Word: trumpeteers
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Dates: during 1940-1949
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...able to hear the band yet myself, but I'll guarantee you can't go wrong on Red (He calls me Charlie) . . . Benny Goodman's twelve-inch coupling features a number of things, including Helen Forrest singing The Man I Love, Benny's clarinet, a bit of Cootie's trumpet, the best sax section in the world, and some extremely imaginative orchestration by Eddie Sauter on the reverse, Benny Rides Again. On the latter, Sauter ignores any conventional form and just lets his mood carry him away--with the help of the band (COLUMBIA). . . George Avakian, of Yale and Columbia...
...symphony in title only, the long work is a five-move ment setting of U. S. songs, with two dance-tune interludes. The songs: When Johnny Comes Marching Home; Oh, Bury Me Not on the Lone Prairie; The Dying Cowboy; Oh, Pappy'll Tie My Shoes; De Trumpet Sounds It in My Soul; The Gal I Left Behind...
...little over one hundred years ago Harriet Martineau, a deaf but gifted English spinster, toured the U. S. equipped with reforming zeal, a philosophical and inquisitive mind, and a huge, old-fashioned ear trumpet which she aimed like a blunderbuss at the people she questioned. She discovered that only seven occupations were open to U. S. women: domestic service, keeping boarders, teaching young children, needlework, weaving, typesetting and bookbinding.* In 1840 two U. S. ladies, Lucretia Mott and Elizabeth Cady Stanton, attended a World's Anti-Slavery Conference in London, were first barred because of their sex, then permitted...
...done her usual best by the Bard. Stewart Chancy has designed Italianate landscapes that loom softly behind the players. Paul Bowles, among the up-&-coming young American composers, has written lingering music for Shakespeare's songs, celebrating love and death with flute, oboe, harp, harpsichord, percussion and muted trumpet. The Bard, in his latest Broadway manifestation, has got all the breaks a playwright could wish. The audience's rewards are less solid...
...golden call of a trumpet blazed last week in a rococo Manhattan theatre. On the stage, blonde, hollow-cheeked Dancer Tatiana Riabouchinska, in the blazing gold costume of the cock in Coq d'Or, soared in the grand jete, the ballet's classic leap. On other nights, when the stage was ranked with silk tights and tutus (tarlatan ballet skirts), pretty, plump-cheeked Irina Baronova and dark, lissome Tamara Toumanova took the spotlight for effortless spins, whirls, leaps...