Pdge 6-Wednesday, January 25, 1978-The Michigan Daily

McCann thrills Second Chance

By JOHN MORAN
THE GOSPEL TRUTH came-to the
Second Chance Sunday night in the
person of Les McCann. Ann Arbor just
maight never be the same. For two-and-
a-half hours, a captive audience re-
sponded to a truepreacher of good
times in a festive atmosphere that left
them drained, yet shouting for more.
.The Mixed Bag, a local progressive
jazz band, was a solid opening act for
McCann and his band. The full house let
the band know it had been missed
durng its two-year absence from Ann
Arbor, and the band returned the com-
pliment.
McCann's band was amazingly tight.
Drummer Kevin Johnson, bassist
Jimmy Rowser, and guitarists Stuart
Liebig and Nick Kirgo consistently ear-
ned both McCann'sand the audience's
praise with their obviously well-re-
hearsed performance.
Bees keep warm during the winter
by forming a ball-shaped cluster
around the frame of the bottom
section of the hive. They vibrate their
wings to generate heat, periodically
changing positions around this ball.
The queen remains in the center of
the cluster.

But the anchor of the performance
was McCann himself.
THE SHOW BEGAN with a tune that
urges us to "change, go beyond your
range." It showcased fine solo efforts
by lead guitarist Kirgo, a relatively
new member of the band who demon-
strates more stage presence than his
predecessor, and McCann.
McCann, using a Fender Rhodes elec-
tric piano, ARP synthesizers and clav-
inet, ran up and down the Fender
Rhodes throughout the concert, often
turning to the shrill, piercing sound of
the synthesizers and the funky, hopping
clavinet. "The Morning Song," with
it's tip on how to "feel good all day,"
and the finger-pointing, foot-stomping,
"You Little Cheat" were next. Marvin
Gaye's "What's Goin On" was the first
instance of vocal crowd participation as
they sang the chorus with Les's direc-
tion.
"North Carolina," a song that has
evolved from an ambling stroll to a fast
and funky boogie, saw McCann turn his
attention solely to the clavinet, where
he began with a bluesy, gospel influ-
enced solo and ended with the throttle
wide open. In the middle of the tune was
a great bit of improvisational interplay
between Kirgo and McCann; they
seemed to be reading each other's min=
ds.

There seemed to be a few minor prob-
lems with the monitors and the sound of
the synthesizers early in the set as Les
tried to communicate with his sound
man. Also, a few solos by others in the
band were missed by the light man. But
these problems couldn't stop the
momentum that was growing with each
number. The wistful ballad, "Every-
time I See a Butterfly" relaxed the
crowd for a moment, only to come back
with the opening set's closing number,
the classic "Compared to What."
The intermission found Les in a good
mood, obviously pleased at the way
things were going. McCann has under-
gone an evolution of style in the past
decade, changing from the leader of a
trio with acoustic piano, upright bass
and drums to his present high-energy,
electronically-oriented music. He cred-
its the late Errol Garner for giving him
the inspiration to make music his life.
"I heard "Lullabye of Birdland" when I
was in the navy, and that's when I got
serious."
HIS MANY COLLABORATIONS with
other artists have included Lou Rawls,
the Crusaders, Grover Washington and,
most notably, Eddie Harris. Their part-
'nership at the 1969 Montreux Jazz fes-
tival resulted in the near legendary jazz
album, Swiss Movement, on which Les
first recorded "Compared to What."
He says that he gets pleasure out of

playing with his present band because
of the musical growth and stimulation
that comes out of collaborating with
young musicians. To aspiring music-
ians he counsels that one can never
practice too much; He still uses basic
technique exercises on the keyboards.
The second part of the show found the
crowd a bit smaller and a little im-
patient, but their annoyance disappear-
ed once the show was on. "Rid of Me,"
the first number, showcased Kevin
Johnson and Les, with the rest of the
band backing with a variety of percus-
sion instruments. A blues number fol-
lowed with McCann sampling all the
keyboards. At this point almost no one
was sitting down, most were on the
dance floor, clapping and stepping out
to the keyboardist's obvious delight.
Again, "Compared to What" ended
the set, but the crowd wanted more and
so did Les. In what was the high point of
the night, he got the audience to be his
choir and testify to the "Song of Love.''
It was a fitting end to a thoroughly en-,
joyable night.
Let's hope that another two years
doesn't pass until the next Les McCann
"service." If you haven't seen Les Mc-
Cann yet, get your soul warmed and
your booty shakin'; he will be appear-
ing at Baker's Keyboard Lounge in De-
troit thru Saturday the 28th and, as he
told the crowd on Sunday night, "You'll
be more than welcome."

