Word: tenore
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JOHN COLTRANE: EXPRESSION (Impulse!). To some listeners, this record may seem little more than an all-consuming squeal-in. Yet Coltrane fans will treasure it as the last one made by the great tenor saxophonist before his death ten months ago. What Expression offers is the fascination of hearing a man's agonizing struggle to draw some personal, ultimate meaning from recalcitrant music...
BOBBY HUTCHERSON: STICKUP! (Blue Note). West Coast Vibraphonist Hutcherson gets right in the swing with a tasteful crowd of young modernists. Featuring the flexible tenor inventions of Joe Henderson and the thoughtful suspensions of Pianist McCoy Tyner, the quintet favors an ambiance of melodic continuity set to disciplined rhythmics. The finest chapter of their musical book is in Verse, a rubato theme that moves into a flowing waltz tempo. Edging into the avant-garde on 8-4 Beat and Black Circle, the instrumentalists whirl gracefully around some unexpected chords. On the quiet ballad Summer Nights, vibes and piano trace shimmering...
...bright spots. Sensitive playing from violinist Richard Hamm and cellist Steven Gates sparked an otherwise lack-lustre orchestra. Sopranos Jane Devitt and Made-laine Rembock displayed powerful but well-controlled voices, while alto Gail Feinberg sang everything with a pubescent, lower-class tone that was instant comic relief. Tenor Larry Bakst, looking more embarrassed than most in his sparse neo-Athenian garb, nonetheless gave out a pure, well-modulated Russell Oberlin-like sound that was the surprise joy of the evening. The chorus acquitted itself energetically, though its acting and stage deportment matched the sophistication of dollar-a-day extras...
...spirituals that closed the second third of the concert. James Jones, baritone, once again stood out for the sheer professionalism of his performance. There was, however, a certain unaccustomed tightness in his production which did not, in the end, mar the overall effect. Also featured were Allan Haley, tenor, Donald Meaders, baritone. Martin Kessler, baritone, an excellent sextet in Webbe's "Glorious Appollo," and Phil Kelsey doing several prodigious "swoops" in the Poulenc...
...conversation continued in that tenor as I proceeded to question him about Vietnam, about which he knew incredibly little. Finally he sent me back to my testing. I protested that I was still feeling very badly and was sure that I couldn't finish the tests...