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April 16, 1978 - Image 6

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Publication:
Michigan Daily, 1978-04-16

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Page 6-Sunday, April 16, 1978-The Michigan Daily

iazzpl
< By MATTHEW KLETTER
RESSED LIKE a cross between a
jester and a Nigerian story-teller,
ph Jarmin entered the Residential
ege Auditorium Friday night with
Smith and dancer Eve Jorjorian for
evening of drama set to avant-
de jazz. For some, an evening of the
:urd is hard to ingest; if approached
an open mind, however, absurdity
n lead to euphoria.
hetO musicians came on playing
Ies. Jarmin's flute was about four
N high and three inches wide relative
$mith's African hand flute. The two
(hem whimpered away into the softs
4 mid-April night.
rmin's apparel grabbed plenty of
antion from the beginning of the con-
rt. The audience admired his
ckered pants tied by dozens of bells
ihis ankles along with a percussion
it and various woven belts. An ac-
~nt of his clothing could occupy a
. npleteharticle.nIt's unfortunate
omens' Wear Daily doesn't cover
Friends of Clonlara
PLANT
SALE
Sat. Apr. 22-10-5
Sun. Apr. 23-12-5
at
Clonlara School
1289 JEWETT
(bet. S. Industrial & Packard)
NEWS FROM THE
MAJOR EVENTS OFFIE
In this last Flash of the school year, the
Maior Events Office is very proud to present
f Scond Annual Flash-in-The-Pan
Awrds. These inredible little tidbits
of spit, spice and spectcle are what
make the concert buiness so worthwhile.
Thanks to one and all for a great year.
Watch the Daily for announcements of our
May concerts. We hope to see you in
September. Our nominations are as follows:
The "Pardon, My Slip Is Showing"
Award to Earth, Wind & Fire, whose spec-
tacular opening of their Crisler Arena show
was thwarted when three of the nine
cylinders, from which the band was sup-
posed to 'magically' appear, failed to
descend from the Crisler ceiling. The blush-
A~ ng band members had to sheepishly walk
out from backstage.
The "Bob Ufer" Award to rocker Steve
Miller, who had the brilliant idea to open
his October concert with a taped version of
"The Victors." Miller, on hearing the
roar of the crowd, tore himself away from
the televised World Series and br'ought his
band out to deliver a night of straight-
laced rock and roll.
The "Why Doesn't He Tour" Award, alias
the "Brian Wilson Memorial" Trophy to
songwriter Jimmy Webb, who came to Ann

Arbor last November. Webb, a brilliant
songwriter of the 1960's, proved why every
songwriter cannot be labeled a singer-
songwriter. He's now finalizing plans for
another tour in 1990.
The "Don Canham Honorary Assistant"
Award to performer Billy Joel, who op-
peared in Hill Auditorium on the eve of the
Ohio State game. Joel, knowing where our
hearts really were, walked out wearing a
smile and a "Go Blue" button.
The "Did Steve Martin Start This .Way"
Award to country comedian Don Bowman,
who opened the Willie Nelson/Jerry Jeff
Walker show in Hill Auditorium. Since Willie
r and the boys didn't want to check out the
sound equipment before the concert began,
they sent out Bowman to tell jokes at the
Sstart of the show. He wasn't bad, once you
could hear him; but once you could hear
:him, they took him off.
The "Wouldn't It Be Nice" Award to the
Beach Boys, who have been begging to play
Ann Arbor for the last four years. Unfor-
tunately, again this year, the only night
they had open on their Midwest tour-was
the night that we had booked America into
Crisler. We'll try again next year.
The "Budweiser" Award, alias the
"Foster Brooks" Trophy to rock group
America for performing while still standing.
What is even more amazing is that they
" gave one of their finest performances in
years.
The "Kiss It" Award to a well-known
Detroit promoter who literally stole Fleet-
wood Mac from our grasp last September.
Stevie Nicks and company had tentatively
agreed to play a Crisler show when he flew
out to California and raised the ante. We
would like to shove "bamboo" sticks under
his fingernails.
The "Margaritaville Chamber of Com-
merce" Award to Jimmy Buffett, who had
a our staff frantically searching Ann Arbor '

