Word: trumpets
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Dates: during 1950-1959
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...grand piano, his large head listing heavily to port, his horn rims and high forehead giving him a scholarly appearance. Before him stood four blowers on trumpet, trombone and saxophones, men whose personal styles seemed almost perfectly adapted to the Gulda idiom. During the evening's five half-hour sets they played a round dozen of Gulda's own compositions-pretty, slightly sentimental ditties with such names as Air from Other Planets, Dodo, Scruby, New Shoes-plus his arrangements of other men's tunes. Whatever the music, it had one mark of good jazz: it stimulated...
...jive. On hand were 15 "highlife" bands (specialists in West Coast African jazz, with a, bouncing calypso beat), blatting out a special called All for You, Louis, All for You. No man to dodge a jam session, Louis ducked back into the plane and emerged with his gold-plated trumpet, his lip salve and his sidemen...
...trio for trumpet, flute, and piano by Frederic Rzewski was played by John Gibson, Karen Peterson, and the composer. In the three movements of this intensely dissonant work, Rzewski arrives at some very unusual instrumentations. The piece is difficult to understand after only one hearing, but there is always activity, the music is always going somewhere, even when the direction is unclear. In spirit, if not to the note, the trio is a twelve-tone work, in the style of Schoenberg and his disciples. This performance was not altogether successful. Rzewski was too heavy-handed at times, and John Gibson...
...London, where he made his first success outside the U.S. 23 years ago, Louis ("Satchmo") Armstrong, trim, happy and 55, returned with his New Orleans-style trumpet. Louis had not been back since 1932, mostly because England and the U.S. mutually refused to admit foreign bands (TIME, March 26). This time he was welcomed on an exchange agreement. happily took his All-Stars into cavernous (capacity: 8,000) Empress Hall to play two shows a night for ten nights. The band was seated on a slowly revolving stage in the center of the arena, and for a full hour...
Greenebaum's skill as a conductor was most apparent in Haydn's Trumpet Concerto in E flat. He kept a careful series of balances between orchestral sections, while giving a firm and yet compliant accompaniment to the soloist. Trumpeter Jane Rogers played the difficult concerto with great skill. Beyond merely getting the notes correctly, a task in itself, she displayed a shimmering tone. At forte, her tone was never strident, and she also was able to play marvelously softly. It was a rare example of great musicianship on the trumpet, whose practitioners are usually content to dazzle their audiences with...