Sexual energy high
atsculpure texhibit
By KAREN BORNSTEIN
S EXUAL ENERGY, to many people, comes too soon and goes too
quickly. However, Judith Greavu has no intention of letting it slip
away. Her "New Forms in Metal, Wood and Clay," capture an intense
feeling of vitality and sexual aggression. Greavu's works are on exhibit
until January 31 at Gallery One, 113S. Fourth Avenue.
Receiving her undergraduate degree from Ball State University,
Greavu completed her MFA at Bowling Green State University in 1967.
She has done both high school and college art teaching, and has
exhibited works in the Toledo Area Artists Exhibitions and The Butler
Museum of Contenporary Art.
Variouswhite ceramic, sculptural forms rest upon tables and hang
from the walls. The clay's texture varies from smooth to slightly pat-
terned and rough in specific areas. It is folded so simply and sensuously
that the forms could be isolated sections of crumbled cloth.
FROM THESE FORMS budding with overlapping layers of thick
clay, emerge long and thin pointed rods of various sizes. They either
stand erect like spokes or needles, or limply wrap around and
throughout the clay forms. Some are snuggled against long red silk
tassles that loop in and out of the clay openings, which closely resemble
human orifices.
The forms as a whole seem to be thriving with life. The sharp
appendages seem to be in motion, like moving antennae, or the roots of
a germinating seed. An extremely base and earthy feeling of growth
and excitement is effectively communicated to the viewer. Sexual
implications are made obvious through the phallic nature of the
emerging clay shoots, as well as the names Greavu chooses for some of
the pieces, such as "Reproductive Form."
The raw power and strength of sexual energy is most accurately
and completely epitomized in "Encounter." Two tall cylindrical,
capped forms vary slightly in size and are placed near one another on a
stand. The energized flow of movement emanates from a snake-like
curvilinear projection, emitted from the large capped top. This lyrical
form touches the smaller phallic-shaped form.
FROM THE TOP of this smaller object emerge five short, straight
and erect rods. They lean toward the other cylinder at an extremely
intense angle, like fingers ready to snatch and squeeze the large form.
As the name suggests, an interaction between the identities of the
objects occurs, evoking a bizarre but definite sense of both warmth and
tension.
Greavu's two most unique works consist of wooden bean-shaped ob-
jects suspended at eye-level from the ceiling by bright red rope. These
curvilinear shapes are approximately two feet long and six inches thick.
The wood is fancifully decorated with crisscrossing strips of brass, and
many tassles of red silk that seem to grow from the bottom of the wood.
There is a very playful and fresh element about these pieces that
forces the viewer to participate in their artistic experience. Getting
close to them and feeling the unpolished softness of the natural walnut
or applewood, you begin to touch the cool silk that trickles through
fingers like water. The combination of elements and textures, although
odd, actually flow together beautifully.
GALLERY DIRECTOR Clare Spitler says, "Greavu thinks of these
works as actual swings. She wanted them hung low enough so people
could sit on them and swing back and forth." Like all of her pieces, they
are active, and their very presence pulsates with excitement.
The viewer is also compelled to participate actively in a work
entitled "Snow White's Heart Box." This consists of a small, delicately
carved wooden box constructed by Greavu. Inside rests a casted bronze
construction of a human heart. In direct contrast to the box, the heart is
heavy in its thick folds and grotesque indentations, and resembles an
oozing glob of living material.
Judith Greavu has uniquely injected all of her works with vital,
sexual energy, an energy that is overflowing, radiates throughout the
gallery and never ceases generating.


*SKIERS, ARTISTS~
end SORANE
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__--
E
1
0
o

Les McCann

__ _ _ _ _ _ _ _

Gary Wright electronically trite

Wrong? Oh, nothing much. They were just
born. It seems odd that they have to pay with a
lifetime of hunger. The statistics are so crushing in
many parts of the world that even the cynics are
moved. And we're getting people to help these
children. Peace Corps Volunteers. Yes, the Peace
Corps. Remember us? We've been quiet for a
while, but in case you've forgotten, we're alive and
well. And waiting for you. If you've got the commit-
rent, we'll give you the skills you need. You've
always said you wanted a meaningful career. Well,
our job specs won't lie to you. The hours are
tough. The pay is lousy. But you'll become a part
of a community and learn a new language, dis-
60 million child
bed without any
I wonder whall
y* . . . .*.

cover a new culture. You'll learn more than you
teach. The impossible may take a little longer,
but it can happen, in small pieces. 2,000 wells
here. 50 schoolrooms there. A couple of hospi-
tals. Go ahead and tell these children that it's not
much. They won't believe you. Not the first time
a well comes in nor the last time. A field of beans
can be more rewarding than you can imagine.
The Peace Corps wants you. We need
thousands of you. Call toll free: 800-424-8580.
Or write the Peace Corps, Box A,
Washington, D.C. 20525.
The Peace Corps
is alive and well. Cor s
ren were sent to
supper last night.
they did wrong?