aygrot
these events.
AS THE TWO multi-instrumentalists
blew soft music into the dawn, Jor-
jorian rolled along the floor dressed in
black, sensually exposing the ver-
satility of the human body. Once the
gong rang, the show commenced. It's
difficult to say which aspects of the
show were improvised or planned out
for it all flowed in such a natural
progression. Jarmin would wave his
arms back and forth, pace the floor,
pounce on the floor, shake his legs,
placing himself as just another per-,
cussion instrument as a part of the
whole. Jarmin's clarinet arid Smith's
trumpet performed a duet to a dancer
twirling her body on the stage.
The stage was like a child's
playroom, featuring bike horns, toy
vibes; bells, wood blocks and an assor-
tment of some fifty noisemakers (per-
cussion instruments), that would keep a
three-year-old occupied for days. The
seven-year-old's delight is the jungle
jim, an assortment of pans and gongs
composing a set of monkey bars.
Gongs, tamborines, ancient bellsm,
maracas, thimbles, lay about i&i an or-
dered disorder around the stage.
A marionette twirls inside a plastic
Pepsi bottle to the sounds of a seashell.
The seashell of sensuality invests a
spirit in Jorjorian to caress Jarmin's
body. Jarmin puts down his saxophone
and plays his mouthpiece in a near ex-
ternal intercourse of vibration to Jor-
jorian's body. The show was sexually
tittilating and yet forbiding all the
same. The scenario of the Pepsi bottle
becomes a reality when Eve Jorjorian
twirls under the fingers of Jarmin.
On an april night,
the skies stand alive,
to a priest in veil,
cordially hitting his bell,
a soft hymn of worship,
a tornado an Lake Drive,
and integrated love affair,
aroused by a jester,
and abducted by a trumpet
almost a rain dance,
to witness the unvei'ling.
THROUGHOUT THE year's Bright
Moments seris, Eclipse Workshops
have coincided- with each concert,
bringing the artist and audience closer.
Friday afternoon, Smith held another

nf u

n

valuable workshop in the RC
Auditorium.
The past workshops have varied in
approach. Sam Rivers gave an infor-
mal, spontaneous lecture on the legend
of jazz, Archie Shepp read a paperhe
wrote on jazz, and Oliver Lake and
Julius Hemphill didn't do much of
anything. Some artists such as Chico
Freeman and Don Moye, and how
Smith arranged for local jazz talent to
partake in an authentic workship on
playing and creating jazz music.
Smith arranged the stage to his liking
and then proceeded to define to the thir-
teen musicians what his music was
composed of. He referred to a
"philosophy" in both his sound and in-
struments. This philosophy maintains
that sound equals solid, each sound
having two levels, an aubible and an
inaudible level.
The thirteen performers consisted of
such local notable as David Swain, Liso
Yulkowski, Vincent York, Martin Sim-
mons, Andy Drelles, Ted Harley, Rick
Hollander and Tom Bergeron. These
musicians perform in bands such as:
The II-V-I Orchestra, The Force, Big
Foot, The Drelles-Benson Quintet and
The Contemporary Directions Ensem-
ble.
After a school year which featured
eighteeen or so jazz concerts encom-
passing everyone from Jean-Luc Ponty
to Dexter Gordon to the Art Ensemble
of Chicago, one could say "What more
can you ask for." (Miles) Well, jazz
doesn't end in the winter and to satisfy
our summer jazz hunger Eclipse will be
presenting the Ron Carter Quartet and
Betty Carter and her trio during this
year's Ann Arbor Art Fair. Last year it
was Sun Ra who paraded down our
streets and sold out his performance,
and this year it's two Detroit-bred Car-
ters bringing the best in jazz bass and
be-bop vocals. Ron Carter has played
with everyone from Tommy Bolin to
Eric Dolphy and is recognized as the
virtuoso of the bass. Betty Carter
comes from the Dizzy Gilespie, Carlie
Parker days. Ella was great at
covering a wide spectrum of tunes, but
Betty by all means will provideous with
be-bop singing that this town has yet to
see.

I
East Quad's Resid
Moments concert l
player Joseph Jarn

-"aiiy rno y AND)T R4EEBER
ential College Auditorium was the site of the festivities that marked Eclipse Jazz's final Bright
Friday night. At top left trumpeter Leo Smith cavorts with dancer Eve Jorjorian; at top right reed
min performs; at bottom Jorjorian flexes.

Old-time Southern music at Ark

INSTRUMENTS * NEW & USED * EXPERT REPAIR * RESTORATIONS REPAIR
Z
NOW PLAYING!
VEGA GUITARS (by C.F. Martin & Co.)
Everything about them says "Martin"
_. except the price REG. PRICE $405
Vega V446 . ........".. Our Price $287
Z ; REG. PRICE $460 b
8 Vega V-646 .........,.. Our Price$326
'AL ALSO-GUILD GUITARS & STRINGS ,
zWw
at SPECIAL PRICES!I
ZHERR DAVID GUIAR STUDIO
209 S. State-665-8001 m
MANDOLIN * FIDDLE * RECORDER * DULCIMER *ETC! * WORLD FAMOUS
(WNJVE~JTSIY CUSICA.LC8ETY
Th 00th FS,
This gala 1978.79 season marks the 100th ye
has offered concerts on the campus of the U
Fred Waring!
Sumer Fare Series (In Hill Au
Tchaikovsky'
Ballet ....
Rackham Auditorium Play of Danie
Mozart's Mar
Elisabeth Schwarzkopf, Soprano ..... July 5 "Pirin", Bul
Emanuel Ax, Pianist...............July 11 Ensemble
Gyorgy Sandor, Pianist and Paul Taylor
Henryk Szeryng, Violinist ......... July 24 Los Angeles
(First concert of complete Beethoven Sonata
Cycle, see below for other two)
Maureen Forrester, Contralto ..... August 7
Beethoven Sonata Pair
Gyorgy Sandor and Henryk Szeryng July 26
Gyorgy Sandor and Henryk Szeryng July 28 Rac
Lncoln Cent(
Choral Union SeriesLncl
Music Soci
Belgrade Chi
H iA tII Divertimen
Hill Auditorium New Irish Ch
Vladimir Horowitz, Pianist ....... October 8 The Philidor'
Emil Gilels, Pianist...........October 12 Les Menestre
Nathan Milstein, Violinist.......November 5 Guarneri Str
English Chamber Orchestra, NetherlandsI
Vladimir Ashkenazy, Pianist November 10
Isaac Stern, Violinist...........December 7,
Moscow Philharmonic Orchestra February 3 Debut &
NDR Symphony of Hamburg .. February 28
Nicolai Ghiaurov, Basso ......... March 17
Detroit Symphony Orchestra ......March 25 Ra
Cleveland Orchestra ...............April 17 Eugene Fodo
Murray Pera
Judith Blege
Choice Series Paul Badura
in
Power Center,
Choose a series of 4 or 8 performances

