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April 13, 1978 - Image 6

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Publication:
Michigan Daily, 1978-04-13

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Page 6-Thursday, April 13, 1978-The Michigan Daily
Locals love blues band

Windy city art in town

By LILY PRIGIONIERO
TCWO HALLOWEENS ago, a bass,
Tharp, guitar, and drum player got
their mojo working' and set out some
fine traditional blues for the good-time
lovers in the area.
The Tucker Blues Band, now a six-
man band, can be found in local hang-
outs like Mr. Floods or other bars in
Detroit, Ypsilanti, Tledo, Grosse Point
Part, and Lansing. Among their
traditional blues is a touch of country
(like "Six Days on the-Road") and now,
with, the sax and piano, they've got a
definite be-bop sound to round things
off.'
Ron Tucker, one of the original mem-
bers, Whales on the harp and gives the
band an authentic blues tone. This beer-
bellied red-head has your typical low,
scratchy blues voice that really cap-

tures the tradition. Tucker says he
plays because it's "fun," and that they
all enjoy playing together.
"YEAH, WE PLAY for each other,"
says Terry Hughes, the lead guitarist,
and also one of the first members.
From Detroit, some of Terry's biggest
influences are Food Additives and
Steve Cropper. He jammed once with J.
B. Huttow and the Hawks and like all
the other members, jammed with the
Chicago Blues Band. Terry is in the bnd
not only for the income; he gets a kick
out of playing with the other guys. "It's
not that we exclude the audience, it's
just that we really enjoy playing
together."-
together." And what a difference that
makes! They can get the whole bar
stompin' feet, clicking fingers and
pounding tables. You almost feel like

grabbing a stick away from the drum-
mer and pounding a few beats yourself.
Chucky Perraut, le suave tenor and
alto sax player, has now been with the
TBB about nine months. He adds the
jazz notes in the group, and runs the
scales like a pro. Perrault met Cannon-
ball Adderly at the Ann Arbor Blues
and Jazz Festival when he was a kid
and was inspired to go on. He captures
the art of be-hop; when the band plays
"Bessie's Blues", or "A Train", the art
of improvisation takes over his style as
he blasts those brass notes between
piano intervals. Chuck also plays in the
Washtenaw Community College Jazz
Band and is planning on marching
down toNew Orleans to share his talent
T. J. Johnsmiller, the bass player, is
the newest member of the TBB. After
three months of playing with them, he
says he likes playing the blues the best.
"It's better than those top forty bands.
Blues is what I was first schooled in. I
don't feel like I'm coppin' everyone
else's licks. It's a more natural way of
playin' "'. T.J., a former U-M student,
plans on touring Europe this summer
with Perrault and Don Savoie, the piano
player. No doubt that they'll be en-
thusiastically received. American
blues musicians in Europe? They've
got it made!
Savoie, the piano player, is a senior in
music at the University and is looking
forward to graduating. That'll give him
more time to play with the band,
although he's going to be teaching in the
spring. Don is definitely the showman
of the group; his casualness on stage
makes for good rapport with the
audience. When he plays, every part of
him gets into it, including his face. His
piano gives the band a more versatile
sound, whether he's on electric
keyboard or not.
And Savoie's softer voice is a nice
counterpart to Tucker's gruffer blues,
(such as "Small Town Talk" or
"Preacher") although he can ham up
the tuff blues scene when he sings
"Icecream Man". His biggest influen-
ces are Otis Span and Jimmy Smith. He
played with Willie D. Waren and the
Motor City Blues band for about eight
weeks. He's been a part of the WCC
Jazz Band, and every Monday night
gigs with Boogie Woogie Red at the
Blind Pig.
The drummer is the "coolest" in the
group, sweatin' it out behind his drums
and keepin' the band hoppin' and tight.
Fred Cooler, another original member,
has been on the drums for twelve years
and playing blues for six. His concen-
tration on his rhythm is very strong,
and he definitely gives the band class
and character. "I'd like the band to be
my career," says the "Shuffle King"
nonchalantly.
The Tucker Blues Band will be ap-
pearing for free at the annual Street
Party between South and West Quads
Tuesday, April 18.

By KAREN BORNSTEIN
P ARIS, FLORENCE and New York City are not the
only areas that can claim to be vital artistic centers.
Believe it or not, an art center in the Midwest actually
exists which is teeming with life while remaining in-
dependent of traditional rules and norms. That place is
Chicago, and from it have sprung artists who have
created a remarkable array of works as diverse as the
city itself is. Through April 23, the excitement and energy
of Chicago art can be viewed at the Michigan Museum of
Art, in an exhibit entitled "Chicago: The City and Its Ar-
tists, 1945-1978".
The exhibit includes such a wide range of the visual art
in Chicago that there's something to please everyone. Not
only are there works in the traditional fields of painting
and sculpture, but innovative creations in technological
media, photography and public murals exist as well.
The first floor of the exhibit contains creations of more
unusual media. Large, open areas are a necessity for
these works to be set up correctly and fully appreciated in
their ability to create a self-contained world of their own.
MOST OF THESE works are dated in the late seventies.
One includes a floor sculpture consisting of blackboard,
soapstone, chalk and SX-70 prints arranged in rows of ab-
stract subject renditions. Another work exploring a new
medium is entitled Polyphemus. This unique creation
captures the active play of light on paint, walls and wood.
It is comprised of wooden beams, red and white light, and
a painted wall which weave together with time to create
one calm sensation.
A large, majestic macrame sculpture of thick red yarn
can't be missed. Piles of its loose lush yarn flow sen-
suously to the floor, falling in the richest of curls. These
beg to be touched, yet at the same time are far too power-
ful in color, defying anyone from becoming too intimate
with them.
But the greatest treat of all comes when you enter the
second floor of the exhibition and become immediately
overwhelmed by vivid paintings and unusual sculptures

