Freedom in an uncertain tenor or to entertain the club's teenagers with raunchy jokes. James Scott Connors, 22 going on 19, was taking his own kind of time-out from training for this Saturday's televised million-dollar match with the world's No. 2 player, Australian John Newcombe...
...there were moments of great beauty. From the Incarnatus section to the final choruses, the performance gathered power and assurance. The Confiteor section provided outstanding examples of subtle, directional phrasing. The male solos were similarly convincing. Tenor Frank Hoffmeister and Bass David Evitts showed clearly why they are two of the busiest free-lancers around. They both posess a rich and confident tone, accurate intonation and the kind of innate musicality that makes satisfying performances a matter of course...