They drive the cattle from Oregon to Wyoming in Canyon River – in other words, the wrong way. That, however, is about the only surprise in this pleasant, and pleasantly acted, Western melodrama from Allied Artists. Everything about the film is pleasant, including leading men (and onscreen rivals) George Montgomery and Peter Graves. Marcia Henderson makes a pleasant heroine, Alan Hale Jr. is pleasant as a reformed outlaw, and even villain Walter Sande is on the mild side. The color is by De Luxe (and is, needless to say, pleasant to look at) and the locations are on the grand scale – all of which, sadly, are somewhat lost in the pan-and-scan versions.
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Okay, so after missing with his first solo album, Steve Winwood had hit the jackpot with his second, Arc of a Diver, finally fulfilling his enormous promise. What did he do next?…
A collection of musical gems by great contemporary composers of the minimalist and postminimalist trend. Music of Steve Reich (Vermont Counterpoint, New York Counterpoint - first recording of the saxophone version), Arvo Pärt (Pari Intervallo), Hans Otte (Eins), Ludovico Einaudi (Quattro Passi), Henryk Mikołaj Górecki (For you Ann Lill, Op.58), skilfully interpreted by Andrea Ceccomori and Goffredo Degli Esposti on the flutes, Paul Wehage on the saxophones, Cecilia Chailly on harp and Fabrizio Ottaviucci on piano.
If Steve Reich's Music for 18 Musicians is simply described in terms of its materials and organization – 11 chords followed by 11 pieces built on those chords – then it might seem utterly dry and monotonous. The actual music, though, is far from lackluster. When this recording was released in 1978, the impact on the new music scene was immediate and overwhelming. Anyone who saw potential in minimalism and had hoped for a major breakthrough piece found it here. The beauty of its pulsing added-note harmonies and the sustained power and precision of the performance were the music's salient features; and instead of the sterile, electronic sound usually associated with minimalism, the music's warm resonance was a welcome change. Yet repeated listening brought out a subtle and important shift in Reich's conception: the patterns were no longer static repetitions moving in and out of phase with each other, but were now flexible units that grew organically and changed incrementally over the course of the work.