Word: tubas
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Dates: during 1960-1969
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...down the field toward us. It seemed only logical at the time that they would break ranks right before they reached the goalposts, but one of the two groups obviously needs a lesson in logic. Almost before I realized what had happened, I found myself staring deep into a tuba as its owner relentlessly marched onward. Somewhat dazed, I looked for the other cheerleader, but all I could see was trumpets and clarinets...
Aside from excessive volume, the orchestra handled the complex score amazingly well. Especially delightful was the clarinets' witty opening of the Allegretto, the tuba's blustering fifths in the first trio, and the fine horn ensemble at the end of the first movemnt. The Bach chorale and its successive variations were somewhat less than serene; but the transition to Baroque harmony and sublime peace ("My Jesus comes--farewell world"), from twelve-tone sufferings does demand incredible skill...
First the tympani's unbelievable crescendo at the start of the March to the Scaffold, then the mock-serious strings, followed by all that nonsense for the bassoons. Finally the inevitable tuba, and a great off-beat joke by the percussion utensils. The Dream of a Witches' Sabbath flaunted its own goodies, notably the raucous way the clarinets, flutes, and bassoons treat the witches' dance tune (a perversion of the Beloved's theme). The brasses' evil parody of the dies Irae plainchant seemed to have more downright nastiness to it than ever before...
...appreciated the article on rock 'n' roll because I am the mother of the bass-guitar player with Barry and the Remains. Vernon Miller Jr. is a student of serious music at Boston University, where he is finishing his sophomore year. He is a tuba specialist and is truly a student of good music. However, he is also good at rock 'n' roll. Vernon was only 19 when he came home with his contract from Epic records. His father had to make a very big decision and sign for him. It was pretty difficult. After much...
...other people's work, though he has written several hundred pieces, among the better known being Gate Mouth Blues, Brother Bill and Hear Me Talkin' to Ya. Hackett proves to have a real feeling for the Armstrong style, and his cornet solos, backed by authentic-sounding tuba, saxophone, banjo, trombone, piano and drums, are incisive and bouncy. Pick of the lot: Someday You'll Be Sorry, with Hackett's cornet and Sonny Russo's trombone taking turns playing obbligato to each other...