Word: tenore
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Dates: during 1970-1979
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...more than any native grown dictator--succeed for long if success depends on armed conflict with the populace. And lacking the ability to murder our way to international success, more moderate attempts to buck popular political expressions can only alienate potential friends because of the basic anti-democratic, immoral tenor of such policies...
...next three sides highlight individual performances. Gayle Moran's rendition of "Come Rain or Come Shine" falls flat--she should know enough to stay away from such a gutsy jazz singer's standard. Serenade features Joe Farrell's tenor sax, an undersung quantity if there ever was one. Stanley Clarke performs a lengthy acoustic bass solo that is more a technical coup than a creative improvisation. His sheer enthusiasm makes the cut listenable despite serious intonation problems. Corea begins the show's finale with a 17 minute piano solo. His playing is so damned interesting that he very nearly carries...
...less rhetoric. South Africa to South Carolina, released in 1976, is highly political in content and feverish in rhythm. Secrets manages to strike a balance between these two modes of music. All of their albums include a track about a revolution; in "Third World Revolution," the blend of drums, tenor saxophone and fast-paced lyrics account for the only track reminiscent of the South Africa to South Carolina album. "Better Days Ahead," a mellow reflection of Bridges, also serves to achieve the balance in Secrets...
Teng still speaks, in a shrill tenor, with the thick accent of Szechwan, a province of central China known for its spicy cuisine, gentle climate and soaring, mountainous scenery. Little is known of Teng's early life or, for that matter, of his private life today. He is believed to be the son of a landlord. He was born in 1904 in Hsieh-hsing, a village near China's wartime capital of Chungking. His given name was Kan Tse-kao, which he changed to Teng Hsiao-p'ing (an underground alias that means Little Peace) when he joined the Communist...
Richard Strauss: Salome (Soprano Hildegard Behrens, Mezzo Agnes Baltsa, Tenor Karl-Walter Bohm, Baritone Jose Van Dam, Vienna Philharmonic Orchestra, Herbert von Karajan conductor, Angel; 2 LPs). With Karajan, the orchestral music comes first, even in opera. Here he conducts a vibrant, sensuous performance of Strauss's lurid opera. Behrens as Salome may lack the cruel edge of Birgit Nilsson's performance on London. But Behrens' pure voice contrasts chillingly with Salome's lust, while Van Dam's ringing Jochanaan is a saintly counterpoint in a savage world...