Television: Mar. 19, 1965

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A VIEW FROM THE BRIDGE. Apart from Death of a Salesman, this is Arthur Miller's most compelling effort to dramatize the tragedy of a common man. Robert Duvall's gusty portrayal of the doomed longshoreman-hero gives the play tingling impact.

WAR AND PEACE. Ellis Rabb's inventive direction and the authoritative acting of the Phoenix Theater's repertory troupe evoke remarkably well the vast scope, surge and thematic intent of Tolstoy's massive novel within the narrow limits of one stage and a few hours' time.

RECORDS

Jazz GETZ AU GO GO (Verve). Astrud Gilberto (The Girl from Ipanema) is back, recorded live with Stan Getz and his new quartet at Manhattan's Café au Go Go. The lyrics are Astrud's, the lyricism is Stan's. While she intones such Ipanema-like songs as Eu E Voce and Corcovaclo in her curious, emotionless voice, he injects the meaning, blowing smoke spirals around her with his tenor sax.

ARCHIE SHEPP: FOUR FOR TRANE (Impulse). Four pieces by John Coltrane played wildly and tenderly in turn by a far-ranging, out-front sextet led by the promising young tenor saxman, Archie Shepp. One of Shepp's most ardent fans is Negro Playwright LeRoi Jones, who says that Shepp expresses the "weight of black" in his playing. This is best heard in Shepp's own composition, an emotionally shredding piece with the long, explicit title: Rufus (swung, his face at last to the wind, then his neck snapped).

JOHN LEWIS: ESSENCE (Atlantic). Lewis' skipping piano lightly stitches together these six pieces by Gary McFarland, while behind him three different big bands put harmonies through a kaleidoscope or separate briefly into solo voices that dab in contrasting spots of color.

DAVE BRUBECK: JAZZ IMPRESSIONS OF NEW YORK (Columbia). Brubeck has taken to writing postcard jazz, as in his Jazz Impressions of Eurasia and Jazz Impressions of Japan. The New York set has the most authentic sound—crisp, sophisticated and as nervously up-tempo as a taxi meter. Originally composed by Brubeck for a TV show, Mr. Broadway, the themes are pulled apart and reassembled by his able quartet, with Paul Desmond's warm alto sax sharing solo honors with Brubeck's cool keyboard.

ERIC DOLPHY AND BOOKER LITTLE: MEMORIAL ALBUM (Prestige). Little died at 23, in New York in 1961; Dolphy at 36 on tour last summer in Berlin. Both were at the forefront (which is to say, the small end of jazz), but Dolphy especially was beginning to win friends and influence polls. Dolphy plays bass clarinet and alto sax, and Little his trumpet, in these long, dissonant, freeform and sometimes incoherent compositions they favored, painfully alive with piercing runs and relentless drumming.

LOUIS ARMSTRONG: IN THE '30s/IN THE '40s (RCA Victor). Jazz today is so often raw and anguished or polished and gutless that it is a joy to take a holiday into yesterday and hear Satchmo having a ball. Sweet Sue and I've Got the World on a String are two of the early pieces, recorded in 1933 with an eleven-man band. The selections from the '40s run to exuberant blues, with Jack Teagarden joining the band for Before Long and the Jack-Armstrong Blues.

CINEMA