By ANNE SHARP
W ITH HIS THIRD solo album,
Touch and Gone (BSK 3137), "Dream
Weaver" Gary. Wright and his PR
specialists seem to be working very
hard at stamping the idea of Wright
as mystical savant/lover/space trav-
eller into the minds of record con-
sumers. Surely Wright deserves a
unique place in the collective rock
unconscious after years of work on
his own and with the band Spooky
Tooth. But will his music - plugged
into electronic synthesizer circuits to
fit a public image - survive the
hype?
Touch and Gone's cover art rein-
forces the new Wright persona intro-
duced by his 1975 hit album Dream
Weaver. Across a Martian terrain
float white-gloved hands holding

Polaroid snapshots of Wright, with
permed hair, electric blue eyes and a
pierced ear. A ghostly Wright in 'a
white karate jacket fades while his
last two album jackets drift past a
spaceman's quilted feet. This is rock
star as UFO.
Wright disdains such earthly
things as guitars, instead 'using
synthesizers with Star Trek names -
moogs, Polymoogs, Oberheims and
clavinets. Like any competent astro-
naut, Wright has a flair for applied
science. The electronic keyboards on
his 1976 concert tour were tended by
a physicist.
"TOUCH AND GONE", the al-
bum's title song, is a pleasant mesh-
ing of technology and popular music.
Its perky synthesizers and disco beat
(Wright manages to avoid the eerie

DAILY EARLY BIRO MATINE ES --- Adults $1 .25
MON tru AT 1DISCOUNT IS FOR SHOWS STARTING BEFOREo 1:30 P..
EVENING ADMISSIONS AFTER 5:00, $3.50 ADULTS
Monddy-Saturday 1:30-5:00, Admission $2.50 Adult and Students
Sundays and Holidays 1:30 to Close, $3.50 Adults, $2.50 Students
Sunday-Thursday Evenings Student & Senior Citizen Discounts
Children 12 And Under, Admissions $1.25
TICKET SALES
1. Tickets sold no sooner than 30 minutes
prior to showtime.
2. No tickets sold later than 15 minutes
after showtime.
TIME MAGAZINE 10:40
"ONE OF THE BEST 1:15
PICTURES OF THE YEAR." 4:15
A W a ner Com m un cat rio s Company
i~~IFro Warn~aer80Bros. _9:00
!? A2.45T
R=VEr TM 9:45
1.0:20.N.

quality of most electronic music),
combined with Wright's beautific
voice, make it a top-40 natural.
Motown backup vocals on "Lost In
My Emotions" and "Stay Away"
help to humanize their Artoo Detoo
instrumentals. I want to know: Are
Gary Wright's lyrics aimed at a
human lover or at some personal
deity to whom he feels; comfortable
saying, "Baby ride the night away
with me"? All the songs on this
album, even the ostensibly non-
mystical "Starry Eyes" (about a
naive girl) seem to be about some.
spiritual experience.b"Lost in My
Emotions" could be about a failed
romance or about enlightenment.
Either way, Wright breathlessly tells
us that it was an incredibly positive,
profitable experience..
"Sky Eyes" is about space travel,
technology, and brotherly love.
Wright affectionately relates how he
looks forward to wandering the
galaxies with starship-maker Sky
Eyes,
Sipping nectar from star gardens.
We're explorers on a mission
Hoping to bring back some day
Our contribution with love.
After this gentle, lovely ballad,
Touch and Gone's ubiquitous poly-
moogs become tiresome, and, in
some cases, inappropriate. The sad,
teenage heartbreak lyrics of "I Can't
Get Above Losing You" don't jibe
with space music. The same upbeat
tempos and high-key synthesizers
hustle, bump and robot through the
entire album. One longs for a drum
solo or a long, raunchy guitar riff to
relieve the synthetic monotony.
What started out two years ago as a
pretty novelty has become a trite
gimmick. Let's hope that in the
future Gary Wright will either lay off
the synthesizers entirely or get his
friend Sky Eyes to invent some new
machines.
Robest Altman's 1970
McCabe & Mrs. Miller
Leonard Cohen's Music is set
beautifully and effectively to film
in this updated look at the dying
west. WARREN BEATTY as a
small-time aambler and JULIE

mns