Word: trumpets
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Dates: during 1950-1959
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...another sour note can be struck immediately without ruining the rest of the piece, the introduction provided by Ruth Nanda Anshen is a mighty blast, especially for such a small trumpet. In her forward to the series, (Miss or Mrs.?) Anshen manages to embrace the Declaration of Independence, the rights of man, the United Nations' charter, Ruth Benedict, Buddha, and the hobo party platform in a prospectus with little perspective...
...Sarah are hero and heroine of this latest hymn to grandeur and glory by British Historian A. L. Rowse (The Expansion of Elizabethan England; The English Past). When empires decline and the spirit of reckless adventure ebbs, there are always a few men like Rowse to blow the old trumpet furiously and trot out the glorious dead as an example to the pusillanimous living. "History," says Rowse, "is an extension of life into the past: there are lessons to be learned, and people should learn them...
...Manhattan's Basin Street last week, Don Elliott was so versatile that he sometimes seemed like a case of musical split personality. When he played It Might as Well Be Spring, he played the trumpet with a soft, low, fuzzy tone and a stammering swing that was as intimate as if he were whispering into a pretty ear. When he played Moonlight in Vermont, he played the vibraphone with soft-headed sticks, rolling out arpeggios as pretty and cottony as a cumulus cloud. When he played Makin' Whoopee, he played...
...When his father died three years later, Don made up his mind to "sort of carry on what my father had done." At eight he was taking accordion lessons, at 13 he was studying the big baritone horn to play in his high-school band. He picked up the trumpet without help, and the mellophone was no trouble at all after that, since it has the same fingering and a similar embouchure. One day he met a fellow who had two vibraphones and wanted a trumpet; it happened that Don had two trumpets, so that was that. By this time...
Song & Dance. These unscheduled bits were topped with great helpings of pre-fabricated entertainment: trumpet-voiced Ethel Merman belting her show tunes through the rafters, Irving Berlin's trembling version of his own song, Ike for Four More Years, the pear-shaped tones of Nat "King" Cole's pop singing, the high reaches of the Met's Patrice Munsel, the stylized chitchat of Mutual's old-time Cinemactress Constance Bennett ("I don't feel well; I feel frazzled...