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.