Page 6--Sunday, December 11, 1977-The Michigan Daily
Hammer, Shadowfax hit EMU
By KEITH TOSOL T
THE JAN HAMMER GROUP, along with guest
artists Shadowfax, performed an evening of ex-
cellent music inspired by various popular jazz forms
Friday night at Eastern's Pease Auditorium.
Shadowfax, a group out of Chicago (not to be con-
fused with the Detroit group), began the show with
tfiriP guitar-emphasized jazz rock fusion. Guitarist
Greg Stinson encompasses the traditions of jazz rock
guitar as played by John McLaughlin and Jeff Beck.
And he does it very well.
This'group is quite versatile and their musical di-
rection is not confined to any one style. Shadowfax
Ias a collaborative talent to play straight ahead jazz
fusion in "Ark Force," the Eastern influenced jazz of
'"New.Electric Land" or the avant-garde jazz of Don
Cherry with equal expertise.
ALL IN ALL, Shadowfax is a very enjoyable group
and would probably do well to record the new mate-
rial which they played at this concert. Their music
would satiate even the most hard-core guitar wor-
shiper. Stinson's use of feedback, slide and phase
shifter gives his guitar playing a solid rock base, so a
rock and roller with refined taste might find Shadow-
fax tohis liking as well.
The talent of the Jan Hammer group is immense.
Theileader, of course, is Jan, who plays synthesized
keyboards. The backing members are Steve Kindler
onviolin, Fernando Saunders on bass and vocals, and
Tony Smith on drums and vocals.
The group is a very cohesive unit and their stage
manner expresses this unity. They seemed to be
having the greatest of times playing together on the
stage and smiles of approval were constantly flashed
throughout the show.
THEY BEGAN WITH "Full Moon Boogie" from
the live album with Jeff Beck and then proceeded to
run the gamut of musical styles, reflecting the vari-
ous stages of Jan's solo career and the development
of the band as a whole.
These directions included the space-age jazz of
"Who Are They?" and the pop soul of "Don't You
Know," both from the latest album, "Melodies."'
They performed some avant-garde jazz with "The
Seventh Day" from Jan's composer concept album
The First Seven Days on which he played all the in-
The Jan Hammer Group also played the compo-
sitions with which they have gained the most re og-
nition. These were "Oh Yeah?" the title track fitom
the first album, and "Blue Wind," the smash hit
Hammer composition from Beck's Wired and also in-
cluded on the live album. For an encore, the group
played a frenzied rendition of the old Yardbirds tune
"Train Kept A-Rolling."
THE MUSICIANSHIP of the Jan Hammer Group
is the main focus of their live performance. Jan
played solos on his portable synthesizer that equalled
the best lines any guitar superstar could produce.
Kindler was also as hot on the violin, which made for
some challenging trade-offs with Hammer. Saunders
is an excellent bassist and his patterns were essential
to carrying each song, with assistance from the solid
drumming of Tony Smith.
The Czech-born Jan Hammer began playing piano
and drums at an early age and was influenced by jazz
pianists and singers to which his parents listened. He
got into synthesizers around 1971 as part of "a search
for an instrument which could express the melodies
that I wanted to play" and"with which he could better
express his musical ideas.
Shortly after this change of instruments, Jan be-
came involved with the eclecticism of John
McLaughlin's Mahavishnu Orchestra and its jazz
rock fusion. After thatunion fell apart, he recorded
two solo albums and then formed the Jan Hammer
Group around 1976. It was also at this time when Jan
became involved in the recording of Jeff Beck's
second fusion album Wired.
With the group's latest album Melodies, Jan
Hammer feels its commitment to direction towards
rock has finally been realized.
"We're finally giving up all the complicated
esoteric stuff and going for the essence. I'm no longer
interested in impressing other musicians. I want to
touch people with something other than skill. The
feeling behind it all is ten times more important than
skill," Jan states. "People consider me a jazz artist
but I really want to rock and roll."
