4 The Michi iigan Daily-Sunday, March 30, 1980-Page 5 Jazz Dreams'live: It's all in the name By MARK COLEMAN A name has always seemed the least nportant fact about a jazz group. Apart from perfunctory asides like "Messengers" or "Crusaders," it's always been cooly appropriate to indicate the size of the ensemble behind the: leader or featured soloist's name and let the music speak for itself. The concept of a collective musical identity, above individual definition, wasn't expressed rubrically until the early, seventies when baryds like Weather Report and Oregon crystallized a efinitive metaphor for their distinctive sounds through expressive anonymity. But not until now has a group adopted a title that seems to reflect their unique sound and spirit so succintly. It's important to note that this group is not named the Don Cherry or Dewey Redman Quartet; Old and New Dreams consists of four rigorously individualistic musicians who unite in an equable, if sometimes precarious musical balance. Solo space is naturally divided evenly amongthe four, but it's in their ensemble playing that an unprecedented equanamity becomes resoundingly apparent. While each member is afforded ample opportunity to assert himself musically (and then some) it's the totality of their sound, the gestalt impression that transcends most limitations and dependencies and makes Old and New Dreams one of the most satisfying collaborative ventures this critic has heard. THE NAME itself gives a solid indication of both where this group has been and what they are looking ahead to. Although all four are veterans of Ornette Coleman's innovation forces of the sixties, this band has been widely misconstruced as an attempt to "reunite" Ornette's landmark quartet (Cherry on trumpet with bassist Charlie Haden and drummer Ed Blackwell, behind a sympathetic saxophonist (the aforementioned Redman).) These men are not interested in cashing in on old dreams, but instead employ their collective background and frame of reference as a focus for fresh innovations. Opening with a pair of Coleman compositions the quartet showed just how far they can take their collective influences. Redman and Cherry stayed remarkably in synch issusing short, near-stacatto melodic statements in sharp unison or trading off variations in contrapuntal harmony. Cherry, replete with hand-size pocket trumpet, still seems intent on laying any prescribed notion or expectations regarding his instrument to waste. Alternately shrilly piercing, honkingly emphatic, and breathlessly expressive . Cherry displayed a remarkable facility only hinted in his work as a sideman and somewhat overstated in recent solo efforts. BUT IT'S not only unfair to single out any one member of Old and New Dreams, it's also grossly inaccurate. From the onset of Friday evening's first performance the level of interaction was so intense and diversified that it became impossible to entirely focus one's attention to a single player, even during the extended solo space alloted each. Haden and Blackwell's approach to rhythm is entrailing; they construct a densely repetitious structure yet manage to integrate wildly discursive variations without losing the reassuring simplicity of the beat. , This free-floating rhythmic propulsion often seemed to anticipate, rather than follow from, the impetus of the horn players. The unexpected rhythmic variations served to point up Redman's understated precision as well as dynamic verve. Stuck on a single note, Cherry would bend and twist it way out of proportion, his cheeks so swelled up one wondered how that tiny trumpet could withstand such pressure. Then-thud, crash, bang-Cherry slips back into blowing three and four note riffs thanks to an effortless (though dramatic) rhythmic transition. Haden is an intuitive genius on bass; at times a stuttering speed freak seemingly oblivious to the rest of the band, at others a sparse, stunningly melodic minimalist. He posses an interior sense of rhythm and melody that would flagrantly violate all established standards if it didn't fit the context of the music so appropriately. of a manic snake charmer, buoyed by Cherry's brief, unpredicatable intrusions. This combination of contrasting influences (African, Middle-and