The Michigan Daily-Sunday, October 23, 1977-Page 5

loves ELP

Wait

s-worth

Emerson, Lake, and Palmer

By AUSTIN VANCE
Precisely at 8:30, only a half an hour
late, Emerson Lake and Palmer took
the stage at .Bowen Fieldhouse at
Eastern Michigan University. No sev-
enty piece orchestra this time; this was
to be a no-frills concert. No frills, but
lots of thrills. The crowd was unusually
energetic beforehand, obviously up for
a great concert. And that is exactly
what they received. Included in the set
were several cuts from a yet to be
released album, Works II. If the songs
we heard were any indication of the
record's worth then it should be a good
one. Tentative release date is Nov. 1.
Keith Emerson, master of any key-
board and electrical device known, was
in fine form this night. Emerson has the
ability to fuse rock, jazz and classical
riffs into one song and to make it work.
On this night he seemed pleased at the
positive response he got from the audi-
ence and countered with a performance
that only his diversified talent could
supply. In the middle of one solo he
switched into a ragtime theme, with
results that Scott Joplin would have ap-
proved..
GregLake, the romantic of the group,
sang many fine ballads during the
almost three hour show, including
Lucky Man and C'est La Vie which
were done by him alone. In fact
whenever he picked up his accoustic
guitar, the other two members of the
band disappeared into the wings.
Lake's soft melodic ballads and Emer-
son's fiery tunes provided a striking
contrast which keptthe crowd in eager
anticipation waiting for the next song:
Long recognized as one of the premiere
bass- players, Lake proved that he
deserves that distinction. Together with
Palmer he provided the strong driving
support that allowed Emerson's ex-
tended solos to work.
The best solo of the night belonged to
Carl Palmer however. Halfway into the
second set, during Tank, the stage was
relinquished to him and he responded
with a drum solo that for once didn't
drag on into monotonously. After
several minutes of intense pounding the
See AUDIENCE, Page 7

By MICHAEL BAADKE
It was half past four in the morn-
ing, and Tom Waits was weary. His
concert at the Michigan Theatre had
ended only twenty minutes earlier,
and he had received a warm recep-_
tion from a large crowd which had
earlier vocally removed warm-up
act Andy Pratt from the stage. When
Waits finally shuffled on stage at
two-thirty, the crowd was ready;
their restless mood quickly turned to
involved interest.
"Jeez, I'm really sorry for making,
you wait so long," Waits apolo-
gized; "I feel like a real asshole."
The full house for the Friday
night/Saturday morning concert
indicated that all in all they really
didn't mind the wait.
Tom Waits hardly looks like the
growing cult hero that he is. Dressed
in an ill-fitting suit and a time-worn
tie knotted loosely around his neck,
he appears for all respects to be a
prominent citizen of the sleazy side
of town. But his growling voice,
which has hardened over the years,

the wait
still reflects all the emotion and
strain of the songs that he writes. He
is a singing poet of the streets.
He opened his act with the up-
tempo scat tune, Step Right Up,
from his LP Small Change. The song
is a conglomeration of every sales
pitch ever offered: "You, too, can be
the proud owner of the quality that
goes in before the name goes
on.. ." Lighting one cigarette after
another, Waits ambled back and for-
th across the stage as his back-up
band smoothly interpreted the jazz
feel of the song.
Waits followed this immediately
with the blues number, I Never Talk
To Strangers, from his latest LP,
Foreign Affairs. On the album,
Waits performs a duet with Bette
Midler, but the song is just as effec-
tive when he sings it alone onstage.
Although the new LP coitains a
number of fine tunes, this was the
only one that he performed at the
concert. The remainder of the songs
were taken from the three albums
See WAITS, Page 7