Richard E. McMullen, Steven Schwartz
QRe A Dri c rnru.A A urn nat'
By KERRY THOMPSON lutes, a harp, and other similar instru-
KtflLJti~..NG FRJM THE/ WVK'J
Thursday, Dec. 15th-7:30 p.m.
at GUILD HOUSE
Refreshments 802 MONROE (corner of Oakland)
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FOR THOSE brave souls who dared
venture into the near-zero temper-
atures of Friday night, a most enjoy-
able of medieval, Renaissance, and
post-Renaissance English Christmas
music - courtesy of the Ensemble for
Early Music - was the reward.
The ensemble is composed of director
Frederick Renz (who also plays key-
board and bells), soprano Johanna Ar-
nold, countertenor Daniel Collins, Wen-
dy Gillespie on strings, and David Hart
on flutes, lute and harp.
The tenor of the evening was set when
the five-member ensemble came on
stage in costumes similar to those of
court musicians in medieval England.
Period instruments were placed about
the stage in easy reach of the perform-
ers - an organistrum (hurdy-gurdy),
portative organ, vielles, a rebec, flutes,
THE FIRST section was 13 and 14th
century music - vocal pieces alter-
nating with instrumental dances. The
opening piece, "Rex virginum," was a
rather disturbing, haunting number
based on a Gregorian Chant melody.
The open harmonies and contrapuntal
style are something that 20th century
ears are not used to, but we did not feel
uncombortable with the music. Collins'
countertenor was light and comfort-
able, as was Arnold's soprano.
The alternating dances were mostly
spirited pieces. The first and last "Es-
tampies" were especially entertaining,
using the vielle, rebec, flute, and tam-
bourine in lively combinations.
The vocal pieces were also mostly
quick-tempo pieces in the major or re-
(Continued on Page7)
wIth bizarre songfest
By MICHAEL BAADKE He glided through a smooth version of
L OUDON WAINWRIGHT III is a "Muse Blues" from Album 1IIand
man with many musical faces. His fairly bounced with an abrupt blues
songs range from the tender to the number, "Plane, Too." He closed -the;
bizarre, and he provided a full selection first set with two songs from the At:
at his Friday night performances. tempted Mustache LP. "Clockwork
Although he almost seemed apprehen- Chartreuse," which Wainwright
sive at first, Wainwright and the described as "punk folk," brings to
audience soon warmed to each other, mind images of Kubrick's similarity-
and by the end of the evening he was titled film: "Let's burn down Mc-
conducting a four-part sing-along to Donald's/Let's go whole-hog." The last
the Beatles tunes, "Twist and Shout." It song, "Lullaby," begins with the less-
was definitely a memorable experien- than-soothing line, "Shut up and go to
The evening began with the 8 p.m. The audience at the 10:30 show was
show, opened by mimist O.J. Anderson, invited to sing along to two songs; the
of the Manchester Black Sheep Reper- afore-mentioned "Twist and Shout,"
tory Theatre, where the concert took and "Wine With Dinner," from the
place. Anderson entertained the album T-Shirt. The audience was en-
shivering, but dedicated crowd with a thusiastic in their response, singing
series of amusin'g sketches. After a 15 with gusto the chorus to the latter,
minute break, Wainwright appeared, which Wainwright taught them:
acoustic guitar in hand, and began his Drinks before dinner
performance with two new songs. The And wine with dinner
And after-dinner drinks
first, "Final Exam," was particularly single entendre;help me Rhonda
appreciated by the student-age audien- Look for my cufflinks ...
ce. The song is a country Christmas carol,
Watching Wainwright perform is a according to Wainwright, although in
completely different experience from truth it sounds more like an ode to
hearing his recordings. He presents his Foster Brooks.
Frank Capra's 1936
MR. DEEDS GOES TO TOWN
A small town tuba player and greeting card poet inherits a vast fortune but
doesn't want it or know what to do with it. When he does think of a
worthy purpose, his lawyers try to prove he's crazy. A humorous commentary on
the depression full of laughs and a gentle message. GARY COOPER and JEAN
ARTHUR sparkle in the generally excellent cost, but the true star is director
Mon: Leni RinfenstahI's TRIUMPH OF THE WILL (free at 7)
Tuow Al Jolson In THE JAZZ SINGER (free at 8)
" Watch for Cinema Guid Winter Film Schedules soon *
TONIGHT AT OLD ARCH. AUD.