By LILY PRIGIONIFRO
It'S HARD TRYING to put an entire
culture or tradition down on paper;
subsequently Martin, Bogan and the
Armstrongs are too much to explain.
An old time string band that's been
around a good forty years, these four
black men are a musical symbol of
sounds from the past. They take their
entire background and combine their
inborn talents to make it all seem like
they took the Ark and brought it back to
the southern mountains where it all
began.
They started out playing "Lady be
Good to Me" (their theme song),, and
then did some low down greasy ghetto
blues like "Icecream Freezer." While
they played, their music took the group
over; it was a strange kind of com-
munication the four men used. They'd
look at each other, and instead of words
fitting to the expressions ontheir faces,
music would come fo'th. One would
talk with his mandolin, then another
would answer on the guitar. All along it
seemed like they were saying, "Look
what stories our songs got to tell."
THEY DID A tune from South
America, "Tennessee," which was
probably influenced by their recent
South and Central American tour. "La
Cucaracha" sounded fairly Latin
announces
eason
ear the Musical Society
Jniversity of Michigan.
Show
d.).............. November 9
s Nutcracker
.......December 14, 15, 16, 17
.l ..................January 9
rriage of Figaro .... January 14
larian Folk
...................January 16
Dance Company January 26, 27
Ballet .......March 12, 13, 14
er Arts Series
in
ckham Auditorium
ter Chamber
iety ............. October 14
amber Orchestra ... October 26
to .............November 7
hamber Orchestra November 21
Trio ..............January 21
ls ................ February 11
ing Quartet..........March 21
Wind Ensemble.........April 1
Encore Series
in
kham Auditorium
or,Violinist ......... October 17
hia, Pianist.........October 30
n, Soprano ........January 12
-Skoda, Pianist ..... February 9
ian Series
in

coming from very American
musicians. Bogan, on the guitar, star-
ted a slow blues beat to "Summer-
time," and sang it sad and wailing;
these men didn't go to school to pick up
the blues. When they talked between
sets-if you shut your eyes-you almost
could picture them around the kitchen
table, trying to remember words to a
song, cracking a joke, then laughing
over gin and reefer.
"Hold on, which son's that?," asked
Armstrong, the youngest of the four. He
plays a stand-up bass which is "older
than the fall of Rome." "Come on
now," answered Armstrong, the fid-
dler, "your granny and my mammy
sang it to us."
Then came the boppin' Christian tune
"I've Been Wadin' Through Deep
Water." They played "John Henry"
just before ending the first set and you
should have seen that fiddler get into it!
He got to swinging his bow and rappin'
and tappin' the strings. He'd stretch out
the notes hard and loud, hairs flying off
his bow, till finally his whole body was
swinging away. The other players got a
kick out of it too.
The break was entertainment in itself
because the musicians were so fun to
talk to. All you had to do was sit by one
and he'd talk to you as if you were on
old friend, rattling on about some story.
that happened in South America.
MARTIN, AROUND seventy-two
years old, grew up in Virginia, and has
been playing music since he wass about
eleven. "I play what I feel," he says.

Bogan comes from South Carolina, and
now hangs out in Chicago. He has
played with Sylvester on 2700 N. Lin-
coln, the blues central of the world.
Armstrong, the oldest, comes from
Tennessee. They all met in Nashville
around 1930.
"It was hard during' the
depression," said one. Bogan was draf-
ted, so the war and hard times
separated them a bit. They still
managed to play in parks, taverns, on
street corners and in hospitals. Their
music brought happiness to a troubled
time.
But now they're united again and still
stoping and shooting out energy. After
one break they played "St. James In-
firmary Blues" with Martin on the
vocals. His expressions came alive, and
the others talked to him betwen words
which helped him strain it out and get
emotional about it. They actually held a
musical conversation.
After a bit, the scene started to
mellow out and eye lids started
drooping. But then Armstrong said,
"Come on, put some peop into it!," and
they started stomping again with
"China Town." After a long second set,
they were ready to take a break for a
third. They loved playing, setting an
example for some of the younger
apathetic crowds around. Martin,
Bogan and the Armstrongs are a group
to look up to. They show how music can
control happiness and add life to te
places they go.

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