Far-Eastern) in a workable, swinging structure is quite an accomplishment, especially when achieved with such unflagging refinement and eminently tasteful restraint.Old and New Dreams are a group with a deep understanding of their musical past and an eye and ear attuned to future developments. They do more than live up to their name. &he is preserved on 36,M M OR LM . The Michigan Daily 420 Maynard Street AND Graduate Library ED BLACKWELL supplies the backbone of this sonic and spiritual democracy; literally he released a torrent of slyly intricate percussion without doing much more than bending his wrists and forearms. Living proof of the adage "less is more," Blackwell fashioned an exhaustive stream of percussive improvisation withjout deserting the bare bones of rhythmic structure. As intense and free-wheeling as their music can be, Old and New Dreams come across as remarkably relaxed performers. For all their innovative influences, there is an inherent tunefullness, a casual continuity that simultaneously puts listener at ease while riveting one's attention to the music. No doubt reinforced by the pleasant intimacy of the University Club (not to mention the availability of alcohol) this attitude made for an eagerly receptive audience. Though there was some mumbled discontent about the length of the first show (less than an hour) it probably wasn't the promoter's fault that it started late; if anything Eclipse deserves praise for making such a conducive atmosphere available to that many more people by scheduling a second show. PERHAPS THE intent and purpose of this group are summarized by their theme song, Old and New Dreams. After a spoken, chant-like introduction by Cherry, Haden and Blackwell laid down a steady, subtly shifting rhythm while Redman blew a solo on a Chinese musette (sic) with the deceptive ease COME AS YOU ARE TO ITHANOS CO. BANUET(LAMPLIGHTER'S BANQUET BIG BROTHER!) FACILITIES IThe some famous 25 &Up Sicilian Pizza & Fraternity the same great Sorority ces! Clubs Birthdays... SUNDAY BRUNCH BUFFET 10:30-3pm. A feast beyond compare! TUESDAY- SATURDAY I5I1E.WashingtOnl HjR - nn 996-0555 SUNDAY 10:30-]0 pn presents3 BREATHLESS SS (Jean-Luc Godard, 1959) Godard's first and still his'inst popular film. A French ang- ster and an American journalistfcarry on an affair, wit the police on their heels. Godard's tribute to Bogart and American gangster films. "Heart-stopping energy, eye-open- ing originality, crazy humor and anarchic beauty. '-Time. From an original story by Francois Truffaut. Jean-Paul Bel- mondo, Jean Seberg. French with subtitles. (89 min.) ANGELL HALL 7 &9 $1.50 F Griday: PRESTON STURGIS SERIES MINORITY STUDENT SERVICES presents: ETHNIC THEATER FESTIVAL SAT. MAR. 29 O® SUN. MAR. 30 East/West~ EFTe tro De i Players Esperanza 8p. m.. 8:00 p.m. Residential College Theater Residential College Theater Wrso-:00-3:00 Workshop-i12:00-3:00 Room 1 24 E. Quad Room 124 E. Quad Students with I.D. $2.00 Tickets available at Ticket Central, General Public $3.00 Michigan Union --Children under 12 aDMITTED FREE For more information: 764-5416 Multi-instrumentalist and trumpeter extraordinaire Don Cherry performed as part of the quartet Old and New Dreams on Friday night at the Uni- versity Club in the Michigan Union. 'THE CORONATION OF POPPEA' Claudio Monteverdi unearthed ~ By ED PRINCE Claude Debussy, Richard Wagner, Ludwig van Beethoven, Claudio Mon- teverdi. The first three are probably familiar, but the last name may not be. Nevertheless, Claudio Monteverdi ranks with these other composers as a man who profoundly changed the cour- se of musical history, and has in fact been called the first modern composer. Monteverdi, born in 1567, composed the first real opera, and did more to swing the tide of music away from the Church and towards secular composition than any other composer. In 1642, at the age of 75, he created his last and greatest opera, "The Coronation of Poppea," which also has the distinction of being the first historical opera. On Thurday "The Coronation of Poppea" received its Michigan stage premiere in a production by the School of Music at the Power Center. The production, conduc- ted by Gustav Meier, has some faults, but is outstanding in several-respects. The production