which pull you in all directions.
ONE WALL IS a mural depicting the Asian-American
experienc. Rectangular and spherical sections display
different emotional or historicaltexperiences, with figures
and colors which are bright and screaming with life.
Single paintings are incredibly diverse and composed of
anywhere from the thickest to most delicate of pallettes.
Subject matter ranges from individual personalities as in
Ellen Lawyon's Maude, to those of a more abstract
tradition. In these, colors may be strong, taking turns
dominating one another, and shapes imaginatively inter-
twined.
Another abstract painting includes ethereal blue and
lavender shades which melt harmoniously together, ten-
derly crossing through thin borders of black line.
Most beautiful is an iris series by Mary Koga, consisting
of three views of an iris in the softest tones. This series, so
rich in feminity, is like a delicate dance. Each painted
angle of the flower is a fragile yet integral step to the
whole, flowing into one another with precision.
Popping up in every open space, and luring the viewer
to explore their various components, are the free-standing
sculptures. Some are an abstract conglomeration of flat
metal shapes, painted bright candy colors. Other metal
sculptures remain in their natural tones, illuminated by a
piercing red light inserted in its cross-section.
All of these intriguing works reflect the independent and
active spirit of Chicagoans. The photography is no excep-
tion, and includes black and white prints by Aaron Sisking
and Harry Callahan. The crisp images of a highway,
weed, house or church reveal an insight into the
placement of forms'and angles.
But, above all, theygive insight into the active Chicago
art scene, and leave you with a small piece of its energy
and enthusiasm.

Styx s
By TIM YAGL
STYX'S LATEST albur
Illusion is a remark

new success no
E says, you have to be there yourself or
Table album: you won't get the true picture. But the
main theme of "The Grand Illusion" is
the American ideas that more is better
and a person's value is measured by
how many cars he or she has or how big
his or her bank account is. Of course,
lead guitarist Tommy Shaw says that's
not the way it should be. Listen (if you'
haven't already) closely to the lyrics:
Just remember that it's a grand illusion
and deep inside we're al/the same.
A merica spells competition
Join us in our blind ambition .
But somebody soon will/stop to ponder
What on earth's this spell we're under
We made the grade and still we wonder
who the hell we are.
A tune from Shaw, "Foolin' Your-
°" self" concerns a guy with a cynical
view of the world; it recommends he
change his outlook on life. Keyboardist
Dennis DeYoung offers a ,decent syn-
I don't think thesizer solo in the middle and end of
this provocative tune.
with the title "SUPERSTARS" is about what the
ng an arena name implies - what it's like to be a
o begin. As it superstar and what others think of

The Graid Illusi
A&sA S11-463

I 13S ". Fla -SAASS + ABu'S ASS As. MA55s T *
Baby your feet with
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there isn't a bad tune on it
Styx has even done so well
This chartbuster begins
cut, a tune about enteri
where a concert is about t

'illusion'
them: The bass and keyboard are the
dominant instruments here and com-
bine nicely for a pleasant melody. The
only thing that irked me is that the
harmonies sound like little kids singing.
There are two aspects of Styx that
I'm very impressed with: they enun-
ciate the lyrics - unlike many other
rock bands - so that they can be under-
stood, and the lyrics themselves pertain
to things happening today. They're fun
to listen to because they're true.
r
Perhaps the most popular song on the
album comes next. "Come Sail Away'
begins with a pretty piano piece, ther
takes you sailing away with a gooc
strong guitar and beautiful synthesizei
work in the middle. Some of the
crescendoes on "Come Sail Away" are
unbelievable. It's an all around nice
tune.
Now you ask: How could side two be
any better than the dynamite side one?
"Miss America" answers thai
question by giving us more fierce guitar
licks; "America" is probably the har.
dest pure rocker on the LP. It begin
with a keyboard strikingly similar t
Elton John's old hit "Funeral For A
Friend" (at least I 'got the sam
feeling). Then it breaks into the grating
guitar. As you may have guessed, it's
about the pageantry of the annua
goings on at Atlantic City. But note th
lyrics (suggesting it's all a mask):
"Are you really who we think you are?
or does your smile seem to wear you down
Is the girl you once were
screaming to jump out...
In your cage at the human zoo
They all stop to look at you
Next year what will you do
when you have been forgotten?"
It's all topped off by a decent Jame
Young guitar solo in the middle.
The Grand Illusion is a great album
Its songs speak the truth ("Granc
Illusion," "Miss America") and the)
are a pleasure to listen to besides. Stys
is back into the spotlight; where they
belong.

They're built tough to take it, yet
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Durability, casual good looks and tra-
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every pair by the famous Bass
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AVAILABLE FOR MEN and WOMEN
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