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By MARK FRIEDLANDER

West
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North
S-K 6
H-952
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C-Q J108632
East
S-
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S-A Q J 1083
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other four explained why Omar Sharif
has quit making movies to play bridge.
I decided I could put up with lots of silly
things and nervousness. Little did I
realize how prophetic this decision was
to be.
But to be fair, going into the last
round, Susie was playing pretty well.
She didn't do anything spectacular, but
she played soundly and made few and
generally not very costly mistakes. On
the other hand, Susie's low neckline
was upsetting the opponents. Three
men revoked against us, one forgot to
draw trumps, and one's wife was so dis-
turbed by hisogling that I think she de-
liberately made one trick less than she'
could.
We had collected enough of these gifts
to win easily, except for the fact that
Susie was across from me too. Not
being immune to her charms, I had bit
out of turn once and miscounted trumps
twice.
As a result, our opponents in the last
round led us by a small margin as we
sat down against them. But I had made
the mistake of explaining to Susie that
the winner of this round would win the
tournament. She just gulped and nod-
ded nervously, her eyes wide.
See BRIDGE, Page 7

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TONIGHT in
Hill Auditorium-8:30
BARTOK: Two Portraits;
CHOPIN: Piano Concerto No. 2
DVORAK:- Symphony No.9
I ("New World")
Hill A ud. box office open at 7p.m.
-tickets from $4 to $10
University Musical Society
BURTON TOWER, Ann Arbor
Weekdays 9-4:3b, Sat. 9-12 Phone 665-3717
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East South West North
1H 31;5 _ pass 2C
2H 3D pass 3S
pass 4S double all pass
Opening lead: 3 of hearts
"Would you like to play bridge with
me at the club tonight?" I asked.
"Well," Susie hedged, "I'd like to, but
I'm probably not good enough, and I do
silly things when I get nervous."
I looked at her. She stood five feet
tall, the first foot consisting of bright
blue eyes and long blond hair, while the

Saxophonist Gordon
wows 'em at Power

By PAUL SHAPIRO
Dexter Gordon is back. After 15 years
of living in Europe, the father of bebop
tenor sax is touring the States, and it is
the greatest of pleasures to have him
home once more. Appearing at Power
Center Friday night with an excellent
quartet comprised of George Cable
(piano), Rufus Reid (bass), and Eddy
Gladden (drums), Gordon played a
rousing three hours of pure acoustic
jazz that literally brought the house
down.
Gordon quickly became a legend in
his own time, playing in the 1940's with
Louis Arrmstrong at age 18, Lionel
Hampton at 21, and the fabled Billy
Eckstin'e band at 22. At age 23 he moved
to New York and became a fixture on
52nd Street, where numerous clubs
were alive with the burgeoning music of
the bebop era. He played there with
Dizzy Gillespie and Charlie Parker,
contributing significantly to the growth
of bop. His music Friday night was
clearly the hard driving jazz of that era,
and it is heartening to see an artist who
has stayed with his roots.
The quarter opened with the jazz
classic Green Dolphin Street, immedi-
ately displaying the tight, com-
nunicative nature of the band which
featured Gordon's thick resonant tenor
sax over an extremely solid and inno-
vative rhythm section. Each member
of the quartet complemented another,
and' all were strong soloists. Cables'
graceful and stirring piano was particu-
larly impressive on this number.
Moving into a Horace Silver compo-
IMOGEN
CUNNINGHAM
75 YEARSAS A
PHOTOGRAPHER
October 4-28
Reception:
October 13,4-6
Hours:
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Weekends, 12-5
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.sition entitled Strollin' it became quite
obvious that Dexter had been away so
long that one really forgot how amazing
this man truly is. His twisting, turning
solos combined with a perfect tonal
clarity leave him among the premier
saxophonists in jazz history. Unlike
other jazz musicians who have turned
to more commercial ventures ,while
playing with musicians who are in no
way their equal, Gordon's music is
See GORDON, Page 7
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Michigon Union
BAND -
AUDITIO
763 I s.9-2
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" Offer ends November 9, 1977.
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