of "The Coronation of Poppea" presents some difficult musical problems. When it was written, opera was still in its infancy and there was no standardization of opera or-. chestras. For this reason Monteverdi left only a bare bones sketch of the or- chestral music, leaving it to the direc- tor of the performance to compose and arrange much of the instrumental music. For this production, a perfor- ming version by Raymond Leppard was chosen, and the choice was a good one. "Opppea" has been presented in versions ranging from austere cham- ber settings to big, romanticized or- chestrations for full-sized modern or- chestra. Leppard's realization is for a small, string orchestra with har- psichord, organ, harp and trumpets-a sensible and beautiful middle course between the extremes. Gustav Meier lef members of the University Philharmonia in an excellent perfor- mance of Leppard's version that was one of the high points of the production. THE STORY of "The Coronation of Pappea" is based upon an event which happened in imperial Rome in 62 AD when the emperor Nero renounced his marriage with his wife and married his mistress, Poppea. The opera is full of the standard elements-love, lust, -hatred, conspiracies-and all the even- ts are guided by the god of Love, who sets the plot in action to demonstrate his superiority over the goddesses Vir- tue and Fortune. Though Ldve conquers all, he makes a real mess of things as Nero and Poppea trample others under in their mad desire to be united. It is in- teresting to note that almost none of the characters rank as true protagonists. Only the noble senator Seneca attempts to uphold dignity, virtue and the law, and is killed half way through, dramatizing the supremacy of Love over Virtue. The quality of the singing and acting was variable in the performance on Thursday. Claritha Buggs was adequate in the title role, but her singing was occassionally lacking in accuracy. Unfortunately Jeff Allyn, who played the part of Nero, was en- tirely inadequate. Mr. Allyn spoke and yelled much of his way through the opera, and when he did'sing, he was of- ten off-key. This is especially unfor- tunate, since the part of Nero has some of Monteverdi's most innovative and vocal music. Outstanding were James Patterson as Senaca and David Parks, who played two minor roles. Mr. Pat- terson's Seneca captured the austere wisdom and gravity of the man, and his resonant bass voice stood out from the rest of the singers. Mr. Parks' singing was quite good, and he consistently projected a bubbly good humor in his roles which made for a welcome con- trast to the otherwise heavy nature of the story. SPECIAL praise must be given to the set and lighting designer, Gary Smith. Mr. Smith's set is a simple but effective arrangement of steps and planes which allows quick changes from scene to scene, which is important if Montever- di's opera is to flow. Even more im- pressive was the lighting, which very effectively set the mood in the absence of a more elaborate set. The School of Music deserves credit for staging "The Coronation of Pop- pea". Instead of presenting a well known and loved work as they did earlier this season with "La Boheme", they have presented a rarity from the dawn of opera with no built in audience. That takes guts, but what's more, they have turned it into a vital, entertaining production with far more than historical interest. WANT TO PRACTICE A FOREIGN LANGUAGE? We speak Arabic, Chinlse, English, French, German, Italian, Japanese, Korean, Portugese, Romanian, & Spanish at the FRIEND'S INTERNA- TIONAL CO-OP. See our classified ad.. TRYOUTS Ann Arbor Civic Theatre Presents an Original Play "APYLAMRERTrby Diane Monach Try-out times: 7:30-10:00 p.m. March 30, 31 April 1 Mass Meeting, Sunday March 30-7:00 p.m. 338 S. Main ROLES: EIGHT MEN, FOUR WOMEN A period comedy set in 1815 England PASSOVER IS COMING Worried about Passover.7??f --miffs p Come join our communal sedar in a warm, joyous, Chassidic atmosphere. With illustra- tions, explanations and insights into the HAGADA-Story of Passover-Plus a Deli- cious Festive Meal. ALL THIS AT: A S c The most distinguished film of the vear! f ACADEMY AWARD NOMINEE L -IN I CHAOAD HOUSE 715 HILL STREET fle..MU., MaA *191end AO 1. i