CINEMA GUILD 7..&,. S,.50
the 080 arbor fIm Coo Orate Presents
& Thursday ROCKY
(John G. Avildsen, 19 6) 7 & 9:15-Aud. A
Sylvester Stallone, scriptwriter and star, is ROCKY BALBOA, a battered South
Philly pug who gets a shot at the heavyweight championship. A pugnacious,
charming, grimy fairy tale, ROCKY, of all the movies of 1976, spoke most directly
to people's depest wishes. Academy Award, Best Picture. With TALIA SHIRE,
BURT YOUNG, BURGESS MEREDITH. "It revives the old verities about the
American Dream and dignity, abpout the regenerative powers of love and
self-respect. . . Rocky is simply a knockout."-William Gallo
Tuesday, December 20
THE KING OF HEARTS
(Philippe de Broca, 1967) 7Tonly-Aud A
Our most popular film. A Scottish soldier during WWI is sent to a French town,
evacuated except for an asylum. Meanwhile the fleeing Germans have left a
time bomb. The asylum inmates escape, taking up various costumes and roles.
A very funny comedy and a powerful anti-war film-the sanity of insanity and
vice-versa. ALAN BATES, GENEVIEVE BUJOLD. "Delightfully subtle satire-
penetrating comedy encased in a most baeutiful film."-Judith Crist. In French,
with subtitles. Cinemascope.
MEET ME IN ST. LOUIS
(Vincent Minelli, 1944) 9 only-Aud A
Certainly Judy Garland was never more lovingly photographed nor did she
ever give a better performance than as Esther Smith, second oldest child of a
turn-of-the-century St. Louis family shortly before the opening of the World's
Fair. A tender celebration of American innocence and pride in community and
family, the film is superb entertainment as well. Garland sings four of her
greatest hits: "The Trolley Song," "The Boy Next Door," "Meet Me in St. Louis,"
and "Have Yourself a Merry Little Christmas." Make the Yuletide gay and treat
yourself to this special Christmas gift. "Flights into the empyrean of genuine
domestic poetry."-James Agee. With MARY ASTOR, LEON AMES, MARGARET
Plus Short: BEDTIME FOR SNIFFLES (Chuck Jones, 1940)
'As a stocking stuffer, we will show an early cartoon masterpiece from
Hollywood's most consistently excellent director. A mouse tries to stay awake
to welcome St. Nick on Christmas Eve. Rich, inventive, and beautifully evocative
of the season. Merry Christmas.
Single Admission $1.50 Double Feature $2.50
songs with an animation and flair that
'can't be""captured on viiyl;i'is fade
'lights up expressively, and his shuffling
movements accentuate the -gomedic
spirit of his tunes. His style is unique,
and the audience is quick to appreciate
WAINWRIGHT is also an accom-
plished folk guitarist, evincing a wide
variety of sounds from his instrument.
TODAY ONLY! 2 P.M. & 8 P.M.
A HOLIDAY TREAT FOR
THE "LITTLE PEOPLE"
That delightful, heartwarming Com-
pany that has been featured on
"Sesame Street," "Mr. Rogers," and
"Captain Kangaroo" will bring its
newest treat, "Sir Gowain and the
Green Knight" to Ann Arbor for two
performances only on Sunday, De-
cember 11 th.
OF THE DEAF
Sun., Dec. 11, 2 & 8 p.m.
PTP Ticket Office
Michigan League, Mon.-Fri.
10am-1 pm, 2-5 pm
I l For Info. Call (313) 764-0450
Tickets available through
SIX NEW SONGS were performed by
Wainwright, the best of which, was a
rocking um er describ JpIife after
the age of 30. The new material might
indicate that a new album is on the way,
although Wainwright made no mention
As a final encore to the second show,
he performed "Rufus Is A Tit Man,"
from the album Unrequited. Wain-
wright explained that his ex-wife
(singer Kate McGarrigle) claimed that
it was the only love song he ever wrote
her. From the applause it received, she-
ought to be proud. The audience that
braved the cold and hazardous driving
conditions indicated that Wainwright's
performance made it worthwhile.
The casual atmosphere of the concert
brought artist and audience together, a
rare event that seemed quite natural
with Wainwright. It was just like a
night with friends, except the one with
the guitar had a really strange sense of
humor. He sure kept everybody enter
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